"I See Dead People"
" 'The world would be funny if it weren't so sad,' he'd said. 'Or the world would be sad if it weren't so funny.' "
I've now read a few books that are two-fers. That is, you think you're reading one book and then there's a twist on the final page that opens your eyes and sends you back to the beginning in order to reread the second, hidden, book. Sort of like the movie, "The Sixth Sense". This book doesn't work that way, although the effect can be the same.
The book consists of the main text and a series of footnotes, all of which are collected at the end. You can skip the notes, which will still leave you with a fine read. You can read the footnotes as you go, which will wise you up more quickly, as the book shifts its tone and nature. Or, you can read the book and then read the endnotes all at once, which is what I did. That's more cumbersome, because you will want to trace the notes back to where they appeared in the text, but that will enhance the gut punch effect.
This all works because the book is written on at least three levels. It's a novel written in the first person. So, you get the fictional narrator's "I" describing maddening/lying main character Shoogie. Then you get the end notes, which are written by the author, and of course are also written in first person. This author is two characters, because sometimes he writes as though he really is just the actual, Michael Kun, author and sometimes he writes as the fictional author, fictional Michael Kun.
This sounds cumbersome, but it works. (It partly works because this book started out as a 650 page serial and the actual real author actually really had to cut it down and so actually really had the sorts of exchanges with his editor/publisher that appear in the early endnotes.) About 75% through the book the endnotes take off as their own story, and that's where the mood and substance and heart of the book begin to come together and beat.
The beauty here is that putting aside the experimental angle and the Russian doll feeling and the perspective/character sleight of hand, and the general unreliableness of just about everything, the book is well written. It is composed of lots of little scenes and set pieces that are lovely no matter how they fit into the larger puzzle. There are great throwaway lines, perceptive insights, and lots of material that's played for laugh out loud, though still fairly deadpan, humor.
The upshot is that there are some structural head game things going on here, but they add extra dimensions without ruining the solid foundation. In my experience it's rare to find a book that can elaborate and riff on a linear plot without getting itself lost, but this one pulls that off. Even though it started as just a humorous tale of a mild young lawyer overwhelmed by a bigger-than-life client, it ended up being a fascinating, entertaining, and wildly imaginative and well crafted effort that engaged me on many levels. A great find.