The Help: Kathryn Stockett

• Hardcover: 464 pages
• Publisher: Amy Einhorn Books/Putnam; 1 edition (February 10, 2009)
• Language: English
• ISBN-10: 0399155341
• ISBN-13: 978-0399155345
• Product Dimensions: 9.1 x 6.9 x 1.7 inches

Southern whites' guilt for not expressing gratitude to the black maids who raised them threatens to become a familiar refrain. But don't tell Kathryn Stockett because her first novel is a nuanced variation on the theme that strikes every note with authenticity. In a page-turner that brings new resonance to the moral issues involved, she spins a story of social awakening as seen from both sides of the American racial divide.

Newly graduated from Ole Miss with a degree in English but neither an engagement ring nor a steady boyfriend, Eugenia "Skeeter" Phelan returns to her parents' cotton farm in Jackson. Although it's 1962, during the early years of the civil rights movement, she is largely unaware of the tensions gathering around her town.

Skeeter is in some ways an outsider. Her friends, bridge partners and fellow members of the Junior League are married. Most subscribe to the racist attitudes of the era, mistreating and despising the black maids whom they count on to raise their children. Skeeter is not racist, but she is naive and unwittingly patronizing. When her best friend makes a political issue of not allowing the "help" to use the toilets in their employers' houses, she decides to write a book in which the community's maids -- their names disguised -- talk about their experiences.

Fear of discovery and retribution at first keep the maids from complying, but a stalwart woman named Aibileen, who has raised and nurtured 17 white children, and her friend Minny, who keeps losing jobs because she talks back when insulted and abused, sign on with Skeeter's risky project, and eventually 10 others follow.

Aibileen and Minny share the narration with Skeeter, and one of Stockett's accomplishments is reproducing African American vernacular and racy humor without resorting to stilted dialogue. She unsparingly delineates the conditions of black servitude a century after the Civil War.

The murders of Medgar Evers and Martin Luther King Jr. are seen through African American eyes, but go largely unobserved by the white community. Meanwhile, a room "full of cake-eating, Tab-drinking, cigarette-smoking women" pretentiously plan a fundraiser for the "Poor Starving Children of Africa." In general, Stockett doesn't sledgehammer her ironies, though she skirts caricature with a "white trash" woman who has married into an old Jackson family. Yet even this character is portrayed with the compassion and humor that keep the novel levitating above its serious theme. (Source Review: The Washington Post's Book World/washingtonpost.com Reviewed by Sybil Steinberg)

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The Help: Kathryn Stockett

Dear John The Best Nicholas Sparks

• Mass Market Paperback: 352 pages
• Publisher: Grand Central Publishing; Mti edition (December 1, 2009)
• Language: English
• ISBN-10: 0446567337
• ISBN-13: 978-0446567336
• Product Dimensions: 6.7 x 4.1 x 1 inches

Just as I was about to give up on Nicholas Sparks after reading a string of mediocre novels following his first three blockbuster hits, I decided to give him one more chance. I'm glad I did! This is by far the best book he's written--even better than "The Notebook" and the two that followed, "Message in a Bottle" and "A Walk to Remember." I started reading "Dear John" at 8 PM one evening and couldn't put it down until I finished in the wee hours of the morning. Written in the first person by the young male protagonist, John Tyree, he tells the heartwarming story of his romance with the girl of his dreams--Savannah Lynn Curtis, whom he meets by chance one day on the beach. Their background and personalities are strikingly different, but yet they form an unexplainable bond that grows into a powerful love. Savannah is almost too good to be true, and I kept thinking: "Gee, I wish my son (who is John's age) could meet a girl like that!" I won't go into any details to spoil the plot, which turns out to have many twists and turns--not only involving John's relationship with Savannah but also a heartwarming story concerning John's father, John's time in the service, and his thoughts and emotions in general. This is a beautiful story, and frankly when I finished it left me emotionally drained where I wasn't able to get back to sleep just thinking about it. Not only is "Dear John" an entertaining read, but it was very well written and fast paced with a stirring conclusion. Congratulations to Nicholas Sparks on another winner! (Carole Imes)

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Dear John's Nicholas Sparks

Dan Brown: Lost Symbol

• Hardcover: 528 pages
• Publisher: Doubleday Books; First Edition, First Printing edition (September 15, 2009)
• Language: English
• ISBN-10: 0385504225
• ISBN-13: 978-0385504225
• Product Dimensions: 9.5 x 6.1 x 1.7 inches

Elitist literary critics say that Brown is not a good writer, and that his stories are bland. I personally think that if you manage to genuinely entertain and awe your audiences, then you have accomplished something worthy of reading. I also think that "The Da Vinci Code" was nearly an impossible act to follow. People will have all sorts of crazy expectations for your next book that you won't be able to fulfill. As such, I write this review as fair as I can, trying to assess it on its own merits, but comparisons are inevitable.

The Lost Symbol isn't a bad book, but it is a letdown. I didn't like this one for the same reason I didn't like Angels and Demons as much. Also, Brown doesn't advance the story at a good pace. A good two-thirds of the book (I'm not exaggerating, I counted the pages) was filled with variations on such a scene:

Character A: Have you heard of X?
Character B (usually Langdon): Yes, but I thought that was just a myth.
Character A shows or tells B something.
Character B reacts with shock.
Then, insert scenes of people walking from one place to another, being chased.
Then, insert the sentence "Suddenly everything made sense." At least for the next ten pages.
Repeat.

After reading this, I had to wonder whether Brown is a writer on Lost, where people can't seem to give straight answers, and where scenes never resolve any questions.

Here's my advice to Dan Brown:

1. Fire your editor. There were some whole passages, even chapters, that served no purpose other than to inflate your book to an unnecessary size. I don't mind reading big books, but I do mind reading through unnecessary words. Ch. 69, for example, is unnecessary. If your editor didn't ask you to take it out, then he should be fired. Sorry.

2. We don't need to know exactly how every character moves from one location to the next, which turn they took, what street they walked across. If it serves the plot, if the geography is important (as it was in Angels and Demons), then fine. Geography was crucial at certain moments in this book, but many times, the passages when you describe how someone moves from one part of a house to another part, what door they opened and closed, all that is boring and tedious.

3. Don't write your novel like a screenplay. Whether you've done it consciously or not, your short chapters read as if you had in mind exactly what camera shots you expect out of an inevitable movie adaptation. Leave that to the screenwriter. If they can adapt a book like "Naked Lunch," they can surely adapt your book as well. Write your novel as a novel.

4. Be careful of hubris. You're in a unique and rare position that, I'm sure, many authors dream of: your books will sell millions by default and you will get a multi-million dollar movie deal without question. Good for you! Some authors handle that well (e.g. J.K. Rowling), some don't (e.g. Stephen King, Michael Crichton). It's not that the latter are bad writers, but that they are capable of writing some really bad stuff. Having said that, I'm not saying that The Lost Symbol is bad, just that it needs to lose about 100-pages of unnecessary, repetitive scenes. Speaking of Crichton, the reason I stopped reading him is that he became too formulaic. All his books are about a bunch of mismatched experts going to some remote location and something goes wrong. Formula isn't bad per se. Rowling is formulaic too. Most of her books revolve around the Hogwarts school year, but she puts enough story in there to make it work. You should do more of that.

5. Know what you're good at. You know your technology, which makes your book authentic. You also know that your readers are likely to go Google a painting or artist you mentioned and be awed by what you described. That's great! I bet that also saves you the pain of having to request reprint permissions of artwork and such. Also, since most people don't know their history, let alone the etymology of words they use everyday, you have literally an endless supply of stories. That's what you're good at. I'd say, forget the science stuff. It's interesting, but, as with Angels and Demons, it's an awkward fit. I don't recall there being any modern science in The Da Vinci Code and I was fine with that.

6. Try a recurring character. Langdon is fine, but consider having a character or two that returns in subsequent books. Make them interesting, of course, and don't make them a love interest.

So, here's the good news. Dan Brown hasn't nuked the fridge, at least not for me. Also, now that this book is out in the open, readers are likely to give his next book a much fairer assessment. So, I look forward to reading that, but, I probably won't be buying it on the first day it's out. (Justin Lee)

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The Lost Symbol