Honor, Idealism, and the Monsters Within: A Review of Jonathan Mayberry's Rot and Ruin Series

“When writers tell a story about monsters, we’re usually using them as a vehicle in order to tell a story about our own world.” - Jonathan Mayberry

In an attempt to better understand the entertainment shaping my kids and the rest of today's youth, I submit my latest review of books impacting a YA audience. My goal is not to critique the art form as much as look at how the story reflects and shapes the readers' worldview. 

This review will look at Jonathan Mayberry's Rot and Ruin series. According to Amazon.com,  Rot and Ruin was Booklist's Ten Best Horror Novels for Young Adults and a Bram Stoker and Pennsylvania Keystone to Reading winner. It was also nominated for several state Teen Book Awards, the Cybils Award, the Eva Perry Mock Printz medal, the Dead Letter Best Novel Award, and four Melinda Awards). Dust and Decay was the winner of the 2011 Bram Stoker Award. Rot and Ruin has already been optioned for the big screen.
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As part of the ongoing evolution in the horror genre (such as World War Z, Warm Bodies, and The Walking Dead), this series uses the zombie motif to address some surprisingly deep questions. Here's the primary one that lurks in the background: If zombies are basically amoral animals ruled by instinct, and they can feel no pain, why should people treat them with any respect at all? When faced with the dilemma of how we ought to interact with other living things, we usually begin by making several important distinctions.

• First, we note that a plant is different from an animal. I can spray poison on a thistle but not a hamster. So far, so good.
• Second, we consider the ability of something to feel pain. Lobsters are not the same as dogs. That’s a core argument that proponents of animal rights make as they fight for a world that is as free of all forms of pain as possible. 
• Third, we make a difference between moral animals (that would be people) and instinctive animals. When my cat brings a barely living bird into my backyard and eats it, I don't think she’s immoral.  If a person would do the same thing to a human victim, he or she would be a monster. 

What argument can be made against people who dismember, torture, and dehumanize a zombie? The argument would most likely be that this type of bestial violence destroys the souls of the perpetrators even as they desecrate their victims. 

And that is exactly the argument that Jonathan Mayberry makes in this surprisingly insightful series.

Elysium: Fighting For Paradise

According to Brittanica Online,

"Elysium, also called Elysian Fields or Elysian Plain, in Greek mythology, originally the paradise to which heroes on whom the gods conferred immortality were sent... In Homer’s writings the Elysian Plain was a land of perfect happiness at the end of the earth.. In the earlier authors, only those specially favored by the gods entered Elysium and were made immortal."

In Neill Blomkamp's latest incarnation of this story, the "specially favored" are not heroes at all; they are, however, extremely wealthy. When the earth went to environmental and political hell in an overcrowded hand basket, the 1% built a bourgeois paradise in space, leaving the 99% on a decrepit earth to gaze longingly at the home of their betters. The rich got everything money could buy: perfect health, longevity, luxury and ease. Those left behind inherited a hard life that creates harder people, and the camera does not look away (see Focus on the Family's review for more detail on the relentless portrayal of very fallen world). 

As far as social, economic and political commentary go, Elysium is intended to be a sci-fi parable of health care and immigration in much the same way Blomkamp's disturbing District 9 dealt with racism. It's caricatured class warfare and naive revolution are a distraction at best and dishonest at worst, but they will certainly generate discussion about the morality of wealth disparity.

I am more interested in Max.

"The Wolverine": Of Dark Roads, Monsters And Men

"The great battle, I always thought with Wolverine, is the battle within himself."  - Hugh Jackman, aka Wolverine

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Since the disastrous events at the end of the last X-Men film, Logan (aka Wolverine) has retreated into the woods, living a life of solitude among the another animals. His past haunts him every night as the ghost of the woman he both loved and killed lingers. He's a Ronin, a samuri without a master and thus without a cause. Even worse, he's basically immortal, and the events of the past promise a future full of ruin and despair.

I left The Wolverine with mixed emotions (you'll see why in a moment). I ran an early version of my review past a good friend, Karl Meszaros, who has made appearances on this blog before. He knows the Marvel mythology behind Wolverine far better than I do, and he completely disagreed with my reaction to the film. Rather than rewriting my review, I have decided to post both: my response as a casual fan of the X-Men movies, and his insight as a follower of the Wolverine mythos for quite some time.

Perhaps our opposite reactions are inevitable considering the difference in knowledge about the story; perhaps we simply bring the very disparate circumstances that formed our lives into our analysis. After you have read these two perspectives, I'm interested hearing your response. 

Stephen King's "Under The Dome": A Mid-Season Perspective

Stephen King has a way of peeling the veneer away from both civilization and the people that comprise it.  Most of his literary worlds are very dark, but they are always enlightening.


Under The Dome takes yet another look at what happens when people are given a chance to be themselves. Societal structures keep our collective evil in check; what happens when we are released from the obligation to conform to the moral expectations of those around us? Though the current series is not as good as the book (published in 2009), King's stories are good enough to translate onto the screen, and the series is crushing the summer competition.

"Wealth was the short beer of existence. Power was champagne."

When the mysterious dome descends, it does more than cover the town. It uncovers the true nature of the people trapped within its transparent and indestructible parameters. A love-struck boy kidnaps and imprisons his girlfriend;  a businessman publicly becomes the monster he was privately; a preacher's duplicitous life comes to life; a policewoman's nobility and courage shine.

"A cowardly leader is the most dangerous of men."

As the crisis escalates, the trajectory of people's lives do as well. Those inclined to evil find it increasingly hard to maintain a semblance of normalcy; those inclined toward good find they need to fight more and harder battles. It's not always easy to tell for whom we should cheer, but we certainly know what we hope will happen.

The Ocean At The End Of The Lane

"Monsters come in all shapes and sizes. Some of them are things people are scared of. Some of them are things that look like things people used to be scared of a long time ago. Sometimes monsters are things people should be scared of, but they aren't."

In an attempt to better understand the entertainment shaping my kids and the rest of today's youth, I submit my latest review of books impacting a YA audience. My goal is not to critique the art form as much as look at how the story reflects and shapes the readers' worldview. 

This review will look at The Ocean at the End of the Lane, the latest from best-selling author Neil Gaiman. The film rights were optioned even before the book's publication date, with no less a name than Tom Hanks attached to the project.

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When the unnamed narrator was a child, a monster began to haunt his town when someone with an unfortunate request released it from its prison:

"Something came to me and pleaded for love and help. It told me how I could make all the things like it happy. That they are simple creatures, and all any of them want is money, just money, and nothing more..." 

But, as Chesterton said, happiness is a hard taskmaster, and there is always something more. When the narrator wakes up with a coin in his throat, he goes to the family of Lettie, a mysteriously ancient girl who claims the pond in her backyard is an ocean. Lettie allows the narrator to accompany when she binds the creature provided he does not let go of her hand. He lets go, of course, and becomes the conduit through which the monster can now readily access the world. That's not good. As Ginnie Hempstock notes, "It's a dangerous thing to be a door."

Here Comes the Bloom: A Review of Aprilynne Pike's "Wings"

“Every little girl wishes she was actually a princess or a faerie or a mermaid or something. Especially girls who don’t know who their real mothers are.”

As a faerie embedded in the human world when she was just a baby, Laurel lives unobtrusively among her friends and with her adoptive parents. Then one day she begins to bloom – did I mention she’s a plant, a type of faerie, and she didn’t know it?

She tries to hide her wing-like flowers, but they are part of who she is. As they open, so does reality. She discovers a formerly hidden world around her filled with other faeries, trolls who want to kill her, gorgeous mythic warriors who like her, and a reality that defies explanation.  

Her boyfriend David’s a great guy, but he soon discovers a reality about Laurel that may be a problem: she has no pulse. Even worse, she has not heart. And the trolls are coming after him too.

Man of Hope and Steel

"You will give the people an ideal to strive towards. They will race behind you, they will stumble, they will fall. But in time, they will join you in the sun." 

The new Superman rocks. Let's just get that out of the way. Critics have had mixed opinions, but the word-of-mouth has been excellent. I've read a number of reviews featuring the foundational stories that gave birth to Superman (Moses and Gilgamesh), the increasingly overt Christian themes, and the hidden atheist message embedded in it.  Since religion is already being dissected so vigorously, I will focus on another aspect of the film. In a world struggling to understand how to live well, Zach Snyder offers a story in which the importance of establishing a healthy ethical base takes center stage. Two key scenes set the stage.

Scene 1: After Clark saves the children in a school bus from drowning, his father gently chides him for taking the risk of being discovered. Clark rightly asks, "What was I supposed to do - let them drown?" Jonathan replies, "Maybe." His reason is the the world is not ready to handle someone like Clark, a seeming god among men. So until the world (and Clark, and perhaps most importantly Jonathan) is ready, Clark should hide his power and allow some tragedies in which he could intervene to play out. It's for the greater good.

Scene 2: Zod explains to Superman that the Kryptonian's evolutionary advantage has put them on a road to survival paved with the bodies of those who are not as fit. It's just the way it is. Zod was born to be a soldier, to fight for race and defend his people, and all that matters is that the Kryptonian race survive and flourish. Terraforming the earth and killing everyone? It's for the greater good.

If you are like me, you found the first scene to be poignant and the second repulsive. I suspect that's what Snyder wants you to feel. Zod is obviously a villain ("Boo, genocide!") but Jonathan is humble and nice ("Yay, loving parental concern!").  However, as the film unfolded, this consequentialist approach to life clearly revealed a potentially fatal flaw.

World War Z

"The monsters that rose from the dead, they are nothing compared to the ones we carry in our hearts.”

In an attempt to enter into and better understand the entertainment shaping my kids and the rest of today's youth, I submit my latest review of books effecting a primarily YA audience. My goal is not to critique the art form as much as look at how the story reflects and shapes the readers' worldview.

This review will look at World War Z a novel by Max Brooks. Inspired by Studs Terkel's The Good War, this book is being rightly credited with transforming the zombie genre.*  Paramount's film starring Brad Pitt hits theaters on June 21st. It remains to be see how well this movie will translate onto the screen.

There will be spoilers.

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World War Z unfolds through a series of interviews with the key players who helped humanity survive the zombie apocalypse. It's been 12 years since VA day in America, and the UN has commissioned a Postwar Commission Report. This book chronicles the interviews of one reporter as he journeys around the world to get to the truth about what really happened.

Patient Zero, a 12-year-old Chinese boy, was bitten by an animal.  That much is pretty clear. The how and why of the spread is a story of human ineptitude, greed, misinformation, and tragedy. As opposed to much of current zombie lore, World War Z for the most part looks away from the gore and looks instead at how the world as we know it would change as people perpetuate or fight the plague. In the process, the author’s literary eye scans entire nations as well as the most heartbreaking individual stories. 

The approach is nothing short of brilliant. Brooks examines religion, politics, family structures, international tensions, the pharmacutical industry, the military, economic systems, the impact of geography, weather, and national mindsets…the list goes on. I expected a predictable story of gore and despair; I found a thought-provoking and honest look at death, life, hope and the human condition.