And so we arrive at the final chapter of the story originated in The Passage. I enjoyed the first installment, was disheartened by the second… And the third was my first DNF in years – actually, the first since Rothfuss’ The Name of the Wind, the review of which can be found here.
As I am an (almost) compulsive reader, DNF-ing a book is a big deal. I usually try to finish even those books which I don’t enjoy – there are plenty of examples of such instances on the blog, for example here and here, and here… DNF is a big thing for me. It’s sort of a final, irrevocable verdict, an emperor’s finger pointed down, the sword falling and lions waiting. DNF-ing a novel means for me that the work in question possessed no redeeming quality, no point of access, and that I considered reading it a total waste of time.
Jean –Léon Gérôme Pollice Verso (Thumbs Down) , 1872
So now it’s time to explain why the conclusion to a trilogy which has begun with such a promise was a complete letdown.
I haven’t written in a long time – lots and lots of work. Still, I do read, even if swamped with work, so my list of books to be reviewed slowly grows. I completed my read of The Twelve when I was still commuting weekly to Warsaw and had a lot of time to read, and it was a good thing, because otherwise I wouldn’t have finished this book.
But let’s start from the beginning. The Twelve is the second installment in an already finished post-apocalyptic trilogy by Justin Cronin. The review for the first installment, The Passage, can be found here. I enjoyed The Passage quite a bit, enough to jump to the second book as soon as I finished the first. I liked the protagonists of the first novel: mostly Amy and Wolgast, but I was ok also with the latecomers – Peter and Alice, Sarah and Mike, and the rest of the supporting crew.
The second installment shows us a world in a momentary stasis – the first of the Twelve, Babcock, is dead, but the rest of the monstrous serial killer death row inmates is still free to roam the realm of the erstwhile U.S. Worse, the human survivors are not enticed to believe Peter and the rest of his crew that there are other “nodes”, the remaining zero-patients, who are able to control to bloodsucking monstrosities called virals. From the humanity’s point of view getting rid of them would mean much better chance of survival – but humanity has a tendency to look rather to the next day than to the next year, and so the problems of plumbing, food and electricity shortages, and fuel transportation will always be pushed to the fore.
It seems that I have a weakness for post-apocalyptic, anti-utopian stuff with young female leads ;). The Passage reminds me in many ways of The Girl With All The Gifts or McCarthy’s The Road, although the popular comparisons to The Stand are also pretty well-founded.
The Passage received a lot of buzz back in 2010 – compared to work of Michael Crichton and praised by King himself, Cronin’s book quickly wound up on bestsellers’ lists. The filming rights to this book – and two next as well, as The Passage is the first installment in a trilogy – were apparently secured by Scott Free Productions even before the book was finished.
Is the book worth the praise? The answer to this, as usual, is complicated ;). I must confess, my initial enthusiasm was somewhat dampened by the fact that I have already read the second installment. Oh boy, that’s something I will fully review in my next entry, but for now let’s concentrate on the first book, as if it were still the only one, fresh and full of promises.
Because The Passage in itself is actually a good book. It’s a mash-up of genres, a post-apocalyptic horror/sf road novel with vampires, elements of anti-utopia and chunks of a military thriller, and it all works surprisingly well, even dunked in the heavy philosophical/theological sauce Cronin is so fond of.