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A review by sowalsky
Protector by Larry Niven
3.0
Larry Niven's concept is strong, but "Protector" often fails in its execution. Although any one of my basic criticisms might seem trivial if taken by itself, together they detracted from my enjoyment of this sometimes frustrating novel.
First, praise: The idea that human beings might represent a mutated form of extraterrestrial life is a basic premise so rich in possibilities that I'd be surprised if Niven was the first to think of it. Regardless, he runs with it admirably. Although some might fault the 220-year disconnect between the two halves of the book -- which necessitates a different cast of characters in each -- I thought the storyline provided sufficient continuity to warrant this device which, incidentally, dispenses with the need for linking material which might otherwise have descended into the realm of filler.
Now for the criticisms: Niven spends nearly the first half of the novel on exposition. It is only as we approach the midway point that all of the references and conventions within the universe he's constructed add up and make sense. That leaves the reader with 100 pages of uncertainty and confusion, which, needless to say, is far from ideal.
Niven is overly fond of the ellipsis. I have never seen it used as compulsively as it is here. As a writer who is, himself, fond of its use, I think I will be making a concerted effort to break myself of this habit.
A similar criticism applies to Niven's incessant use of the term "yah" to mean "yeah" or "yes," a choice I have never encountered in any other writer's work. It has the unfortunate result of lending the characters Canadian accents in the mind's ear.
Although not a major flaw, Niven is prone to the unfortunate tendency of earlier sci-fi writers to invent names which cannot be pronounced. The central character in the first half of the book is named Phssthpok. While this may seem a petty criticism, Niven's choice seriously detracts from the readability of the novel. Every time the reader encounters this unpronounceable moniker, the rhythm of reading is broken.
Finally, the last few pages are jarring, as Niven abruptly switches to a first-person voice and "breaks the fourth wall," retroactively recasting the entire novel as a memoir penned in "novelized" form by Truesdale. One can't help but feel that this denouement, which primarily serves to set up a sequel, could have been handled in a more organic fashion.
In short, this is a potentially strong novel which is weakened significantly, but not fatally, by a series of minor flaws.
First, praise: The idea that human beings might represent a mutated form of extraterrestrial life is a basic premise so rich in possibilities that I'd be surprised if Niven was the first to think of it. Regardless, he runs with it admirably. Although some might fault the 220-year disconnect between the two halves of the book -- which necessitates a different cast of characters in each -- I thought the storyline provided sufficient continuity to warrant this device which, incidentally, dispenses with the need for linking material which might otherwise have descended into the realm of filler.
Now for the criticisms: Niven spends nearly the first half of the novel on exposition. It is only as we approach the midway point that all of the references and conventions within the universe he's constructed add up and make sense. That leaves the reader with 100 pages of uncertainty and confusion, which, needless to say, is far from ideal.
Niven is overly fond of the ellipsis. I have never seen it used as compulsively as it is here. As a writer who is, himself, fond of its use, I think I will be making a concerted effort to break myself of this habit.
A similar criticism applies to Niven's incessant use of the term "yah" to mean "yeah" or "yes," a choice I have never encountered in any other writer's work. It has the unfortunate result of lending the characters Canadian accents in the mind's ear.
Although not a major flaw, Niven is prone to the unfortunate tendency of earlier sci-fi writers to invent names which cannot be pronounced. The central character in the first half of the book is named Phssthpok. While this may seem a petty criticism, Niven's choice seriously detracts from the readability of the novel. Every time the reader encounters this unpronounceable moniker, the rhythm of reading is broken.
Finally, the last few pages are jarring, as Niven abruptly switches to a first-person voice and "breaks the fourth wall," retroactively recasting the entire novel as a memoir penned in "novelized" form by Truesdale. One can't help but feel that this denouement, which primarily serves to set up a sequel, could have been handled in a more organic fashion.
In short, this is a potentially strong novel which is weakened significantly, but not fatally, by a series of minor flaws.