The One Correct Way to do Dependency Injection | Schauderhaft In the end, “Dependency Injection” just means “passing parameters”; which was always the right way to do things anyway. From my Pinboard
The first three books of 2014 were:
The Ocean at the End of the Lane by Neil Gaiman
Gaiman’s fantasy inspired by his own childhood experiences is fun. It is short, however, and strangely unmemorable after just a couple of months.
It by Stephen King
I read some King when I was younger, but hadn’t in several years apart from On Writing, until a couple of years ago when my beloved gave me 11.22.63, his time-travel fantasy about going back to save JFK. I throughly enjoyed that, and was reminded that he had a vast back-catalogue that I could catch up on.
A significant portion of that catalogue is contained in the single volume of It. It is a monolith, a vast behemoth of a book, at around 1300 pages.
It’s good, though, and I shouldn’t fixate on its size. King uses the space to let his characters breathe and grow. They have the strange limitation as adults that they have almost totally forgotten their childhoods, as a direct result of their encounter with the titular creature. Though not, as you might suppose, because they were traumatised. Rather it seems to be a feature of interacting with the supernatural entity that haunts the town of Derry, Maine, in the primary guise of a scary clown, that, if you face it and live (few do) you forget the encounter.
I had met Derry before: in 11.22.63 the protagonist spends some time in this strange town, and the effect in the book was so jarring — it felt obvious that here was a place with a history — that I looked it up. Turns out he’s used the fictional town as the setting for several stories (and presumably couldn’t resist routing his time-traveller through it).
Anyway, getting back to the book at hand: I spent weeks embroiled in King’s small-town America, its characters and its horrors. And I thoroughly enjoyed it, but am in no hurry to go back there soon.
Life After Life by Kate Atkinson
Wow. Just wow. This is an awesome book. Atkinson manages to tell the same woman’s life story again and again and keep it interesting and gripping every time (well, there’s a slight longueur during a German period in one iteration, but the undercurrent of terror — she is living in the Führer’s holiday home — keeps it from being a problem).
As you probably know, it’s the tale of a woman who was born in 1910 and died — at various times, and in various ways. We are told the story of her life as she repeats it, again and again — or through multiple parallel timestreams. As the iterations go on, she starts to have some awareness of her past lives. She doesn’t understand what they are at first, of course, especially as a child. At first she’ll just have a sense of dread as she nears an event that killed her before. Later they are clearer memories of the future.
It is utterly fascinating and a joy. And not SF, though if had read it soon enough I’d have nominated it for the BSFA Award.
I read Kate Atkinson’s first, Behind the Scenes at the Museum, years ago, and likened it to Iain Banks’s The Crow Road (hard to to think of higher praise). I read one other, but wasn’t so impressed, and rather lost track of her, apart from watching the TV adaptations of her detective stories. I think maybe I need to go back and catch up on her work.