'Jews with Swords' - Rated 
Michael Chabon is a writer difficult to pin down. Winner of the Pulitzer Prize for his mammoth novel The Amazing Adventures of Kavalier and Clay, scriptwriter of Spiderman 2, contributing editor of McSweeney's and a man who seems happy to swap literary and genre fiction like a hat. His working title for this novella was 'Jews with swords' which was usually greeted by laughter when he mentioned it to friends. And indeed Jews have hardly gone down in history as a swashbuckling people but Chabon attempts to redress that balance with a tale which aims to emulate The Arabian Nights and The Three Musketeers but falls disappointingly short of either.
The characters are colourful enough. The first of our daring duo is Zelikman, a 'scarecrow' of a man with long blond hair, physician by trade, his weapon of choice a long lancet. His companion Amram is a giant Abyssinian who carries a Viking axe he affectionately calls 'Defiler of Your Mother'. These two gentlemen of the road become involved in transporting a young stripling through the ancient Kingdom of Karzhia which is in the middle of a power struggle that will inevitably pull in our intrepid adventurers.
There are beautiful illustrations throughout from Gary Gianni, which conjure just the right feel for this tale but in a shorter format Chabon struggles to really create the world of The Caucasus around 950 AD. He's clearly done a lot of research but it's plonked down pretty bluntly in places and can feel like your reading a succession of ye oldy worldy words.
'But on his return to Atil from the summer hordes, the usurper Buljan ordered that his sukkah be erected on the donjon's roof, with its strategic views of the kagan's palace, the seafront, the Muslim quarter and the steppe, and above all with its relative nearness to the stars, among which his sky-worshipping and uncircumcised ancestors still hunted with infallible gyrfalcons for celestial game.'
Perhaps the problem is that it was originally serialised in The New York Times and the episodic format doesn't allow the book to come together as a whole. It's strange given that one of the strengths of his writing in Kavalier and Clay was his ability to leave a chapter on a cliffhanger (much like the comic books that he was writing about) which compelled you to read on into the next, and the next, until its 650 pages had sped by. Chabon's prose can be overcomplicated at times and so perhaps isn't best suited to an exercise like this. Which is the other problem. It feels like an exercise, 'doing' an adventure tale with Jews to see if he can, rather than because it's any good or has any real heart behind it. It isn't bad by any means but after enjoying Kavalier so much this shorter book and The Final Solution have left me unsatisfied. I'm still waiting for the next substantial offering and I just hope that the lure of Hollywood doesn't rob us of great American novelist.
On the road - Rated 
Award-winner Michael Chabon usually focuses on the disaffected of the present, or at least the near past.
But he goes over a thousand years into the past for "Gentlemen of the Road," an old-fashioned adventure story with some gloriously offbeat heroes. It's a fun, quirky read (the original, fitting title was "Jews With Swords"), with lots of unique twists but the prose gets a bit purple at times.
In caravans and on the road, the giant Abyssian Amram and gawky Frank Zelikman make money however they can -- even staging mock fights. After their ruse is found out by a weary mahout, he offers to take them on as bodyguards to a sullen young prince, Filaq. Then the mahout is murdered, and the two "Gentlemen of the Road" find themselves babysitting a snotty teen with a tendency to run away.
Unfortunately, the fortress they're heading for has been destroyed, and a gang of hired thugs kidnap Filaq. For no reason they can explain, Amram and Zelikman find themselves racing to rescue the kid, and beginning a quest full of checkered pasts, civil wars, ancient elephants... and the discovery that Filaq isn't quite who he seems to be.
There's something very classic about the flavour of "Gentlemen of the Road." Maybe it's because it was actually serialized in the New York Times Magazine, or maybe because Chabon apparently soaked up the works of Moorcock, Alexandre Dumas and Fritz Lieber. Think a Jewish version of Fafhrd and the Gray Mouser.
"Gentlemen of the Road" does have one flaw -- Chabon's prose gets dense and purple at times, which sent me spinning right off the narrative. But it does a pretty good job of evoking the dusty, harsh life of people on the march, brothels, attempted executions, ancient elephants, and the occasional mercenary joining up with the "gentlemen."
But Chabon doesn't let the story become leaden. He peppers it with wryly amusing dialogue ("Now, will you ride calmly behind me or do we need to bind you at the ankles, too?" "You had better bind my ankles") and the occasional running joke like Zelikman's mutilated hats. There's even a Norse axe humorously called "Defiler of All Mothers."
As you'd expect, Zelikman and Amram are likably rough, with some dark pasts -- one has left his home and family behind, the other has been roaming in search of his daughter for twenty years. Chabon doesn't try to make either a likable person, and that makes them even more so -- the same with Filiq, the feisty princess in drag.
"Gentlemen of the Road" is a solid adventure story, with a classic flavour and slightly overblown prose. Certainly a worthwhile read.
Wonderful Homage to Classic Adventure - Rated 
This book should come with a big warning wrapper: "Michael Chabon's latest book is unlike his previous work, it is an homage to classic adventure writing -- your results may vary." That's because it's a book whose enjoyment depends heavily on the reader's expectations, and a number of reviewers seem to find fault with it because of this. If you're a fan of Chabon, be warned that it's miles away from his early work like Wonder Boys or The Mysteries of Pittsburgh, and while it shares certain themes with more recent work like Kavalier & Clay, The Final Solution, and The Yiddish Policeman's Union, it's a large stylistic departure and really an experiment unto itself.
Originally written in serial chapters published in the New York Times Magazine, the story follows the stylistic and narrative conventions of the old time pulp serials. And if you've never read any old adventure classics like H. Rider Haggard's Allan Quartermain stories, Robert E. Howard's Conan the Barbarian stories, or Fritz Leiber's Lankhmar stories, then the heavily stylized form may throw you. Indeed, some reviewers have complained that the story is confusing and hard to follow, which frankly, baffles me. Like its literary ancestors, the plot is such that a 10-year-old could follow and recount it, so the conclusion I draw is that the genre itself is defeating some readers. Sure there are leaps of setting and time, a constant stream of new characters, and plot twists aplenty -- but it's hardly daunting stuff. Similarly, a lot of people seem put off by Chabon's use of archaic and obscure words, but that's exactly how a lot of those old adventure stories were written, and the gist of the meanings can be inferred from context in almost every case.
The story itself concerns a pair of 10th-century Jewish "gentlemen of the road" who drift around the civilized world getting by as mercenaries and grifters. Following the classic template, they are a study in opposites, one a hulking black Abyssinian, the other a reedy, pallid German. Neither fits the modern Western stereotype of what a Jew is, and that's very much part of Chabon's point. His writing has long tinkered with the notion of Jewish identity, and here it is taken to colorful but historically accurate extremes. They are classic rogues with hearts of gold (or at least silver), and the story finds them in the Khazar kingdom, a small Jewish land on the west of the Caspian Sea, resting uneasily between Christian and Muslim empires (today the area includes parts of Russia, the Ukraine, and most of the Caucuses). After a great introduction to the two heroes, the story properly kicks off when they find themselves in the company of a deposed prince. Adventure ensues as they try to help him get back home, which involves raising an army and dealing with marauding Vikings, before they even get to deal with the usurper. Violence, treachery, and humor abound, however, some of the material (rape and prostitution) is rather adult and parents should read the book before handing it over to children.
The book is nicely designed -- aside from the cover, which is a total flop (the British edition has a much more evocative cover which is a homage to classic adventure book covers). Each chapter features an illustration from legendary artist Gary Gianni, which help to set the mood and tone. A few of these feel rather hasty and unfinished compared with other work of his I've seen, but he nails the style just right. On the whole, this is a wonderful little entertainment from one of contemporary fiction's big guns, and while it's not going to be everyone's cup of tea, it's at least worth trying.
Witty, flamboyant and fluid prose - Rated
Amram is a giant of a man, an African of uncertain origin, Zelikman, a Frank, tall and thin and as pale as Amram is dark; the two are travelling companions, gentlemen of the road. They make their way seeking opportunities, by cunning and deceit. Then they find themselves entrusted with the custody of Filqa, a youth who claims to be a deposed prince, and soon they are inevitably involved in helping the boy attempt to regain his kingdom.
Placed in the historical setting of the ancient Jewish kingdom of Khazaria (present day Ukraine) around the 10th century, it is a fascinating story with plenty of plot twists and more than a few surprises. But the real delight of the tale is Michael Chabon's inimitable prose; Chabon is here clearly indulging himself in his most flamboyant and fluid mode, creating combinations of words that simply roll of the page. The result is witty, entertaining and often very funny and a pure pleasure to read. Perhaps the one casualty of Chabon's extravagant writing is that occasionally the overall sense sometime becomes confused in the abundance of words, but that is a small price to pay for the overall enjoyment.
A departure from his more usual contemporary settings, the author himself admits in an interesting Afterword that he is on something of an adventure of his own with this book. He has certainly created yet another original and appealing work, this one beautifully illustrated with line drawings by Gary Gianni - a hint of Michael Chabon's fascination with comics?
Average - Rated
Not a bad book, but nothing special. Good for the younger reader. Nothing to compare with Klavier and Clay.
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