Politics is very much at the forefront of the narrative of Daniel G. Miller’s OF GOOD AND EVIL, the second book in his The Tree of Knowledge series. With talk of the Old Republic being too weak to withstand the ferocity of the quickly self-binding New Republic, dystopian aspirations take the helm. The sense of helplessness that comes from witnessing the cult-like mentality within the Red Army is tangible, as is the melancholy that permeates the first half of the story. The suspense that rules it has an almost indistinguishable source, crafting an atmosphere reminiscent of George Orwell’s ‘Nineteen Eighty-Four’. To add texture to this world, multilayered intrigue is added. Betrayals, conspiracies, fickle partnerships, and intimidation tactics steer the novel’s characters through the stormy plot. It helps that the reader is allowed a glimpse into their private lives, in turn getting a good sense of their motivations, as well as the tenacity of their relationships. From this, great doses of humor are reaped. The dynamic between Albert and Ying proves particularly endearing, bringing a lightness to an otherwise cut-throat reality.
Cristina’s manipulation of various sources of information, cruelty, fanaticism, and charisma echo historical terrors, shaping OF GOOD AND EVIL into a meditation on power. Idealism, often seen as a means of preventing extremism, is exposed as a particularly sharp tool for mining both authority and force. What’s more, the presence of the mysterious Cipher in the background induces chagrin in even the most unflinching characters, allowing for some subtextual balance. And yet, the novel’s more physical aspects keep trying to throw it off. The name of the hostile army is an on-the-nose reference to the communist movement, and as such leads to an excessive fixation on the symbolism of the Oval Office and the figure of the president. Their stature would seem more credible if it were warranted by the loyalty of the masses, but even they - rather democratically - express their preference for the substantial over the abstract. Similarly, Cristina Culebra, the embodiment of ruthless ambition, emerges partly as a cold-blooded despot, and partly as a caricature of one. The buckling effect the curl of her lip and the arch of her brow have on everyone around her seems, sadly, almost cartoonish. As a result, the path to her success is riddled with instrumental plot devices. An example of this would be Cristina’s storming of a building protected by armed guards, which ends up as a poorly-choreographed dance of wit and intimidation. One, in which every opponent calmly waits his turn to be outfoxed by an unarmed civilian.
In a similar pattern, much of the story’s emotional footing begins to chip away. There’s a case of instantaneous love between two characters, which serves only to test their ethical outlooks. Political loyalties can be seen slipping and sliding, and the logic behind this shift is easily suppressed by the contrast between the characters’ detailed thoughts and their true motivations, hidden as much from themselves as the reader. In the end, their efforts are repeatedly stifled by the plot contraptions, into which they keep stumbling.
Daniel G. Miller’s OF GOOD AND EVIL–a fast-paced political thriller that aims to dismantle the coy image of despotism–bring together humor and suspense to bolster a team of impassioned protectors of free speech.
~Neil Czeszejko for IndieReader