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A New York Times Notable Book and the winner of the 1998 World Fantasy Award, The Physiognomy may be read with equal success as either fantasy or SF, but it does not much resemble the fiction of either genre. This novel's closest relatives are In the Well-Built City, Dante's Divine Comedy, Kafka's black allegories, and Caleb Carr's crime thriller The Alienist. The brilliant and sardonic Physiognomist Cley is SF/F's most entertainingly arrogant narrator since Richard Garfinkle's Celestial Matters. You won't believe that this strange, ambitious, and sui generis work is Jeffrey Ford's first novel. --Cynthia Ward --This text refers to an out of print or unavailable edition of this title.
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For this review, I split the novel into three parts. Act one is, in my humble opinion, the best chunk of the book. Here we witness as Cley, renowned physiognomist of the Well-Built City -- the urban brainchild of overlord genius Drachton Below --, is sent to the rural landscapes at the edge of the known world on a trifling mission he's not very pleased to carry out. Cley is a cruel and conceited individual, intelligent but at the same time blinded by his own knowledge and an addiction to a drug known as Sheer Beauty. With a charming personality such as this, it's no surprise he vents his frustrations on the hapless peasants, whom he rates pathetic creatures after only a quick glance at their physiognomic traits. Jeffrey Ford shows great talent for dark humour in his portrayal of Cley, but it's a pity it only lasts for the first part of the novel. Granted, Cley isn't a character you could easily identify yourself with, but I still liked him a lot at this stage. (...)
Cley is also perhaps the only truly well-developed character in The Physiognomy, while all the others seem flat by comparison. Unfortunately for him, though, things are about to change.
The story goes a bit downhill from here. Luckily not into the Forbidden Zone of Badness, but downhill nevertheless. For starters, things happen too damn fast at times, especially from the second act on.
... Read more ›For a good while it seems that Mr. Ford's only gift is that for surprisingly original juxtapositions, with virtually no substance connecting them. The novel's setting can be loosely termed as "steampunk"; the reader relishes in the well realized originality of the semi-divine Drachton Below and his toy metropolis, his perverse clockwork zombies, the outlying forests filled with all sorts of Bosch demons, and the tiny frontier villages filled with slowly calcifying miners. Unfortunately, there is little or nothing connecting this imagery, and the entire novel has an unrealistic, dream-like quality to it: Ford's sulfur mines hardly seem like such a horrible place (despite the fumes, Cley doesn't seem to develop TB, and at night he relaxes in a pleasant cottage with a monkey butler), and the bulk of his characters seem to be automata. For a while I hoped that the emerging metaphysical elements would connect into a unified whole by the end, lending the book a somewhat lasting impression.
... Read more ›