Most Helpful Customer Reviews
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11 of 11 people found the following review helpful:
3.0 out of 5 stars
Good effort, very promising talent, December 6, 2002
I can't delude myself into thinking this was a great read, but there are enough nuggets here to make it an entertaining and marginally satisfying way to spend a few afternoons.First, the bad stuff. Moore attempts to present a panoramic cross-section of small-town characters here, but juggling the enormous cast is a bit beyond his ability at this point. As a result, the plot jumps in fits and starts as the main character is left out of the story for many pages at a time, and actually becomes more of an afterthought rather than a driving force by the book's final third. In fact, I cared little about him (and as a result, about any character) by the end of the story. Beyond a general lack of character development and care, Moore brings us yet another "alien meteor come to earth" centerpiece, although he does handle it with more skill than a lesser writer might. Finally, this book was in dire need of an editor with an ear for the cliche. Moore has a tendency to write like he's authoring a bad D&D module rather than a novel. An experienced editor could have challenged his creaky and lazy prose in a good many spots. But there are many bright points here as well. Moore handles action scenes as well as anyone. He has that real writer's ability to give just enough description to throw you into the scene, but not so much that the action slows. Despite the fact that his characters are kind of lifeless, he does have a great knack for using character actions and decisions to advance the plot. His ear for dialogue is a little tinny, but his characters are always doing something that makes the story move. Moore also has a nice way of tossing around the gore, which I always appreciate. I hope he plays to this strength in the future, and here's my advice: "More Gore, Moore!"
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7 of 7 people found the following review helpful:
3.0 out of 5 stars
Moore shows promise., July 27, 2003
Under the Overtree tells the story of Mark Howell, an awkward, overweight teenager, who, as 'the new kid in town', is a natural target for the bullies who plague his high school. Although Mark briefly manages to avoid the thugs, he is eventually cornered in a nearby wood and takes a savage beating. During the assault, he strikes his head on a stone; his blood spills over the stone, awakening 'the Folk,' a clan of supernatural beings who come to embrace Mark as 'the One.' They become his guardian angels, protecting him from harm, literally remaking him, increasing his physical and mental prowess and turning him into one of the most popular kids in school. But the Folk's intentions are not entirely charitable. In fact, they are molding Mark to suit their own dark purposes. Mark's ultimate fate is uncertain: unless his 'becoming' is halted, he may spend eternity as a pawn of his benefactors. First novels are truly a mixed bag; reviewers can be awed and excited by unexpected brilliance or, just as often, bewildered by utter ineptitude. Fortunately, most efforts fall somewhere between these two extremes: unpolished, but competent and promising. Under the Overtree fits within this latter category...the book has a raw energy that keeps you turning pages. Part of this is due to Moore's great affinity for his characters-Mark Howell and the rest of the cast are vividly rendered. A great example of this is the colorful demon fighter John Crowley, who, despite his late entrance, manages to steal almost every scene he's in. In brief, I recommend Under the Overtree for its story. It's a gripping exploration of the old saw, 'Be careful what you wish for, because you just may get it.'
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6 of 6 people found the following review helpful:
4.0 out of 5 stars
A nice change of pace from typical horror novels, April 25, 2003
Horror fiction, like so many genres, is frequently dismissed because of the repetitiveness of themes that plague the genre. Sturgeon's law, of course, ensures that most "typical" vampire or post-apocalypse novels do more damage to the genre's reputation than good. But every once in a while, one of the top authors takes a classic plotline and tells a tale that makes you completely reconsider everything you know about the genre. James Moore's Under the OverTree is one such novel. Moore's tale is a variation on the classic power-comes-with-puberty theme explored so well in Stephen King's Carrie and Bentley Little's Dominion, and which has become cliché thanks to the likes of John Saul. But Moore takes this classic theme and twists it in some truly unique ways, and his vision turns a familiar subject into one of the most original and enjoyable horror novels I've read. Under the Overtree tells the story of Mark Howell, an awkward teenager who has just moved to the Colorado town of Summitville. He's not exactly the most socially adept teen anyway, and the local bullies are naturally drawn to him. And, of course, the beautiful girl of his dreams isn't. With the usual teen desires of revenge and sex, he's the perfect conduit for a supernatural force that wants revenge. That's when Moore adds an urban fantasy (although, given the small-town location, count this as another argument for Windling's "mythic fantasy" term fazing out UF) layer to things, as, instead of the usual suspects -- the ghost of a witch, or a Manitou, or Satan -- we have the local Fae, awakened by the spilling of Mark's pure blood. They help Mark get all that he wants, as they groom him to be their instrument of revenge, eliminating anyone who gets in their way. Although the various twists and turns are always enjoyable, what makes Moore's novel really shine is his ability to create intriguing and original characters. Mark is aided in his journey by P.J. Sanderson, a local horror author (tempting as it is to play guessing games here -- is Sanderson an avatar for Moore? Is he a nod towards a fellow author? -- Moore makes him a fully-realized character in his own right) and John Crowley, a magical troubleshooter who is the only one who knows how to defeat the Fae. The entire supporting cast, down to the last bully, is fully realized -- each of them is someone you could easily know (well, maybe not Crowley). The essence of a great horror novel is making sure that the characters encountering unbelievable situations are themselves believable, and Moore accomplishes this with craftsman's precision. Jim Moore has come a long way since his early White Wolf days. With Under the OverTree, he has leapt into the forefront of the horror genre, establishing himself as a writer to be reckoned with. He has told one of the best horror stories of the last few years, and proven that a good author can turn a clichéd plot into something truly special. Anyone looking for a change of pace from the typical horror novel would be well-rewarded by picking up this novel
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