Chuck Palahniuk’s Lullaby asks the question: what would you do if you discovered the power to make you a god? Suddenly, the command of life and death, sickness and health, growth and destruction, is in your hands. Do you want it? Will you use it? Can you control it?
Carl Streator, the main character and narrator, is a journalist who stumbles upon the mysterious powers of a Culling song, an ancient spell that, when read aloud or focused on in the mind, has the power not only to put people to sleep but also kill them. As he discovers the vast reach of the song, he meets another, Helen Hoover Boyle (a real estate agent), who knows this secret and who has been using it to assassinate people all over the world. The two quickly come together, both hoping to find the Book of Shadows, an ancient spell book where the Culling song originated; Streator so he can destroy it and Boyle so she can become even more powerful and invincible. The two will be hunted down by time, by witches, by police detectives, and by each other, until the Book of Shadows falls into the wrong hands and, suddenly, the two realize they must become the hunters.
In Palahniuk’s books, characterization, I find, is typically the weaker element, much less dynamic than the prose and plot. That is not the case in Lullaby. One of the most fascinating elements in this book is its characterization; how will different people react to the power they find? What do our actions tell us about human nature and the nature of power? Perhaps the reason the characters are so interesting is because they are based on people in Palahniuk’s own world; perhaps the reason their stories are so powerful is because Palahniuk wrote this book when mired in a deep, personal struggle (his father and father’s girlfriend had recently been murdered by the woman’s ex-husband), which directly relates to the plot of the story: How do we decide who lives and who dies? Does any one of us, regardless of circumstances, have authority over another’s fate? All-in-all, the dark personal circumstances of Palahniuk’s life create great tension and allow for extraordinary character growth and development. Each individual in the book, from the main characters, Streator and Hoover, to their friends and rivals, Mona and Oyster, down to a necrophilia-obsessed paramedic, has a back story, a history, and a purpose, which makes them all equally interesting and dynamic, particularly in relation to the others.
There is no doubt that Palahniuk is a master of the macabre. He explores the darkest, most dangerous elements of human nature, in transgressive style. The book is structured by a temporal ending, which frames the story and is interspersed throughout the traditional, linear plotline. As with most Palahniuk books, there is a plot twist near the end of the story, which brings the temporal ending into focus with the linear plot. The temporal segment chapters are italicized, which creates an enigma of sorts, as the reader cannot be entirely sure whether or not the narrator of both the present and future stories is the same person, or even whether or not the future narrator is alive (thus putting the “present-linear” plot into a past tense, without expressly doing so in the linear style). The story progresses quickly and is well-paced, but the plot twist at the end, which was hinted at throughout the story by those temporal-future segments, could likely have been achieved without those interruptions.
The best thing about great books is that they are more than just a good story. While Lullaby is entertaining, mysterious, and bizarre, it is also highly psychologically exploratory. The story is meant to make the readers think: think about power and how one should (or would) wield it; think about capital punishment, its merits/effectiveness or lack thereof; think about sacrifice, self-worth, penitence, forgiveness, mourning, and recovery. So much of what happens in this story is deeper than the story itself, but that these themes and elements are delivered within the realm of such an interesting, disturbing, and quite terrifying story just makes it all the better. The gothic writers would be proud of what Palahniuk achieves here.
Final Verdict: 3.75 out of 4.0
“Old George Orwell got it backward. Big Brother isn’t watching. He’s singing and dancing. He’s pulling rabbits out of a hat. Big Brother’s busy holding your attention every moment you’re awake. He’s making sure you’re always distracted. He’s making sure you’re fully absorbed. He’s making sure your imagination withers. Until it’s as useful as your appendix. He’s making sure your attention is always filled. And this being fed, it’s worse than being watched. With the world always filling you, no one has to worry about what’s in your mind. With everyone’s imagination atrophied, no one will ever be a threat to the world.”
“When ancient Greeks had a thought, it occurred to them as a god or goddess giving an order. Apollo was telling them to be brave. Athena was telling them to fall in love. Now people hear a commercial for sour cream potato chips and rush out to buy them, but now they call this free will.”
“You turn up your music to hide the noise. Other people turn up their music to hide yours. You turn up yours again. Everyone buys a bigger stereo system. This is the arms race of sound. You don’t win with a lot of treble. This isn’t about quality. It’s about volume. This isn’t about music. This is about winning.”
“The best way to waste your life is by taking notes. The easiest way to avoid living is to just watch.”
“These people so scared of silence. These are my neighbors. These sound-oholics. These quiet-ophobics.”
For the ink-hearted
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