Dead Zone, by Paul Goulding
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Dead Zone, by Paul Goulding
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Dead Zone is an inventive and exciting thriller set during the Second World War. It takes as its starting point, a detail from Antony Beevor’s Berlin, in which he describes how a strangely mixed band of deserters surrendered in Poland to the advancing Soviet forces. The novel develops this in an imaginative and suspenseful fashion, following the story of the band through to their betrayal to and capture by the Soviet secret police. The police chief reveals the hitherto concealed backgrounds of each individual before they are taken off to HQ for punishment. The last chapter provides a major metaphysical twist that requires the reader to reconsider everything s/he has read before, and in the process to grapple with the underlying themes. At this deeper level, the novel problematizes attitudes towards crime and punishment, sin and atonement, and debates these themes in the light of Dostoevsky’s two most famous novels, both of which are intertextualised in Dead Zone. The result is emphatically not feel-good; but it is exciting and thought-provoking.
Dead Zone, by Paul Goulding- Published on: 2015-05-21
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .71" w x 6.00" l, .93 pounds
- Binding: Paperback
- 314 pages
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0 of 0 people found the following review helpful. Not For Weak or Feeble Minds By Evert Wängberg War has no redeeming factors. War attracts psychopaths and those who are not psychopaths, but forced to participate anyway, face the prospect of developing psycopathy in the process. Either that or escape. Dead Zone describes this choice as a dilemma by turning our natural avoidance of evil into a question of what it means to be good. The main character is an officer whose moral and ethical grounds are being heavily tried by circumstances and thoroughly examined by the author. While the circumstance that a war is going on is no reason for giving up one's humanitarian senses, and that gruesome deeds and war atrocities offer plenty of reasons for running in the opposite direction, no clue is offered as to what to do instead, or why. Making love makes sense only for people who are capable of making sense of love. For what purpose then, other than self gratification, do we want to be good? This is the problem that looms large within the twilight zones of the the main character's mind, and the conclusion is only logical. Fyodor Dostoevsky would not agree.
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