Sunday, January 18, 2009

Book Review: The Sociopath Next Door by Martha Stout

The Sociopath Next DoorSociopathic behaviour is familiar to anyone with an interest in crime and crime fiction. The cold-blooded, unfeeling monster shows up with regularity in the world of fiction and in stories on the evening news.

Anyone with a modicum of observation skills has likely pegged someone as a sociopath at least once in their lives. Like the chronic liar who is always creating melodrama and wreaking havoc with other people's lives. Many seem inextricably drawn to such human wrecking machines, if only for the bit of excitement they temporarily introduce into their otherwise dreary lives.

In a world where the word "greed" has almost fallen out of our lexicon, where virtually any tactic employed in business is hailed as shrewd and cunning so long as it further enriches people, and where the slaughter of thousands is still a regular occurrence, the world must be teeming with such reptilian, blood thirsty, self-serving freaks.

The Sociopath Next Door by Martha Stout, deconstructs the mind of the conscienceless amongst us, offers up some narratives that detail their nastiness, poses some interesting questions on what causes the condition, and provides some insightful and believable theories in response.

The book employs a few different methods to deliver information. First, the author uses composite characters in fictitious narratives to describe how sociopaths play their twisted games. These scenarios are based on the years that she has spent as a clinical psychologist analyzing people who have suffered at the hands of sociopaths.

Unfortunately, the first two scenarios used in the book are the least effective. The first example is utilized as a way to help the readers get their heads around the idea of conscience. The second example presents a fairly hackneyed rendering of the developmental trajectory of a sociopath, replete with the abuse of animals, the manipulation of family, and successes in the business world. All accomplished using ruthless tactics aided by a complete lack of conscience. Of course, it is contrived, but that's exactly how it feels.

For example, a chapter about a fictional character named "Skip" is intended to demonstrate how deviant and insidious he is but parts of it just come off as odd and slightly amusing:
Then he would hurl the corpses as far out into the lake as he could, yelling at the dead frogs as they flew, "Too bad for you, you little fuck-face froggy!"

However, the attempts at showing the reader just how unfeeling these creeps are get better as the book moves along. A third narrative describes a more nuanced situation in which a vindictive social climber tries to destroy her rivals.

There's also a handful of real-life situations described in the book, gleaned from the hundreds of individuals the author has helped over the years. She tells the story of these damaged individuals and how they were manipulated and used, and in the process we better understand how sociopaths operate. These vignettes have more impact than the other story-telling examples used in the book.

Amongst the fictional and real stories are psychological explanations on how these misfits tick. Stout references numerous studies and findings as she paints a picture of the mindset of the sociopath. Of course, not all these lunatics are the violent sort, and most manage to fly under the radar while manipulating and intimidating their way through life.

However, I found some of the descriptions of sociopaths and their behaviour leaned towards the black and white. Perhaps the mantra, repeated numerous times throughout the book, that "they can do anything at all" (the italics are always added) is used to gin up the fear just a tad so that the prescriptive sections of the book are more effective.

Surely there must be some of us in the rest of the 96% in society who stray into sociopath territory on occasion. And even within that supposedly beast-like minority of four percent, there must be the occasional individual who feels a smidgen of compassion, does something that isn't completely selfish, or even exhibits a pattern of behaviour that casts doubt on all the literature surrounding the topic.

Still, there are plenty of interesting questions raised and compelling information provided. For example, what about the differences between western and Asian countries? Does the collective nature of many Asian countries result in fewer and qualitatively different sociopaths? It appears so, and the related passages are intriguing and seem plausible.

And one of the litmus tests for sociopaths also has a ring of truth to it:
When deciding whom to trust, bear in mind that the combination of consistently bad or egregiously inadequate behavior with frequent plays for your pity is as close to a warning mark on a conscienceless person's forehead as you will ever be given. A person whose behavior includes both of these features is not necessarily a mass murderer, or even violent at all, but is still probably not someone you should closely befriend, take on as your business partner, ask to take care of your children, or marry.

Annoyances


I'd never really considered the possibility that product placements exist in books just as they do in film and television. It makes perfect sense, of course, and you can't blame the author for making a few extra bucks. I may have even read books where advertisers had paid to have their wares mentioned in an ostensibly natural way.

However, this is the first book in which I have ever noticed the phenomenon. It is a jarring and highly distracting aspect of this book, and one that, for me, detracts from its credibility. In films, you may not even notice the product placements simply because of their fleeting nature. Here, however, they are in your face and one effect is to attach an annoying stigma to the products in question.

Another problem was some of the vaguely propagandistic elements. This book was published in 2005 but no doubt much of it was written in the immediate aftermath of 9/11. There are more than a few references to the event, and the underlying assumptions attached to many of those passages could be highly annoying to many readers. The author insinuates that anyone who would dare to target the U.S. must be a sociopath, yet never offers any proof.

Odd that the simpering moron who rode the U.S. into the ground never comes under scrutiny, especially in light of numerous sections like this which could raise his image in many readers' minds:
In a confusing irony, conscience can be rendered partially blind because people without conscience use, as weapons against us, many of the fundamentally positive tools we need to hold society together--empathic emotions, sexual bonds, social and professional roles, regard for the compassionate and the creative, our desire to make the world a better place, and the organizing rule of authority.

Later in the passage she mentions Saddam Hussein and a handful of other notable nasties from the history books but the grinning chimp's name is nowhere to be seen. A few pages later, Stout states,
In fact, one of the more striking characteristics of good people is that they are almost never completely sure they are right.

A trademark of George W. Bush is that together with his arrogance, hubris, and incompetence, the fool never doubted himself or dropped that moronic smile for an instant, even as the country came down around him. But alas, such sacrilege wouldn't sit well with most of this book's intended audience. And it surely is aimed at the talk-show crowd who like their books light and the themes simple and reassuring. That is really my main criticism of this book. It really didn't go far enough or offer any alternative or contrary theories. It's simply too short for such a compelling topic and could easily have been twice its current length.

I often ask myself three questions regarding a non-fiction book: was it entertaining, did I learn something, and will I try to impress friends with snippets and factoids from its pages?

The answers here are yes, yes (learning this word alone was worth it), and yes. A decent read, with a few reservations, regarding a fascinating subject matter.

Friday, January 16, 2009

Review: A & E's The Beast Series Premiere

Patrick Swayze as Charles BarkerOh dear.

The new FBI drama, The Beast, premiered last night (January 15th, 2009) on A & E.

I hadn't heard much of the show until a week ago when its star, Patrick Swayze, announced that he had come down with pneumonia, an apparent complication that had arisen from his fight with pancreatic cancer. As an actor who has been around for years and been in his share of hits, he has garnered the deserved round of sympathy from fans, actors, and other Hollywood insiders.

When such sad stories develop, it's only natural that people want to see things work out best for the stricken individual. In this case, with a new show set to launch starring Swayze, his physical appearance noticeably affected, and whispers that, despite his positive outlook, this could be his last performance, a collective hope that The Beast is something special quickly took shape.

There's only one small problem with that narrative. The Beast is a forgettable and tiresome disappointment.

The concept here is quite basic. Patrick Swayze plays an undercover FBI agent, Charles Barker, who breaks all the rules. Not the most creative starting point but intelligent and skilled writers have taken more pedestrian ideas and shaped them into entertaining dramas. Viewers can expect no such magic from The Beast.

No Suspense


The main problem here is that there is exactly no resistance offered in the face of the gesticulating, loud, blundering Barker as he breaks all the rules and does what he pleases. Apparently the writers of the show are fully unaware that for drama to work there must be suspense and tension. And the key to creating those two elements is resistance.

Now, there are a series of tasks Barker and his rookie partner, Ellis Dove, must accomplish to achieve their overall goal for this first episode. Those tasks are blandly telegraphed to the audience in the most unimaginative way possible. And when they arrive at each subsequent location to meet someone and extract information or goods, in the face of Barker's absurd tactics, the bad guys simply roll over and give it up.

Not Believable


This matter of Barker putting guns in people's faces in broad daylight and blowing up cars in the street with rocket launchers is slightly problematic as well. Let's see, undercover FBI agents... maybe some subtlety, blending into the background, not being found out, some imagination perhaps? All completely lacking here. With some skill and effort, writers can deftly swat suspension of disbelief out of the way with even the most outlandish premises. Here, the characters and situations are completely unbelievable.

Tired Clichés


Clichés are almost unavoidable in these types of police dramas. But they stand out even more in a show such as The Beast that is lacking in so many ways. Meeting someone with information at a lone park bench in a stark setting here, someone parking under a desolate elevated train line and shooting himself in the head there (I still have no idea what relevance that scene has), a long shot of someone walking away from a pre-arranged clandestine meeting there etc.

And in another tired cop show plot, Barker is showing his rookie partner the ropes using the tough love approach. This involves slamming him up against cars, making stern pronouncements, and testing him in various ways. I'm not familiar with the actor who plays Ellis Dove, Travis Fimmel. So I'm not sure how much of his poor performance is down to the terrible script. But he certainly does nothing to rise above the clichéd lines and predictable plot.

The absurdities run wild as the show draws to a close and things reach that cringe-worthy stage where things become unintentionally laughable. Barker slams on his brakes on another deserted, bleak side street that is slick with rain. He informs his partner that he is to play the role of a hick in their upcoming encounter with some heavies who are supposed to buy a rocket launcher from them (by the way, isn't this entrapment?). The result is truly pathetic.

All of this is compounded by some truly ridiculous dialogue. At one stage, Dove says to Barker,

"There's a line though, right?"

"Yeah, there's a line, so we know where to cross it."

Later, Barker rocks the audience with "Everybody's got choices."

And as the hour long premiere winds down, Barker informs us that "You see, "the beast" eats away at you."

Finally, the show wraps up with a scene that is apparently supposed to set the stage for the remainder of the series. A gaggle of unconvincing FBI agents (all of whom had appeared throughout the show as ostensible criminals; many of the skirmishes had simply been tests for the rookie) confronts Dove on a train and informs him that Barker is a rogue and they want to stop him. So, why exactly don't they? If this is supposed to be some clever mystery that will bring viewers back in the coming weeks, the creators of the show are sadly mistaken.

All of this is so bad that something occurs I have rarely, if ever, experienced regarding a television show. I actually felt embarrassed for the actors on the screen.

I truly hope for Swayze's sake that this is not his last role. As for The Beast, it has no bite and deserves to wither away and die.