the overstory

The Overstory by Richard Powers is organized unlike any other book I can recall. Its like a series of short stories, that kind of grow together, around and among the trees. Its a series of related fables? Ovid's Metamorphoses is mentioned in here somewhere, and its at least part of the inspiration for this story, as much as global warming and deforestation is the implied warning or moral.

I don't recall reading anything by Richard Powers before, so I took a quick look, and this book apparently won the 2019 Pulitzer Prize in Fiction, so go figure. I enjoyed this book, but I'm not going to put it in my 'read this book'* category only because it was a little slow and disjointed for me. Its my guess that this won the Pulitzer because it is so different from other things I've read, and the structure of this book's story arc is like nothing else I've read. For me personally, being different as not the same as being entertaining, and that's why I read fiction. 

Lets be clear, was entertained, and I did enjoy this book, I'm just not weeping because I finished it, rapt with longing for more, and kicking down doors to find the next book by this author. Now, also to be clear, I don't feel that way about every book that makes it to the 'read this...' group, that's a high bar indeed, I just reserve that for books I'm recommending without reservation.

Powers writes fiction about science and technology, and it seems as though he is pretty well known for it. I'll keep my eye out and if I run into another that looks good I'll probably pick it up.

 

* The link to my 'read this book' tagged books can be found anytime by clicking on the appropriate tag on the tag cloud on the right-hand column on this page. Its under the heading: 'what i'm talking about'. You can use any of the other tags in the same way. They also show up at the bottom of every post, so if you're looking for something similar, I may have labeled it that way

 

utopia avenue

I'm a fan of David Mitchell and his surrealistic, fantastical worlds--which in some ways, all seem to be related to one another--that flow beneath our own world, occasionally rising to the surface, to turn and twist into our reality. Cloud Atlas is what turned me, and probably many others, on to Mitchell's writing. Cloud Atlas is a series of stories strung out on a very long timeline, but nevertheless are woven together. In Cloud Atlas, we see inklings of how not just these stories, but perhaps all stories are connected, often by much less than seven degrees of separation.*

Utopia Avenue takes its title from a fictional 1960s psychedelic rock band from England, that makes a small splash in the rock world of the time, releasing just two albums, and rubbing elbows with a whole cast of rock legends, who are written in as supporting characters, that interact with, and in some cases support and advise, members of the band and their manager, during their short tour of the United States. 

Mitchell has gone out of his way to create a rock band and a manager that defies the typical rock genre novel; all of the band members seem to get a long, and their manager isn't trying to screw them. Its amazing to a read a story about a rock band without these tropes, if only that in their absence, the writer needs something else to build narrative tension with. Mitchell does that by giving us a story about the very human interactions between the band members, their manager, and those they encounter in their initial struggles, rise to fame, and somewhat abrupt exit from fame and renown, which Mitchell uses cleverly to give us the impression that Utopia Avenue was so short lived, and with just a few hit songs, that they could have actually been there, and we just missed them or perhaps forgotten them in the decades since.

This one was probably more based in reality, with less dips below the surface, than some of Mitchell's other works, which some have compared to Black Swan Green, on the reality to fantastical scale. There were clear references to other stories however, including the connection between the tour de force lead guitarist Jasper de Zoet and his ancestor Jacob de Zoet, from The Thousand Autumns of Jacob de Zoet. But that isn't all, there were a few other things I noticed that I won't get into here.** If you are interested in these connections (which may contain spoilers) the supergeeks over at Wikipedia have a whole list of interconnections to other stories identified. †

This is a review of a book I read earlier in 2024 when I wasn't doing a great job keeping up with the blog. These impressions are from early in January 2025, so its been some time since I've read this book, but I wanted to get it down before I forgot. You can see a list of the books I read, including those from last year that I haven't written about in The Books tab at the top of the page.

* When I originally read Cloud Atlas, I hadn't seen the movie, and looking back at my review of the book, I couldn't imagine how you'd make a movie given the story's complexity, but they pulled it off. The movie, which I eventually saw was pretty good, but not nearly as complex as the book.

** Some of the things I noticed while reading were not conscience connections. Just niggling feelings that there is something there that relates to something else I've read or encountered before. That, in my opinion, can be even more fun; knowing that something you've just read is somehow tied to something else, but without know exactly what it is. It could be another Mitchell book, or perhaps something else...

† The other thing you'll find on the wiki page is a list of Mitchell's short stories, published in various periodicals, and some of them include links. I just read "Muggins Here" on the Guardian website, and that too, has connections to Mitchell's other works. Those connections were put down in this Reddit thread by someone with the handle FormalDinner7.

wolf and woodsman

The Wolf and the Woodsman reads like a cross between a swords and sorcery fantasy and modern mythology. This is the debut novel by Ava Reid, and it was pretty good. Reid took on a huge task for her first book, creating a new world, with its own history, multiple cultures, languages, flora and fauna. She was aided in her world building by basing many of those things our our world, from the wolves to the cultures, which not only align with some of ours, but also seem to include some similarities in their histories, languages, and for this book specifically, their conflicts and prejudices.

Into that complex soup of people, Reid weaves a magical system that is pretty simple, and I don't think the story arc relies to heavily on it, which is good. It does help to define who some folks are, from a status point of view as well, and there are some personal struggles and interpersonal dynamics that play on that, but that's not really about the magic, its more normal personal, pecking-order behavior.

At its core, I guess I'd call this a hero adventure, and along the way, Reid is touching on themes from coming of age, to romance, and from racism, exploitation, and oppression to revolution. There are some surprises here too, and not all of the fauna are as simple as wolves. I think Reid does a good job of keeping the pace moving along, and managing all of the threads she has set in this book. I'll keep my eye out for her next venture.*

This is another catch-up book review, which I read months ago and didn't get my thoughts down then. I've tried to recreate the list of books I read in 2024 as completely as I could, and to put them in the order that I read them. You can find where this one sits on the list by going to The Books tab at the top of the page.

* Since this book was published in 2021, Ava Reid has been cranking them out. She's written four since then, and a fifth is available for preorder now. Dang!

on-the-fringe

Sweeney On-the-Fringe is a short, sweet little novel by Dave Robinson, which states on the cover that it is "Based on the notes of Owen Kivlin" <--you can see it right there * who is the narrator of the book, and the 'compiler' of the various stories about Sweeney, and poems written by Sweeney, which were either either left around, or more often mailed to the narrator by Sweeney, from some exotic local where Sweeney was invariably surfing and relaxing. The motivation behind the telling, is that no one has seen or heard from Sweeney at the time Owen Kivlin begins to try and figure out both where Sweeney may have gone, and why he left. He attempts to figure out the mystery of Sweeney by trying to discover more about him; a folk tale of their fictional Massachusetts, seaside town of Seawell, located at the mouth of the Merrimack River. 

The small town, we soon find out, is actually a small city, and the name, its location--and the author's home town--all point to Seawell being inspired by Lowell, Massachusetts, combined with some other small, New Englandy towns. The Merrimack River actually meets the Atlantic between Newburyport and Salisbury, Massachusetts. Neither of which is a city, nor has a university, and I don't think either has an airport [nope, hold it, looks like Plum Island has a small airport.] Plum Island is a pretty big island that runs north-south along the coast of Newburyport, and apparently, you can surf there, as well as north of the river's mouth, at Salisbury Beach.

Sweeney is the story of a local legend. That guy from a few years ago, who always seemed to be able to do whatever he wanted, and no one could figure out how, and most couldn't figure out why. The story is told through a series of transcribed interviews with, and letters from, people who knew Sweeney; interspersed with Sweeney's own poems. The interesting part is that Sweeney knew a lot of people, from different generations and walks of life, and they all knew different parts of his story, but none knew his whole story. And even by the end of the novel, Owen Kivlin still doesn't know all there is to know about this enigmatic man who touched all of their lives, in profound and subtle ways.

In the 'About the Author' blurb in the backmatter, the author indicates that this 2007 novel is the first in a trilogy. A quick look around the interwebs turns up only this: Sweeney In Effable, which is a single volume containing five books, one of which is Sweeney On-the-Fringe. The description of Effable on it's Amazon page includes this line:

"This contemporary protagonist is based on the ancient Irish legend from Trevor Joyce's translation, Sweeny Peregrine, with a nod to Seamus Heaney's Sweeney Astray." 

So there is a tradition for this slippery, Loki-esque or Pan-like character. This one was a fun ride.

Read this Book.

* Another thing you can see on the cover, is the horrible font they used for the title, which unfortunately, follows us throughout the book. I was thinking, what does on-the-Frince even mean?

gawain and the green knight

Sir Gawain and the Green Knight, Pearl & Sir Orfeo are three poems translated from Middle English by J.R.R. Tolkien. The first two were discovered contained in the same manuscript, along with two other poems, written in the same hand, around the year 1400, according to the introduction, edited by Christopher Tolkien from a number of sources which original with his father, including notes, transcripts from broadcast interviews, etc. Sir Orfeo is contained in three extant manuscripts, and the one Tolkien used is dated to the 1330s, inscribed, probably in London. The original authors are unknown.

Tolkien worked on the translations a number of times from the1920s up through at lest the 1950s according to the preface by Christopher Tolkien, and in some case in collaboration with other experts in the field. In some cases, Christopher found multiple versions, and made an effort to use the most recent updated forms for this publication. The copyright is dated 1975 and held by Tolkien's long time publisher, George Allen & Unwin, Ltd. and published in 1980 by Ballantine Books, of New York.

The trickiest part of the translations, according to the front matter, is the rhythm, not the strict iambic metrical foot used in other forms, such as Shakespeare, but a more loose rhythm of stressed and less stressed syllables, more closely matching natural speech, combined with alliterative sounds within many of the lines, such as this example given in the Appendix (also credited to J.R.R. Tolkien, and edited by Christopher):

Tirius went to Tuscany         and towns founded*

In this line, I've bolded the stressed syllables in red, and obviously, Tirius, Tuscany and Towns alliterate. I've added the break in the line, as the example in the aforementioned appendix did, to illustrate that each line is composed of two chunks, according to Tolkien.

The trick is apparently finding the words in moderns English that both tell the same story, give the same intended meaning, maintain the meter and rhythm, and don't damage the structure of the poem or its speech patterns so much that it is no longer a worthy representation of the original.

Sir Gawain and the Green Knight is the longest poem, at about 80 pages, Pearl is about 33 pages, and Sir Orfeo is shortest at about 15 pages. Each seems designed to be spoken aloud, as one assumes that not many in the 1300s and 1400s could read, and they each seems to be focused on a story that is both exciting, and includes lessons on life and strong moral. They each extol the glory of God and being good, and the rewards that come from keeping both of those aspirations close at heart. Each also has a sprinkling of magic, often dressed as dream or phantasm brought on by sleep, drink, or love. All of the ingredients for that which Tolkien was trying to restore to England, its lost native mythology, which he imagined was as rich and diverse as the Greek, Roman, Egyptian, or any other ancient civilization that didn't suffer the losses brought on by England's northern, damp climate, which is so hostile to things like old parchment manuscripts.

What I found most fun was the similarities in some of the themes from the adventures themselves that were clearly the inspirations,** at least in part, for some of Tolkien's fiction. That itself, is worth the price of admission.

* Sir Gawain, stanza 1 

** Tolkien fans out there will have heard the comparisons between The Lord of the Rings and Wagner's Ring Cycle (Der Ring des Nibelungen) which Tolkien denied, and still many try to say that it is at least partially inspired by Wagner, regardless of the author's dismissal. But Wagner was himself inspired by an old Middle High German poem from around 1200, called Nibelungenlied (The Song of the Nibelungs), which is in turn, based on oral traditions that likely go back to Old Norse sources, which Tolkien did study. In his 2011 essay on this comparison, Jamie McGregor provides a quote from Tom Shippey's work on Tolkien, indicating that Tolkien has a distinct dislike for Wagner (and other authors, including Shakespeare) and felt that they "had got something very important, not quite right." That, to me, explains why the similarities are present, i.e., they used the same source material, but Tolkien's inspiration, and what he took from the texts and traditions he studied, could be his own.***

*** One of Tolkien's friends--and a member of the Inklings, which they founded with their literary friends--C.S. Lewis, was described by Roberts Giddings, again, according to McGregor's essay, noted above, as a "rabid Wagnerite" and in his mind the source of the Wagner "taint" in Tolkien's work. Not having read Giddings work myself, I can't tell you if that theory is supported by any evidence, but in absence of that, I'll only add that it may be that Lewis saw these associations himself, and may have even brought them up to Tolkien himself, and if he did, I assume that Tolkien's response was the same to Lewis as it was to more public comparisons, altho, I also assume, perhaps more pointed.

day of fallen night

A Day of Fallen Night is the follow-up to The Priory of the Orange Tree. I guess you could say that its the second book in a series, but I'm not sure if there will be others, but I think there will be and its more accurate to describe this book as prequel. This is the third book in a row I've read by Samantha Shannon, so I guess she's doing something right. 

Fallen Night, and the last one, are part of Shannon's Roots of Chaos Series. Based on the number of books in the Bone Season Series, I'm guessing that there will be more. Shannon has built a whole world here, and this prequel tells me that she has dug pretty deep into this world's history, mythos and culture.

The science and physics of this world differs from ours in that magic is woven into the energy that powers it and the universe it which it sits. Magic and science intertwine, as natural as the tides and the seasons. Shannon told us in the first book's foreword (or somewhere) that the cultures and myths that form the foundation upon which her world building grows, come from a variety of our own world cultures and traditions. Those histories bring some of their own weight to Shannon's world building, helping to cement them in the reader's mind. J.K Rowling was good at that, as is Lev Grossman, in an interesting derivative way, building on the worlds other authors built--including Rowling's--based on our own world.

Does that mean Shannon is standing on the shoulders of those who came before? Yes, as are all successful authors, to a greater or lesser extent. 

I think it may be tricky to create a prequel that has almost no characters in common with the cast of characters from the first book in a series. Its the characters we come to know, as well as their trials, so I think Shannon may have made herself a harder task than she could have, but ultimately did a good job. Like the last book, the climax was a soft one, and the Bone Season's was as well. That seems to be her MO. If you're looking for a dynamic, earth-shattering climax to wrap up some larger sized tomes, these book may not be for you.

There are a few less pages in this volume that the first one, but not by many. This book is a little thinner, and part of that thinness, unfortunately, is the thinness of the paper stock used to print it. The pages are a little too transparent for my taste. The text bleeds through. Its a small complaint, but given the size and length of this books, its was distracting too often for me. Maybe that's on the publisher, what do I know.

This was a fun read, and I will look for the next one when it comes out. This world Shannon has created has some staying power and I think the stories she can pull from it will also be fun.

 

 

priory of the orange tree

The last book I read, was also by Samantha Shannon, and I read it because I wasn't sure if The Priory of the Orange Tree was a follow up to her earlier works. That last book I read, The Bone Season, was the first in a series, but not this series. The Priory is actual the first in a new series, The Roots of Chaos Series, and I don't know how many volumes it will have. At least two; the second book in that series is what I'm reading now.

Shannon is still working in the fantasy realm here, but she created a whole new world to set this series in, and based on this first book, she's done a pretty good job. It seems clear from The Bone Season and now this book, that for Shannon, inclusivity and equality are fundamental. Its a good place to be, but how she's done it in this book is to bake it right into the world she's created. Its just normal, and anyone who feels differently is the outsider. Its an effective tool and reminds me a little of Ursula K. Le Guin.

You can tell by the cover art that there be dragons here, but Shannon has them with a different take. In the front matter, the book jacket, somewhere there is a note that the fictional lands of The Priory were inspired by legends from various parts of the world. or something like that Shannon has taken a kit of parts provided by various myths and legends around the world and reformed them into a massive crossover that forms the basis of her world building cultures, economies, magic, and religions. Its because they are familiar, that she can lean on them to help infill the backstory. The same technique is used for place names and personal names, which are similar to those cultures that inspire them, but different enough to set them apart. Western Dragons, with the wings and fire, are set against the Eastern Dragons, which slither through the air and and more water based.

This book is a beast at nearly 850 pages, and traverses the globe Shannon has created, following the stories of people from several different countries, who eventually learn that they probably need to work together to defeat an insurmountable common foe. I didn't love this book, but I did like it. Enough to go to the library and get the next installment, A Day of Fallen Night, which, so far at least (its another big one) is a prequel to The Priory.

dreams underfoot

I’m not sure exactly what list I found this book on, but I’ve had the title tucked away as something to read for a while. I may have had it in an Amazon wish list and forgot about it, but it showed up for Christmas this year from Santa Claus. Maybe he just knew I’d squirreled the title away. thanks santa

Dreams Underfoot is a collection of short stories that all take place in Newford, a small, imaginary city that seems to have elements of both east and west coast cities. It seems to have some of the history and general spookiness of an eastern town, along with the hip, urban attitude--and earthquakes--of a west coast city, and the cross section of people, neighborhoods, and urban blight one would expect in many US cities.* It also has magic.

Charles de Lint would have us believe that all cities have magic, and Newford just happens to be where this collection of stories is focused. The implication, at first appears to be that Newford is special, and that is why the stories are set there. Rather, we come to understand after reading a few of these stories, that Newford is not special, and that magic things exist and occur in all cities, so why not choose a city at random and tell those stories; and Newford is as good a representation as any.

Christy Riddell is a fictional writer who lives in Newford and appears in person or by name in a few of the stories. Riddell is also an author of short-form urban mythology, and many of the characters who appear in de Lint's stories are friends, relatives and acquaintances of Riddell's. So the Riddell character seems like an odd mash-up of self-insertion and story-in-story (think The Princess Bride) that I thought was a little odd, but perhaps that sense of being a little off-kilter is exactly what de Lint is looking for in his readers, priming them for the belief--or at least a suspension of disbelief--required to fully absorb his magical stories. 

On the other hand, maybe that’s giving him too much credit, I’m not sure. I can tell you that his Urban Faerie stories are quite popular, and its seems as though he’s published quite a few since this Newford installment from 1993. [I count 26 Newford books in the series from 1990 to 2022!]

The stories are fun and escapist, each with a touch of delight, heartbreak, or horror. Sometimes all three. Wrestling mythology into the modern age is what originally drew me to this (if I had to guess) as I’ve done a little bit of that myself from time to time. If you enjoy that kind of thing, then de Lint may be worth a look.

 

* Yes, de Lint is Canadian, but the east coast, west coast thing still holds I think. But sure, Canada.

women of troy

Pat Barker is an English writer that’s been at it for 40 years or so. She’s won the Booker prize and has a few other accolades. When I did a web search for the cover of this book the title hit on this book and two other things, well, maybe it’s two variations of the same thing: The Trojan Women, a play written by Euripides in 415 BC, and a modern play adapted by Jacob Kempfert and Benji Inniger for Bethany Lutheran College. A little more scrolling gave me a movie of the same name about a women’s basketball team.

The story takes place in the aftermath of the War of Troy, as told by Homer in The Iliad. I wouldn't call this a sequel to The Iliad, but a different perspective, focused on the people ravaged by war and typically forgotten. The story is told from the POV of the women living in the camp of the victorious Greek or Achaean army, taken from their homes in Troy and forced into slavery, or in some cases matrimony, by their Greek overlords.

Barker writes of how these women manage to express their wishes, and strive to fulfill their own agendas, even under the strict supervision of their captors, as women have always had to do when living in a patriarchal societies. Barker also shows us is that there is very little difference between women who are stolen from their homes and families, and often their own husbands, who live as slaves and those who are forced to marry the higher echelons of the invading army. The very men who killed their families, and murdered their male children.

This was an interesting read, and the writing is simple and to the point. You can see why Barker has won a number of awards.

lord of the rings

Is this a re-read? Yes.

This may be the fourth time I've read this... maybe? could be the fifth? The first time I was a teen; maybe 15 or so? I suppose I could do that math, but the results would include some guess work. I was assigned The Hobbit in the 8th grade, and then I actually read The Hobbit the summer after the 8th grade. I think I read The Lord of the Rings in high school, which I borrowed from my Uncle, or.... maybe he got another copy and gave me his old one? Yes, I think that's right, those iconic 1970s paperbacks, as shown on the left.

The second time I read through them I read these same books, but after a while, they started to take a beating, and the glue binding was starting to break down. So at some point, I bought a one volume paperback edition. I did the one volume thing so I could get to the appendixes when I needed to. In the three volume versions, the appendixes only appear in the third volume, so you need to carry that around if you need it. The one volume paperback is fine, but the stresses on the glue binding are too much and its been falling apart for a while. Because of its size, its also cumbersome to read, and I eventually went out and bought a three volume set of paperbacks, which is what I read the last time through, in 2016. But the one volume is fun, I think I'm going to try and re-bind it.

After reading through this a few times, I've begun to see some of the rhythms in Tolkien's writing shining through a bit. There are some spots where he seems to be impatient to get to the next (major) point and the narrative, and doesn't provide as much of the detail of those moves are accomplished as he had in other places. I wonder if this is pressure from publishers, or a self-imposed pressure or editing on his own part. You may have heard that one of Tolkien's regrets about The Lord of the Rings is that its too short. In response to the questions and opinions of critics and others, Tolkien offers no quarter, response or apology, in his Forward to the Second Edition, but offers only this to those who have complained that the book was too long:

"The most critical reader of all, myself, now finds many defects, minor and major, but being fortunately under no obligation either to review the book or to write it again, he will pass over these in silence, except one that has been noted by others: the book is too short."

This can probably be read two ways: at face value, or as a subtle jab at his critics, which was only partly meant or facetious. After having read through a number of times, I believe Tolkien did have more story to tell, and while he may not have been referring to The Lord of the Rings specifically, I think he did see a number of his works still spinning in his head, which he was unable to get into print. Tolkien complained a number of times about not having his notes in order, and that peccadillo, along with the rigors of his non-writing life, prevented him from bringing many of those other stories to fruition. I wonder what we'd have if Tolkien had a computer. Would it have increased his productivity, and if so, would there have been a cost to that, in the quality of his work? Perhaps from a lessening of the contemplative way he wrote, and re-wrote, in longhand? mmmm...

All this to say, I believe I've said it all in other reviews of this book. I didn't break down my review this time into three chunks to correspond to the traditional three volumes, only because this is well traveled ground, both for me and for many others. I did want to get some of my thoughts down on why reading a one volume editions vs. the three volume (they both have pros and cons) and on the length of the tale itself. On that point I will add that if you are left wanting more, there is a little more in the Appendices, and I can recommend highly enough that you read them. In fact, back in 2016, when I read through all of these books the last time, as noted above, I recommended that if you are re-reading the Middle Earth books that you read the Appendices first, right after The Silmarillion, and before The Hobbit. This time I was just reading The Lord of the Rings, but I did read all of the notes in the front matter, and the Appendices at the back, before I began the body of the text.

Tolkien is a champion world-builder and creator of mythologies. The Lord of the Rings has a depth and richness that is unmatched by most of its counterparts in fantastic fiction. It still has staying power, the ability to thrill and entertain, even after multiple readings, which hasn't been dimmed by the films, in my mind at least.

Read this book.

atlas of middle earth

When you create a reference book about a fictional place is your reference book fiction, or non-fiction?

Given that Middle Earth has almost no reliable  empirical data, I guess Karen Wynn Fonstad had to take some creative license in order to produce the maps and plans she did.  That said, I think she did consult with Christopher Tolkien; I’m pretty sure I read something he wrote indicating the he had worked with her on something. Not sure what that was, but it may have been a forward in one of the History of Middle Earth books. Speaking of which, I haven’t read all of those yet. Fonstad also consulted drawings and maps done by Tolkien, and his son, which were used in earlier published works, as well as unpublished drawings and sketches form the professor’s notes, the text of the books, and further information from the Histories, published by Christopher Tolkien which provided additional information and was the impetus for the revisions Fonstad made in the updated Atlas. 

By tying the maps and the landforms they represent to the distance data provided in the various texts, Fonstad has created maps that can be scaled and therefor, in many cases, actually differ from the maps published in versions of The Lord of the Rings. That takes some getting used to. btw, I’m not used to it, and I may not get there

Any serious fan of the world building accomplished by Tolkien will recognize the dedication and joy expressed by Fonstad in her work. The Atlas is clearly a labor of love undertaken by a cartographer who really just wanted a more complete picture of the lands she followed our mutual friends through on their adventures. Are there problems? Sure. Do I hate that all of her hills, mountains, and downs end in the same elephant toenail roundness? Sure. Am I grouchy that the publisher (or some other bean counter) decided that two colors was plenty to adequately express the level of detail included in all of the maps in the Atlas. You bet. And finally, is it—and has it been, over the years I’ve had this book—aggravating to consult the maps it contains while reading The Silmarillion or The Lord of the Rings and find that they are so different (for the sake of scale accuracy?) that they confuse more than clarify. Ya, you betcha. But that doesn’t mean I’m a hater. 

 

Karen Wynn Fonstad has done an admirable job of researching and providing insight many of us would never otherwise have access to. It’s the same issue diehard fans have when someone makes a movie of a book like The Lord of the Rings, it’s bound to contradict our individual visions of what happens in the stories we read. Our internal visions are a dialog with the author’s written word. Seeing someone else's vision of that material is always jarring, but that doesn’t mean it doesn’t have value. I went to see all of the movies, and they were great. They just weren’t how I would do it. 

And neither is The Atlas of Middle Earth. But I keep going back to it. And so should you.

 

 

Silmarillion

Sweet, sad, Silmarillion. 

The Wikipedia entry refers to The Silmarillion as a mythopoetic collection of stories. I had to look that one up; and I kind of like it. The tone the stories are told in is a little reserved. Some of the early ones, chronologically speaking, read like bible entries. But when you’re talking about the birth of the Earth—or Ea, Tolkien calls it—then I guess biblese seems appropriate. 

As I understand it, Tolkien felt the absence of a traditional English mythology beyond the tall tales of Arthur Pendragon and his ilk. Something of the scope and depth of the kind the Greeks, Romans, and Norse cultures have; stories that underlay their culture and belief systems, and tie them to their spiritual past. A careful look at what Tolkien has done shows that. From his proto-nursery rhymes, to the linguistic underpinnings of English, present in the early languages of the Quendi, the Elves. 

The Silmarillion is Tolkien’s unfinished backstory, the framework of his world building upon which he built the Hobbit and The Lord of the Rings. But it’s more than that; it’s his notes on dozens of other stories that he didn’t get the chance to finish. Christopher Tolkien did a great job, organizing, editing and releasing many of these work in the decades after his father’s death. Working, as he says he did when his father was alive, as a kind of amanuensis. One can only imagine what kind of works Tolkien may have produced had he had access to modern word processing or even speech-to-text technology. 

Tolkien described the creation of the world as the first collective music of the Ainur, made manifest by the one god Illuvatar, with all of the good, the bad, and the ugly of a first run, still in there. It’s like a proud papa pasting his kid’s first crayon drawing on the fridge... and then asking us all to live there for eons. augh, I don't wanna live in a first draft. Melkor is licking his finger and touching me! But don’t worry, says Eru, the big man, this is like a dry run. We’ll work out the bugs then bang out a fresh one all fixed up!*

What? Yeah, this ones probly gonna suck, for you guys and everyone else down there, but screw it, right? You guys made it, let’s see what happens!**

In here we find everything from the beginning of the world to the creation myths of the sun, the moon, and the stars; from the origins of elves, dwarves, and men, to the flat world theory; from the flood story to the making of dragons; and from the invention of war, to the making of rings. That last one was inspired, by the way, by the same fables and myths that inspired Wagner and his Der Ring des Nibelungen, "The Ring of the Nibelung," often referred to as the Ring Cycle. Tolkien was also inspired by the Edda, as was Wagner. 

 

This isn't the first time I've read this book, and it won't be the last. My last time through was nearly ten years ago. That review is maybe better than this one. If you want to know why you should read The Silmarillion, or even some pointers on how to read it, check out my earlier review.

Either way, read this book.

 

* I'm paraphrasing, nerds

** Yep, paraphrasing again

 

 

indispensable wisdom

The Big Book of Indispensable Wisdom, is a collection of three books, published by Reader's Digest. I'm not sure where this book came from, but its been sitting on my shelf for a few years. The three books are: The Classics, My Grammar and I...Or Should That Be Me?, and Easy as Pi.

I know, its adorable.

There are a series of authors, and copy editors involved, so lets just say that these three books were edited by Pamela Johnson. Each has its own focus, but all of the subject matter is treated the same: 'You know this stuff, we're just going to remind you what you forgot since high school, and have a laugh doing it!'

None of the three subjects is explained in any depth. I think the idea is to cover as much ground as possible, and give the reader a framework to organize their own thoughts and memories on these subjects that we already (should) know. There were a few trinkets and additives that were new to me, and that was fun. All in all, it wasn't an awful read, and it certainly didn't read like a text book, but I certainly didn't find myself laughing along with the crummy jokes and enjoying myself. I finished, I guess that's something.

oresteian trilogy

The Oresteian Trilogy consists of three plays, translated from ancient Greek; Agamemnon, The Choephori, and The Eumenides. These plays, written by Aeschylus (525 - 456 BCE) tell of the tragedy that befalls Agamemnon and his family shortly after his return from the 10 year battle in Troy. Paris has been defeated, Troy sacked, and Cassandra taken as spoils of war back to Argos (Mycenae) and his wife Clytemnestra, sister of Helen.

You'll recall that Agamemnon went to Troy at the request (demand) of his brother Menelaus, King of Sparta, whose wife, Helen was stolen by Paris during a visit to Sparta for a wedding. Menelaus was obviously pretty peeved to lose he wife like this, and demanded the armies join him in marching on Troy to punish Paris and retrieve his queen. This bit is told in The Iliad, and because that story was as well known then as it is now, Aeschylus could skip to the days before Agamemnon arrived home.

Why is it, that after 10 long years beneath the walls of Troy, watching countless other men die in battle, including his brother Menelaus, Agamemnon has to travel all the way back home in victory before tragedy catches up with him? Well, that has to do with the curse on his family, that extends back to his grandfather Tantalus, who feasted with the gods, and then betrayed their secrets to mortal men. And it doesn't end with him, but with his children; Iphigenia, Electra, and his son Orestes, for whom the trilogy is named.

Because this story is so well known, is apparently why Aeschylus chose it to teach the populace about justice. Not the eye-for-an-eye justice of the ancient gods, but the modern justice of the emerging Greek democracy. Aeschylus weaves the ancient and modern ideals together, and like any persuader worth his salt, uses the believes of the people as a bridge to a new way of thinking. Conscripting Athena herself as the voice of justice, forming the very first court of justice, with 12 citizen jurors to decide the fate of Orestes, and finally bring an end to the family curse.

Because Aeschylus has an agenda, he's had his with the story and the characters to suit that agenda, so the stories in these three plays do not align with much of the popular Greek myths concerning these characters. 3000 year old fan fiction?

Translated from Greek by Philip Vellacott, who also wrote the introduction.

in like a lion

Lion and Lamb Eyes

I'm a little late getting my March calendar up this year, but figured I had to get with it with a big storm coming to the Northeast. Might be rain, might be a foot of snow, might be nothing. We won't know until tomorrow. Today was a bull, and tomorrow is a moose. Either one could be trouble, so we'll have to wait and see what happens.

Last year, March was so bad, I ended up changing the whole month to lion. I hope that's not the case this year. Enjoy!

Here's how it stacks up this year. yes, its the same every year, that's why we call it a tradition.

March 1 - Lion: Of course. Its in like a lion, right?
March 2 - Tiger: Up to 11-feet, and nearly 700 pounds!
March 3 - Bear: Oh my! Definitely polar bear this year.
March 4 - Shark: Everyone knows that shark week is not really a thing, right?
March 5 - Wolf: The Timber variety. They're coming back, baby!
March 6 - Bull: One word: Pamplona.
March 7 - Moose: Brake for moose, it could save your life.
March 8 - Eagle: Don't leave your pets outside... or your chickens.
March 9 - Scorpion: Step on it before it steps on you.
March 10 - Dingo: No, its not a stray dog.
March 11 - Hawk: Not hawkish. That's for scared people, pretending to be strong.
March 12 - Lynx: No honey, that's not a tom cat, don't feed it.
March 13 - Bat: Wanna put on your Batman suit, party on!
March 14 - Monkey: They're cute but can also throw poop! HBD Coleen!
March 15 - Snake: The Ides of March. Snakes are known for wisdom, and treachery.
March 16 - Ox: Hard working in a plodding kind of way.
March 17 - Elephant: Wise, big, powerful... gray.
March 18 - Raven: Nevermore.
March 19 - Stag: Power and compassion. Might make a good patronus.
March 20 - Crab: This one can sneak up on you. First day of spring!
March 21 - Goat: Stubborn and tough going.
March 22 - Horse: Strong and reliable. Sometimes crappy on the back end.
March 23 - Pig: Smart but messy; wear your boots today.
March 24 - Dog: Friendly and good-natured; take a walk.
March 25 - Dolphin: Fun and wet; bring an umbrella.
March 26 - Rooster: Get up early and wake the neighbors.
March 27 - Turtle: Muddy, but adorable; boots again.
March 28 - Toad: Similar to turtle, but a little squishier.
March 29 - Robin: I guess you could wear your Robin costume today. You cosplay nut!
March 30 - Rabbit: Roasted with rosemary and potatoes! HBD Kelton!
March 31 - Lamb: Mmm... arrosticini. Smells like spring!

According to one source I read "This phrase has its origins with the constellations Leo, the Lion, and Aries, the ram or lamb. It has to do with the relative positions of these constellations in the sky at the beginning and end of the month." Sounds like a stretch to me. My guess is it comes from someone making up a story to tell children around a fire, or something equally as mundane.

In any case, March is the month that brings us Spring, so it can't be all bad. But the weather might be.

Sheep eyes are weird. That's all I'm saying.

UPDATE: Happy Easter everyone! We made it, tho I was tempted to change this year to lion (or some other vicious beast) everyday. This March was one to remember. Wednesday was Nor'easter Day this month. Seems like we got one once a week all month, but it WAS sunny and warm yesterday, so lamb-like it was.

east

My oldest read this book ten years or so ago, while in middle school. It was apparently a favorite then, so it was time for a re-read. I got the chance afterward, along with a glowing recommendation. How could I say no?

East is a YA novel based on a Norse myth, which may grow out of, or be related to, the story of Eros and Psyche, and/or the Beauty and the Beast fable. In this case, our heroine, Rose, is taken by a talking polar bear, and adventures and misadventures, quickly ensue.

This book was a page turner, and although its beefy, the text is large, and the chapters are small. All the hallmarks of what YA readers want. The story moved forward quickly, and the author’s technique of telling the tale in the voices of many of the characters, kept the story lively and interesting. Knowing that you’re working with a tale that is already well known, probably removes some of the worry about where to go next, but this does not seem like a simple re-telling to me. Pattou even throws in a Viking-like character named Thor to hearken back to the story’s roots.

Edith Pattou does a good job. This was fun.

wyverns

I recently read Terry Pratchett's The World of Poo, which included a short segment about a wyvern, including an illustration. no, that's not it I've run into wyverns in my reading in the past, but it got me thinking: Wyverns are similar to dragons, but we don't see them often. They don't seem to be as well known a beast as a dragon. Until more recent times, wyverns were nearly interchangeable with their dragon cousins, in British heraldry, for example, but seem to have fallen out of favor. Perhaps as literacy has taken over for iconography, and heraldic symbolism has become less important, folks simply forgot about wyverns. But we haven't forgotten dragons. What is it about dragons that captures our imagination, more than wyverns?

Wyverns appear, to this observer, to be a much more likely anatomical form that their four-legged dragon counterparts. Wyverns have two legs and two wings, like a bird. Seems odd right? Dragons--western dragons anyway--have four legs, and two wings. Which seems to make more sense. 

A wyvern is built like this bird: two legs, and two wings

But when you compare these beasts to others in the animal world, its actually the dragon that's odd. Most animals have four limbs. A wyvern has four limbs too, but a dragon has six limbs: four legs and two wings. What else has that? Nothing, that's what. 

A dragon is built like nothing else: four legs, and two wings

Is there really nothing else built like a dragon? An insect perhaps? They have six legs, right? But flying insects have six legs and two or four wings, for total of eight or ten limbs!* And antennae, and exoskeletons, so... probably not a good archetype. 

Know what else does have four limbs plus two wings? Flying horses, griffins... and angels. Maybe it's because this anatomical form is so alien to us, is why we've chosen it for our most popular mythical creatures. 

And maybe that why most of us don't know what a wyvern is. Maybe it's oddness just isn't odd enough for us.

We need crazy, just as much as crazy needs us. Wyverns just aren't as crazy as they need to be.

* like octopuses, squid, and cuttlefish.

norse mythology

Neil Gaiman seems to have a wide and varied output of stuff, not least of which is books. I probably know him best as the author of Coraline, though I've never read it, nor have I seen the movie. Parenthetically, he's had other stories made into movies as well. This effort, however, is more traditional, and its not the first time Gaiman has taken on the retelling of myths. One gets the feeling that they are an important part of his research and inspiration for his original works.

Norse Mythology went to number one on best seller lists in a number of English speaking countries as soon as it came out, in February. I missed that, but then I'm not really following new books all that closely in general. The newer stuff I read is normally on display at my library, or at one of the many libraries I visit. I found this copy in the Quick Picks section at my library. I can see why this book would have been so popular when it came out, Gaiman is a well known writer, and the timing is right. The Lord of the Rings movies are reasonably recent, as are the Thor movies, and Game of Thrones seems to have taken over a large segment of the world's population.

For me, I'm interested in the mythology itself, and there isn't much of it left. Unlike the Greek and Roman myths, much of the Norse mythology was oral in tradition, and if Snorri Sturluson didn't hear it, and write it down, then there weren't a lot of other opportunities for its preservation. I was a little disappointed that there weren't more stories that I hadn't already heard in this book, although, the tales included were beautifully written, albeit in a clipped, hard language, reminiscent of Vikings, perhaps.

What has always fascinated me about the old myths is how human the gods were, and in this book, the Norse gods are even more so than even the Greeks and Romans. They're fallible, drunken, stupid, boorish, proud, even susceptible to aging, physical harm, and death. Even though I knew many (but not all) of these stories, it was great fun to read them, and follow the story arc through time. That alone was worth the price of admission.

Read this book.