Friday, July 28, 2017
Everything that ever happened on our planet of any significance is captured in the minerals around us: the chemical properties of basic elements, the level of oxygen in the air, the eruptions, the collisions, the moving of the continents, the arrival of life, the state of the atmosphere, the change in the magnetic field of the earth, the brutal differences in temperature, etc, etc.
It is nothing but spectacular, and sure the object itself is incredible, but how Hazen writes with passion about his field of study is equallly amazing, with the right level of explanation to make it understable for non-geologists but I guess that specialists will also find it rewarding to read about their subject in layman's language.
... and then you wonder about the morons who think the earth is 6,000 years old. How is it possible that major scientific work never reaches the masses?
Juan Gabriel Vásquez weaves the remembering and the present into a fine, subtle and sensitive texture of questioning of his own achievements, the power of the media, the abuse of power, the fragility of life, and the shifting perspectives between being prey or predator.
His style is an interesting mixture of Milan Kundera (the questions, the distant observation of his characters, ...) and Javier Marias (the long sentences, the shifting interior musings, ...) and both trying to come to grips with a reality that is hard to understand and fathom, while at the same time very recognisable and intimate.
A really strong novel, written with a wonderful sense of composition, sensitive characters and wit.
With Moonglow, he moves into new territory for him, namely the life of his grandparents, as told by his grandfather on his deathbed, and at the same time the story of the weight of being jewish.
His grandfather was a rocket engineer and one of the first people to have entered Nordhausen at the end of the Second World War, the place where the V-2 rockets were being produced. Pynchon's "Gravity's Rainbow" comes to mind, and is even mentioned several times in the novel, but apart from the historical context, there is no other comparison. Chabon's prose is direct, precise, unusually without any demonstration of stylistic prowess, almost as the chronicler of events, even if once in a while you can read wonderful sentences such as "got his grandfather so drunk that he was able to directly experience, if not communicate, some of the unlikelier effects on time and space called for by Einstein's Special and General Theories of Relativity"
Yet he goes further, much further, actually reconstructing the lives of his grandparents - and parents - by adding a strong dose of fiction of their daily lives, the conversations, the details of clothing, behaviour and thoughts that no person could ever remember, let alone fully recount during the last days of one's lives. This creates an almost obscene intimacy, by putting yourself in the position of these people you probably knew so well, including the sexual longing and sexual acts.
The book is as much about the grandfather's fight and moral concerns about German rocket scientist Werner von Braun and his gang, who participated in the US space programmes, and even more about his grandmother, a French jewish refugee, an actress with a great joie-de-vivre, and independent thoughts and action, who increasingly becomes the victim of schizophrenia. It is about his grandfather's attempt to build a new relationship after his grandmother has died.
Both grandparents are damaged goods, yet they try to live together as almost totally opposing forces: he is the principled engineer with a strong sense of ethics, who even spends a year in prison for an impulsive physical attack on his employer, she is the artist, the beautiful woman who lives in a world of fantasy and fear, using tarot cards with her grandson. Despite the differences between them, there is love and deep respect, even if they are fully aware of each other's shortcomings.
The whole novel is pieced together in a very non-chronological form, with memories, pictures and additional detail provided by his mother as elements to reconstruct something that will always be a little less than what it was, yet paradoxically, it's the novelists fictitious additions that make the people come to live, and maybe even make it bigger and more moving than it actually was.
There was not much place for the Evil One in the Old Testament, since God himself was portrayed as booth good and evil, merciful and vengeful. It is only in the New Testament that he becomes a real character, albeit still a vague presence.
Gradually, over the centuries, he started collecting physical characteristics, to become the horned figure we see in horror movies, with influences from other religions and popular folk tales. No depiction of him even exists before the sixth century. And in popular beliefs, strongly influenced by the church, he became a real presence in people's everyday life over the centuries, and now gradually being reduced back to the fantasy figure he always was to the realm of fiction and movies.
It is fascinating to read how he has been used over the centuries, how he instilled fears in uneducated populations. In sermons some hundred years ago, he was still often mentioned in Europe. I think he has even completely disappeared from all sermons these days in Europe, with the exception maybe of some maverick extremists.
Everything he every embodied, has now been reduced to our human psyche (the internal evil) and to chance happenings (earthquakes, floods). There seems to be no need anymore to blame a distinct person to create and organise all that's unwelcome in society.
Van de weinige intellectuelen die ons land rijk is, denk ik dat ik vooral voor Etienne Vermeersch de grootste achting heb. Hij durft niet alleen standpunten innemen, maar hij slaagt er ook in om die helder te onderbouwen, met tegelijk een goede tegenargumentatie voor alle punten die zijn betoog zouden kunnen tegenspreken. In televisiedebatten heeft hij alle standpunten van zijn tegenstanders al grondig overwogen voor hij naar de studio kwam. Dat maakt hem zo sterk. Hij kent alle andere standpunten al, vaak zelfs beter dan degenen die ze uiten. In "Over God" leren we niets nieuws (ik toch niet), maar het korte boekje geeft wel een zeer goed overzicht van de verschillende argumenten die god kunnen reduceren waar hij thuishoort: in het domein van de fictie.
Vermeersch toont aan dat het bestaan van een god op basis van rationele grond niet kan. Maar dat hadden we al begrepen voor we begonnen te lezen.
He describes what populism is and stands for, in its many forms: the only true representative of "the people", the true representatives of moral values, against the immoral elites, against the establishment, waging an apocalyptic war against the secret and oppressing forces. Their enemies are the press, intellectuals and civil society.
He explains how populism is created by the strong democratic deficit of open debate and the rule of technocrats whose language not only doesn not appeal to the general population, but which is also not directed to them. Specifically in the US, the economic interests of a significant part of the population is underrepresented in Washington.
When populists gain power, they will, interestingly enough, not bring politics "closer to the people" or even reasserting popular sovereignty.
He mentions a number of solutions, which is of course a much more open and public debate on the topics that are on people's minds, including a good democratic representation (but not through referenda!).
The theme is about the balance between authentic artistry and survival, between coming up for your ideas and ideals, while trying to stay alive in a very hostile environment. He yields and stays true to himself. Barnes' account of the composer's life is built around memories of situations, not always chronologically, nor even logically, but as little vignettes that gradually present his feelings, his remorse, his doubts, his moral musings, placed in the context of history.
It is a novel about the individual survival within the system he abhors. It is about authenticity and untruth, the constant lies by the Power, the propaganda and their so-called moral superiority ... and later the fact that becomes a puppet for the Soviet system, and tries to avoid it. Shostakovitch is not a hero in the traditional sense, and even the very concept of "hero" gets undermined: "But these heroes, these martyrs, whose death often gave a double satisfaction - to the tyrant who ordered it, and to watching nations who wished to sympathise and yet feel superior - they did not die alone. Many around them would be destroyed as a result of their heroism. And therefore it was not simple, even when it was clear".
His only heroism is to be true to himself and his music: to create something that would survive him, the music that would say everything there is to tell, that is more and better than dying as a martyr, but also this comes at a price:" 'He could not live with himself'. It was just a phrase, but an exact one. Under the pressure of the Power, the self cracks and splits. The public coward lives with the private hero. Or vice versa. Or, more usually, the public coward lives with the private coward. But that is too simple: the idea of a man split into two by a dividing axe. Better: a man crushed into a hundred pieces of rubble, vainly trying to remember how they - he - once fitted together."
This novel is brilliant because of its style, its composition, its tone and lack of answers, its sensitive rendering of internal and external struggles, its historical value and insight in human nature.
What is the March of Folly - it is the stupidity of those in power to create their own downfall when all the indicators demonstrate what is going to happen. Despite all the warnings, including from friends and close allies and counselors and advisors, the men in power still decide to move forward with their mad schemes, which will enexorably to their dawnfall.
The theme is the legend of the Trojan Horse, pulled inside Troy when filled with Greek soldiers who come out at night to open the gates so that the army can invade the city after so many years of battle. Did not all the Trojans warn not to bring the horse into the city? Yes, of course, but when stupidity reigns, it will not listen to reason.
The other historic moments to illustrate the March of Folly are the catholic popes of the 15th and early 16th century, who rule like modern day dictators, unhindered by any moral or ethical considerations, but lusting for sex, money and power. Instead of making the church more powerful, the exact opposite happened, and half of Europe turned its back on catholicism.
The second historic moment is how the Brits lost America as its land across the ocean. Tuchman describes in detail how stupidity and ignorance were the key characteristics of the politics in London at that time. "The attitude was a sense of superiority so dense as to be inpenetrable ... the (successive) ministries went through a full decade of mounting conflict with the colonies without any of them sending a representative, much less a minster, across the Atlantic to make acquaintance, to discuss, to find out what was spoiling, even endangering, the relationship and how it might be better managed".
The last example is about the United States' desperate attempts to win the Vietnam war, and when everybody saw the stupidity of what was happening, the needless bloodshed, the hundreds of thousands of victims, the United States government still kept moving forward to an inevitable loss. As the French General Leclerc said to his political advisor prior to the war 'it would take 500,000 men to do it, and even then it could not be done'. The amount of men sacrificed was indeed an underestimation.
In the current world, with other madmen ruling the world: Trump and Putin for the major powers, and many other of a minor order, yet equally mad, such as Erdogan, Duterte, Maduro, Kabila, Mugabe, to name just a few, the book remains a strongly recommended read.
Listen to these sentences, "When private interest is placed before public interests, and private ambition, greed and the bewitchment of exercising power determine policy, the public interest necessarily loses" or "Personal self-interest belongs to every time and becomes folly when it dominates government" or "Their three outstanding attitudes - obliviousness to the growing disaffection of constituents, primacy of self-aggrandizement, illusion of invulnerable status - are persistent aspects of folly" and know they refer to the popes of the 15th century, they are still equally valid for many of the rulers of today.
And as a final comment: this history book reads like a novel. She writes with passion, not hiding her own opinion. In that sense it's more of a pamphlet, albeit a hefty one, but one that is crammed with facts as it should be for a well-researched history book. Of course you know what's going to happen, and the fact that the cases are so extreme, the stupidity so overwhelming, the human cost so high, make the novel all the more important today.
Shmuel Ash is a jewish student in the Jerusalem of 1959, and although he was writing a university text on early christianity and the role of Judas, he drops out and becomes the assistant of an old man, to keep him company when the old man requires. Shmuel falls in love with the old man's 40-year old lively yet mysterious daughter-in-law, Atalia Abravanel. Her deceased father used to be one of Israel's traitors, a man who advocated for one single state under international control where jews and arabs could live together. As a vocal anti-zionist his named and reputation had been smeared. Like Judas, he was the traitor of his own heritage and culture.
The concept of the novel sounds good. Different layers are at work, past and present, myth and reality, personal lives and historic facts, with often differences in perspectives, including during the long discussions between Shmuel and the old man. The shifting perspectives on the concept of traitor of course also surface. Was Judas a traitor, or was he the one without whom the crucifixion and resurrection could not have taken place?
So far so good, but all this does not make the novel really a strong literary achievement. The characters are dull, with the exception of Atalia, the story is without inherent tension, and stylistically it is not very special. What remains is a novel of ideas. Strangely enough, the deep sense of anger caused by betrayal, the confusion it creates, the uncertainty about whether or not to go against the own group, the cowardice or courage are all very strong and deep emotions that deserved a better story than the one offered. But maybe that's just another layer. That the distant reporting by the uninteresting characters is in itself a betrayal of the deep personal human crisis that betrayal constitutes.
In this novel, Kracht reconstructs the life of the excentric man, telling his arrival in New Guinea, the creation of his plantation, his local servants on the island, his interactions with the authorities and other Germans on the main land. Somehow it fails to make the person really come to live. Kracht depicts his main character with a kind of detached superiority, instead of really trying to understand the man's motivations, actions and ensuing insanity. At times it made me think of that other bad novel "The Confederacy Of Dunces", for the simple reason that the main character is stupid, and you wonder the whole time why a novelist would spend time to ridicule his main character. Why?
Kracht's writing is not bad by itself, and sure, no doubt Engelhardt's vision on life and on diet were pretty narrow, one-sided and doomed to fail, and even the author did a lot to bring historical facts back to us, the condescending tone kills what could have been a strong book.
Why I like him is because of his big picture thinking. He brings things together in a way that very few people can, creating links between mass behaviour theories with physics, history and paleontology. I like the way he tries to build grand theories about how abstract processes underly totally different phenomena. I like the way he writes, with passion, without dwelling too much on the details, but steadily dragging the reader on towards new insights and new parallels and new facts. He is strong at giving new perspectives on known realities.
In The Genius Of The Beast, he tries to look at the forces that drive us, our emotions and values to create innovations and a better world, or as the subtitle says : "a radical re-vision of capitalism".
Like a good marketeer, he gives names to his own inventions: he calls itthe "secular genesis machine", the "evolutionary search engine", and the two rules of science: the truth at any cost, including the cost of your life, and to look at what is right under your nose as if it is the first time you have seen it, then proceed from there. He describes how our deepest feelings of personal self-fullfilment combined with empathy will move the world forward, looking for improvements in the culture we create, failing oftentimes, yet moving forward, course-correcting and continuing on the new track. And why capitalism, because in the end the consumer will dictate where he or she wants to go, and go for those items that are giving pleasure, that surprise, that make fun. And if there are side-effects, the system will handle those and move forward.
This book, like some of his other books, read like an endless rant, without clear structure but written with passion. I'm not sure whether you have to take what he writes seriously, clearly he jumps from one subject to the next, finding big analogies between the way molecules work, or beehives, or tribes or complex societies, without any evidence that there is a natural link. Bloom is not a scientist, despite his own claims, but he creates wonderful collages of related and unrelated facts.
If you have a good sense of criticism, some of his ideas may be of interest, and surely challenging some of the thoughts you currently hold, making you think about the topics he writes about. That by itself is already a good result, even if you won't find any conclusive answers.
A young man dies. A woman needs a heart. This is the incredibly moving story of a heart transplant. Simon dies during a surfing accident. It is the story of his parents, who rush to the hospital. It is the story of the surgeon who wants to do a good job. It is the story of the young nurse with her own problems. It is the story of the young doctor who has to ask the parents to decide then and there to donate the boy's organs, while his body is kept on an artificial breathing machine. It is the story of Claire, who receives the heart.
It is all one story. One day. With a full description of all the medical processes and procedures, in detail. It is factual and cold. It is even without emotion, like a job that needs to be done, a product that needs to be produced by a machine. Hanging around this medical trajectory of the heart from one body to the other body, there is the deep emotional description of the different protagonists's lives, all of them presented by the omnicient narrator as if they all are the lead character. The contrast is fascinating, the writing is subtle and sensitive.
De Kerangal writes with an uncanny precision both to describe the actions of the humans who go their way, as their emotions and thoughts. She does not offer answers. She offers choices. Terrifying choices.
In its incredibly detailed account, Giles Milton actually recreates the entire history directly based from source material from that time: log books, letters, correspondence between the owners and investors in the East-Indian Companies. The real account of how people treated each other is shocking to modern eyes, not only - and obviously - when you were the enemy, but also among fellow countrymen. A person's life was worth nothing. Boats expected many sailors to die while sailing across the globe. Sailors were sometimes only informed about the destination after they left the harbour. It is the story of how the British and the Dutch waged wars around the island of Run and the Banda Islands, mobilising the local people to choose sides.
In retrospect, the whole endeavour seems absurd, yet of high historical significance. In the final deal, the Dutch came to a deal with the British, and they obtained the rights for the island of Run (3km by 1 km) in exchange for New Amsterdam on the East Coast of the United States, now better known as Manhattan, which came into the hands of the British.
If you're interested in history or in the stupidity of mankind (and how we have luckily evolved over time), this book comes highly recommended.
This time, the depicted world is called Abistan, where all inhabitants follow the rule of the prophet, and where only one culture, religion and history exists. Thanks to an abstract "Enemy", the people live united and in full submission without any room for personal thoughts or questions. Ati, the main character starts finding cracks in the system, finding evidence that there is another world somewhere, and that other civilisations once existed. But trying to uncover the forbidden truth is an act of rebellion with the severest punishment.
The dystopia is cruel. It's a horrifying thought about what would happen if the entire world was ruled by one oppressive religion. Like "1984", it is a frightening prospect. And like "1984" as frightening as the projected future world is, as shallow is the plot. A significant amount of space is used to describe the world in the book, with the religion as the main character, more than Ati himself.
Reading this book was not fun. And even if that may not have been its main purpose, it also did give any new insights or new perspectives or even delight in the style or the composition. Somehow, the novel left me totally indifferent.
Wignall writes for a broad audience, but with a level of detail and explanation of his scientific methodology which may go beyond the average educated non-geologist readers capacity such as mine. At the same time, it gives a wonderful account of what the mysterious world so long ago might have looked like. You can only wonder how little we know, and probably what more mysteries will be unveiled in the coming years now that new technology allows us to recreate the world of the past.
But please read his other novels. Read The Book of Evidence, or The Sea. He is an excellent writer, only not everything can be a success.
"Heroes of the Frontier" brings the story of a mother who flees to Canada with her two children, away from a malpractice lawsuit as a dentist, away from her husband, away from the life as she had known it, on the run for life itself so it seems. The only problem is: nothing happens. The people she meets are friendly, her kids understand the situation and don't rebel. They meet people, and deal with every circumstances of finding a place for their van, or a place to eat. There are no male predators on the lose, no bears lurking in the bushes, no criminals intent on stealing her stuff, and even the kids can wander around without any risk. There is no tension, no conflict, no anticipation, no expectation. There is no cynicism, no humour, nothing absurd, nothing bizarre. There are no deep insights, no changes of character, no entertaining dialogues, no stylistic wizardry. There is nothing that fuels the reader's mind to keep reading. I did finish the novel though, and I wonder why in retrospect.
Cunningham does it beautifully, graciously, and don't be afraid, these are not just blunt 're-tellings' of know stories. He gives them his own twist, he tells us what came before the known tale, or after.
And as the tales themselves, what Cunningham does is magic. And if the only criteria for good literature is that you can't wait to read it again, then these writings reach the top.
The book is short, elevent stories only, beautifully illustrated by the drawings of Yuko Shimizo.
"In The Machine", the first story takes place in the 19th century, when a young boy starts working in the factory, at the very machine that killed his older brother, as the only possibility to earn a living. He falls in love with his dead brother's adult girl friend. He is a great fan of Walt Whitman and even speaks only in Whitman verses. The story is dark, bizarre and gripping. You cannot but feel the deepest sympathy with the strange boy and his uncanny interpretation of reality.
"The Children's Crusade" takes place after 9/11. Young boys are recruited to blow themselves up in New York, housed in empty appartments and prepped by an anarchist woman. The policy psychologist unravels the system and gets into contact with one of the boys.
"Like Beauty" is kind of science fiction. An android with a programming mistake - he is too human - escapes from the city (New York) together with a lizard-like alien to a place where they expect a space ship to leave for another planet. Again, the android is programmed with Walt Whitman poetry.
Interestingly enough, it starts all very well. The first story is special and amazing. Then the quality decreases, as do the characters and the writing. Sometimes it's good to know what to publish and what not. If the novel only contained the first story, I would give it a five star rating, so if you're interested, please read it. The two other stories are unfortunately not of the same quality.