are standing in front of the bass top, around its sides, and leaning against the wall behind it, a muttley crewe of pee and pull. Summer clumped conve...moreare standing in front of the bass top, around its sides, and leaning against the wall behind it, a muttley crewe of pee and pull. Summer clumped conversationally to tether, laffing nervously, Zigarettenasche flying from al momento awkward arm movimenti, vile others stare moodily, at the ground, at the skype, anywhere but each other. A few tap their ped impatiens, cheek their horologues, phlip open their pfones and thumpb txt massages or PhasePage (NASDAQ 23.83 -0.05%) givz and oucHTee ML (not the Rhomanz, oh no, but if so 1zero5zero if you please). One eyepads, one printbooks, one even re-sells a goodnews, though truth to tell, there’s not macho that in these days of marinechant takeovers and akaindemic espionage and Hindus trial navel-gazing and corpus rates arrest.
Toot toot Toot toot
Neh, says one, shaking his head, nix bus. It’s him, one of the Up-the Arschelones. Computational freak. Moore likes than millipeeds hat legs. Pfifing about his neuest Strategie for ches–
Toot toot
Naf itchy dot, says another, breath smelling of whizkid socked hag. Is the bus. Hurry up. Check the blonde there, the quoit one? Try and grab a–
You still renning after Lydia? Hole a life! She’s not comin–
Plug yer Kraut trap, yer philistopher. The Keyra Knightly loox-licke. Foll–
Toot toot
A large pair of beautiful and brightly fired lips mouth the words, watch where you’re going with the damn bike, ya cinque!
That’s very PinC of you, says the lips’ hersuite compunion. You’re tehribbly brave. Someone might flag you.
I’ve been fragged more times than you’ve had sticks poked at you, Hoop. Where’s the damn bus?
Toot toot Toot toot
Driver, stop here! This is the collection point, says a gorgeous garish imp in long swirling silk, clutching the arm of the traubadour stepping from the tuktuk beside her. Spunk, is that Steve?
Steve? He looks where she points. Rubicon crossing a skandal? Witchy switch?
Either ora neither, she shrugs, striding forward towards a group, and he follows, mumbling, y yo soy Steve, también. ¿Cómo es que yo soy Spunk?
Steve!
Hi, Steve!
Steve, good to see you!
Are you Steve?
Aren’t you Steve?
Whose Steve?
Mark my words, Steve’s more güey than Amman can handle.
Mark!
mark?
That Mark?
What mark?
Marque? Pire Langoust, natur.
Maque? Aber, quel con ce type!
Mac, aww, sweet! Love the new bird.
Mac, ow! Mai toh, obrigado.
Toot toot Toot toot
A 4WDSUV pulls up in a cloud of dust and the group of Travellers cough and splutter, peering through puffs of silt. A Bengal Priestess and a large, colour-haired, colour-skinned man? No, mad woman. Nomad, man...well, gonads aren’t important...woman has both sohgho with that, climb out of the car. Smiles of recognition, although confusion as to which Bandgirl it is, since everyone seems to have their own idea of who, exactly, and no idea seems to coincide exactly, leaving those in the Noh and those nosing out of the gnou knowing neither one from the udders. A noisy interruption as the bus finally arrives and they pile inside. A tall gent, jaundiced, skeletal in form and well-spoken, accompanies a none to a middle seat. He seems to be apostolic. In front of him sits a purring white-furred cat, and opposite lounges a Lynx with silver whiskers. All turn at the sound of a name; no-one seems to be approaching and Nowyn is friendly, talking to Alland Sundry, and Efferiwon Injenneral, saying everything and hearing nothing.
With much ado about something, due sprigandosi matrons, trim and pre-served, special tickets, nudge nudge wink wink, say no moar, spring into the bus smiling winsomely at the driver, a dour Typ, featureless, like an Unidentified Avia Thar, initialed DJI.
Look, it’s the Muse, hails a voice from the back. And that Irish gal, says another. We’ve just Woken Furies, they explain, skipping down the green Isle and smelling of clover. Hot on their heels is Bruise Nail, a heavy hitting recluse who is joined by the Nick of time, the Nick of Cheer, the Nick of Las, and the Nickin Gear. People applaud the latecomers, still a few stragglers, a phoenix engineer carrying quills, two brilled professors, the latter a Rabbi and the former in search of something lost. More smiles and greetings. A few Greek statues eye their Roman counterinsurgents but Gotts Peace prevails, twice; someone looking like Medusa with difficulty contacting eyes, a couple of forgotten portraits of famous persons, and a bunch of twitterers spectaculating on local issues of global importance, not. Anal & Isis, never seen separated, bored. Someone calls out, Where’s the Top Dog? Everyone looks at everyone else, murmurs, like drinks, all round.
Didn’t make it stick– –On the way to– –recensing– –never stops. Impossible to keep up– –like it’s hard– –going on ars–
Laddies and gentleladies, may I have your attention, please? Ihr piece and microbe arranged appropriately around her head, a blonde woman at the front of the bus smiles at the thong. Her face is intelligent, naturally, she is slender and neatly dressed, also naturally, and a small name badge pinned at her shoulder bears the words Mira Enketei. I am your Interpolator, she gives her name, and I will be your guide during your attendance at the Annual Convention on Entreaty for Corporeality. You may notice that some of you are a little faded around the edges, a little worse for wear, some of you are practically insievable, others of you are solidly everdense. Undoubtedly, some of you have no doubts as to your reviewability while others of you are shaking in your shoes and contemplating extinction (colour plates in a remembrance volume can be purchased later). Frier not. Any questions you may have I will endearme to you to answer, and if you are unable to avail yourself of me, my assistant Squirrel hair, she points to a bushy hered character grimacing beside her, will be more than happy to whelp out. Any questions before we foot to the airthought?
The crowd is silent, appraising her. These first few minutes are always crittercal. The point of introduction, the establishment of credibility, the willingness to be lead. She resists the temptation to razor her eyebrows, tsk exasperatedly, and convey an impression of facepalm pique, instead turning to the bus chew-fur. Driver Jü, let’s go. She grips one of the bus’ steadyon bars as she turns back to the group and continues to smile. In antemancipation.
Is there a schedule? says one.
Where’s the lecture on how to get liked? A colonel commotion at this, from those who know and want no others knowing, to those who know nothing and want to know, amongst those disdaining such obvious man-oeuvres, although secretly wish it was all that easy. A leader without followers is a shepherd without sheep. Although sheep prefer food to pointification.
Can I change my program if I don’t like it?
Where’s the lecture called the Art of Commenting so as to Attract Applouse?
I want to know about Like Management, when to give and how to avoid being seen indiscriminate – is that included this year?
I’ve got too many friends, LOL, I can’t keep up with them. Is there a hands-on weeding session about this :D?
Will there be a Library – I’d like to catch up on reading. I'm poor.
Look, I’m dumb at talking books. No-one understands. I never get likes or comments or anything! I’m in mortal danger. Are there special clinics? I’ve got money, I can–
One at a time please. She adjusts her hair. She’s heard it all before; each year, they line up, same old bag of tricks to trot out in the hope of plate-forming. Of course, this year it’s all been shaken up. The great invasion. The great deflation. The great car-shout and all’s well that end swell. As of now. She beams at them, lifting one hand in bene fies. They are more dear to her than they can possibly prêtend. Squirrel will distribute your programs, your personal coaching schedules, all primed to your individual requirements. Your hothells have been booked, you’ll find details in the age pack. She looks at her watch. We’re only a few minutes from the airthought. Customs clearance and passport control have been forearmed so body examination should be handled smoothly. Thank you for your attention.
She turns and sits down beside Squirrel. So far, so good, so near, but she could do with some food.
***
Once on the Errorpain, Mira Enketei conduces a rooster cawl and Squirrel distributes proscribed packages.
Arson Ants? Up goes an arm faster than a fire-cracker and Squirrel delivers.
Alternating Current? A hand languidly uplifts and the bundle is passed along from the I’ll. You’re scheduled guest Filospeaker, Mira flashes a grin. They're both Fellows but Alternating Current keeps a low profilo.
Barons & Nobels? All over the Errorpain there are nods and insistent that’s mies. Squirrel darts back and forth until the pissprize-holders and tight heels are quietened.
Braid? A package that looks like the Monster Book for Sci-Fi/Fantasy buffs is tossed like a hot potato.
Cray Field? Squirrel scuttles forward, saying, das ist fire Dich. Viel Spassimodo.
Giovanotto? Squirrel squints at a face at the back of the Errorpain. Eh beh. Albanesi, no? Ponsay. Vedi se c’e qualcosa di bonne nuit in denti. Squirrel smirks and lurches back to Mira.
Hawaii? A stunning-looking brune jeune receives a file, slants eyes sideways and smiles knowingly at Squirrel.
Jonathan? A Forrest of hands shoot into the air. Seconds later the owners of the appropriated information are satisfied.
King’s Inn? A hand is timidly raised, head ducked, apology for any trouble caused. Mais too penses troppo, says Squirrel. By now it’s clear that Mira’s side kick is, if not a candidate for a lunabin, missing many marbles. Someone mutters about Salvatore. Somebody laughs and says Echo.
The list continues. Mira pauses while refreshments are served, covertly watching her flock. Drinks always brake the ice, but things can slow down very quickly. She remembers one year when a newcomer, always hinting about not getting enough, was in and undated faster than she could blink. It took considerable work to revive the victim of its own success.
Pariah Mixmost? A slim set of notes sails down the corridor to be caught by a nondescript occurrence.
Dr Raignore? Whispers and titters ensue. Well known for a distinktive style, this stalwart’s presence is unexpected. Mere discussion of books has been interesting but not enough for this castle of discrete analytics. Mira takes pity and alludes to one of the reasons. You’ve prepared your speech on the Perils of Futile Conjectures? Dr Raignore nods calmly, unperturbed.
Ms Rarebit? Gasps all over the Errorpain. No-one sexpected a Tune to be real. Squirrel eyes the curved carving, mumbling about Kerbe in Bettpfosten.
Stiff Hint? Squirrel groans at the proliferixity of Wanna Bs and rushes up and down the gang sway. A book of yellow drawings falls to the ground and is rapidly picked up with red cheeks. Squirrel grimaces at the offender and Mira frowns. Shut it, she whispers. The Client is Always Right.
Eventually the last few names are called, U Toupee Ha, Vala Diction, Whyte Akre, XZLNZ, Zebedyeah, and they begin the descent into the City hosting the Convention.
***
The first morning of the Convention dawns with clear blue sky and a brisk autumn wind. The attendees gather, lining up at their respective registration tables. Mira is standing with other Interpolators, disgassing the Key Note address, which revolves mainly around middle C. There’s little for her to do once her group is dispatched so she studies the schedule and decides to attend the session on Copywright. Recent industry innovations, changes, mergers, purges, and splurges mean that it’s likely to be a lively debacle. Squirrel is in the Library pearloining books, tales of seamen and Meerjungfrauen being favourites for the ritual. Since all the books have been laminated, salivatoration is hardly a problem. Mira settles herself into a phew! at the back of the large lecture hall. Some introductory addresses, questions and answers limited to five minutes. Any longer and time can’t be adequately provided, and it’s a commodity very hard to acquire even without under-the-table palm-greasing with the Keeper, which adds to the cost of running the Convention. If it weren’t for the participants’ fees...
A sudden commotion at one of the side entrances and a troupe of twelve black-suited investment bankers run wildly into the room, brandishing swords. Since these are mightier than the pen, it’s appropriate to be brandishing swords, you wouldn’t expect sticks, would you? Let’s be realistic – if it’s not some kind of phallic object, you won’t make an automatic assumption about the gender of the sword brandishers, will you? Well, fooled you. They are all sexless robots with no discernible gametes beak-weaved characteristics. Since they are confections of a monetised corporation, that’s irrelevant. But back to the story.
Copywrite vests on us! shouts one, ripping off its suit to show a gilet with the words ‘COPYRIGHT BOT’ printed across it.
We own you now! yells another.
Your content is hours, cop that! screams a third.
What is the meaning–The speaker crumples to the ground with a sword thrust to the heart. Mira jumps to her feet. This was not in the script. All hell breaks wind as the crowd scrambles over chairs, the podium squeakers cling to their lecterns in terror, the stench is sickening and the bots move in a phalange through the participants until close to the stage.
All come quietly, and no-one will be heard, the tallest and most imposting of the bots says in a sinister fashion (the black suit, remember), surveying the trembling mass. Blancmange would wobble less, Mira thinks, circling from the back along the side corridor, texting EMERGENCY to Squirrel, probably worse than useless, so she texts another colleague, perhaps not be as useless, depending on the direction the narrative takes. Mira takes the direction for the stage and confronts the leader.
You’ve obviously been programmed here, she says thoughtfully, eyeing the sword. These recensionists are amongst some of the crème de la crème (they think) and you're proclaiming they're your property. Which, naturally, in order to commercialise at minimal costs, since you’ve created plate-forming opportunities for them to do so, their fecundity jinx are suborned to your capitalist contraption without concern. But why upset the status quo? It’s been working fine. Bliss has been ignorance.
Shut up, Child Bearer! The tallest and most menacing of the bots waves its mighty sword. Where is an Instillator?
The side doors explode open and a White Knight blinks into existence on a precious steed. Before anyone can react, the White Knight ejaculates acid which hits the robots and corrodes their bodies. The White Knight vanishes into vapour as the bots fall steaming into a bubbling morass of black bits. Everyone freezes at the sight. Mira sighs. It’s not as though it’s real. She’ll have to break the ice all over again.
Her colleague enters with a crowd of Polly Cysts, Squirrel is standing at the opposite doorway, gesticulating at another clutch of law-wielders, who run in with buttons on full alert. What happened here, Ms? The Chief Polly Cyst addresses Mira.
As you can see, it’s a disturb–
We’ll have to cordon off the area. Put the witnesses in the dog box. The Chief Polly Cyst scratches a scalp and looks around. Is there a dog box here in the Convention Centre? It’d be easier than having to Angela Carter hysterrier across town. The Polly Cysts move among the surgelé recensionists, laying them onto library carts conveniently located, as best as sub-zero temperature arms and legs allow. The Chief Polly Cyst strides away, talking into a teletalk and giving orders that are pertinent to the situation.
How’re we going to revive them, Mira wonders. Adulatery, Squirrel winks. If they hear they’re being leggered, they’ll réchauffer. Hmm, Mira thinks. The idea is meritocratic. She watches the Polly Cysts collecting the participants, some of whom belong to her own group. She’ll have to persuade the rest of her group to help with reading allowed, she and Squirrel can’t ménage à trois on their own. She follows the cart bearing her group members outside of the theatre, Squirrel trailing her, into an empty meeting room which has already been cleared of desks and chairs, and where frozen lecture attendees are already arranged like statues from a Dali painting, (Squirrel photographs it for posteriority). Mira checks her watch. The first lectures will be finishing now. Squirrel, you take half the list and I’ll take the other. Go round up our group. Tell them it’s an emergency. Tell them, Mira drops her voice, which unfortunately hits her big toe, I’ll make sure their worst fears are realised if they don’t move their butts down here. Squirrel nods and grins. Evilly. Absolute power corrupts absolutely.
***
The Conference is abuzz with news of the ATAC. The organisers have called a staff meeting, but Mira wants her recensionists fine in fettle and ignores the commandment to attend. She and Squirrel have finished rounding up her group and they are now sitting huddled around each of the frozen recensionists belonging to Mira. For all of lunch they read, like, comment, discuss, disparage, disparrot, disappropriate, discombobulate and various other verbs with the prefix dis- the frozen recensionists' recensions. Nothing happens apart from minuscule body temperature rises. Mira calculates this amount of effort will not thaw the frozen recensionists until the last day of the conference next year. She makes a decision and addresses her group.
We don’t know when there’ll be another attack. Or what sort of anaphylactic shock could be provoked. It could be anyone of you in here suffering; it could still happen.
This is an outrage! A few nods and lemmings. The speaker is a brain drain that Mira knows well from previous years. She smiles sympathetically. Absolutely. If you want to put yourself at risk by attending lectures be my guessed. I’m sure most of you would rather have the opportunity to continue with the private coaching and receive fee refunds for the lectures you’ll miss, in exchange for your efforts here to revive your confreres Jacque, yes?
At the mention of free funds, several of the recensionists continue reading, willing to demonstrate their committee to the plan. The drain rejects the idea and Mira indicates the door. A few others leave as well. She makes a note on her list and nods at Squirrel. Nothing a few sock puppet accounts can’t fix.
For the wrest of the week, Mira, her recensionists and her side kick (often worse than a butt kick) work feverishly to revive their Eistern block buddies. It is not until the very last minute, with time to retour to hothells and pack and comprehendez, slowly, that a week has passed in a solid state torpor, that the recensionists are brought back to malleable states of stupor, having missed the entire Entreaty for Corporeality. In the Errorpain, much discussion is underway about the attacks, occurring in a series and a smokescreen for a bigger conspiracy. Since Mira has missed the emergency methings, the narra tiff cannot reveal what she has mist.
The Driver Jean transports them back to the collection point and they alight, bags are unloaded, Mira smiles and waves and breathes a sigh of bas relief. Squirrel is snoring in a corner seat of the bus. So that when (less)
Are you able to float, in water either salty or sweet, without that sinking feeling that commences in your heels and gradually drags you all the way d...moreAre you able to float, in water either salty or sweet, without that sinking feeling that commences in your heels and gradually drags you all the way down, via your legs, through your hips and torso, to a flagstaff position with only the tip of your nose showing until the water closes over it and you are fully submerged? Yes? No? But a trick to the art of lounging on liquid surfaces does exist.
You must breathe deeply, so deeply that not only your diaphragm expands, but your belly as well, in fact, the better you are able to increase the bubble of air in your body the better the effect, and while doing so, lean back into the water as if into the arms of a lover, let your head sink backwards onto your neck thus raising your chin, and gently, very gently, contract your iliopsoas muscle so that your feet drift skywards, toes pointing upright like a row of pebbles in the water. Allow your arms to stretch perpendicularly away from you, feel how the water propels you to the surface, how it caresses you, how you are buoyant and it cradles and cushions you. With practice, you will be able to pillow your head with your arms as you learn to take shallow breaths using only your stomach while you quietly snooze away an afternoon flat on your back, your mind ballooning with aether as your stomach balloons with air.
It sounds impossible? But it is the state requisite to approach The Fountains of Neptune.
With certain reviews floating around Goodreads and the jacket cover description, I was reluctant to slip between the covers of this book – it is not one of the most entrancing subjects, the idea of someone sleeping more than half a life-time through both world wars and awakening to discover loss in all its myriad forms. And this description, since it is the seeming device with which the story is rendered, is the first step along the voyage to misunderstanding the nature of this book. It’s an easy hook to catch a reader, but it is as misleading a reduction of what the book concerns as asserting that Moby Dick is about a big whale. Whether the other books, The Stain, Entering Fire and The Jade Cabinet comprising the Tetralogy, a composition of the elements Earth, Fire, Water and Air, have been read in no way affects the enjoyment of The Fountains of Neptune since it is perhaps Ducornet’s most brilliant and least understood work, commencing with the quote from Melville:
“. . .For here, millions of mixed shades and shadows, drowned dreams, somnambulisms, reveries; all that we call lives and souls, lie dreaming . . .”
Even the first three untitled pages of Part One, although a frame of reference that encompass the entirety of themes rippling through the book, do not hint at the dazzling array of the fanciful and the ferocious, or, to borrow the title of a book of essays in which Ducornet makes explicit the topics which occupy her, The Monstrous and The Marvelous, that are to be found, denizens and treasures of the deep, between the pages of The Fountains of Neptune:
“ . . . the world would perish because the accumulating traumas of human history were poisoning the human soul, just as morphine saturates the lungs and lunar caustic collects in deposits of metallic silver beneath the skin . . . nothing is stranger than reality; the reality of a life spent dreaming . . . Once [the] gardens were allegories . . . Water, both real and metaphorical, is in evidence, everywhere . . . an aquatic maze . . . is still talked about in the village because it fostered promiscuity . . . Nicolas is the survivor of a triality and witness to his family’s tragedy. His answer is coma . . . the Ego forsaking itself . . . “We forget,” she said, “that other mental states exist . . . thought is a process which has evolved over the ages from anterior states . . . Trauma infects our dreams . . .”
The reader is not prepared for what is to swirl over them, although primed for the leitmotifs that dance, like light and dark on the surface of the water, through the story, which conforms, not like a traditional leave-port-A-intending-to-travel-to-port-B-and-while-weathering-storm-be-blown-off-course-before-finally-triumphing-over-misfortunes-and-arriving-soundly-home-the-same-but-different-at-point-A plot, but is a journey through childhood to adulthood and exploration of losing the chart to navigate both and the finding of it in the twilight years of a life. Like the ocean itself, composed of zones: the abyssal through to the pelagic, the book has a multitude of layers. A successful reading requests the ability to sink like a stone or rise like foam, from the depths of the melancholia that pervade the book, to the highs of the lively language that illuminate a comic genius at delighted work:
“The New Hebrewdees or some such. A mere girl I was, no bigger than the Pope’s nose, I learned all I know from the cook, one Madame Pittance, a cut-the-gills-and-don’t-slouch sort of person, proud of her culminary talents – as well as she had a right to be – who instructed me in the arts of cookery and related matters: herbaldry, marketing, pickles, and what have you. A stout woman, this was, not to say obese, and when at fifty she succumbed to auricular ataxia – and it was I who found her headfast in the vinegar barrel and never have I, Heaven help us, seen such various veins (how she must have suffered yet gave no wind of it), I was dramatically propulsed from scullery to kitchery. I hired a miniature Parisienne, old as my shoes but nevertheless up to snuff, to scull in my stead.”
This is the voice of Rose, the concrete ballast in the life of Nini (Nicolas), orphaned at two in a small coastal French village and succored by surrogates Rose and Victor – affectionately named Totor – who are the keepers of the secret that dwells in Nini’s past, and between them they represent the mundane and the magical, but on rotating planes, because Rose’ cooking is prestidigitation, and yet the stuff of the stomach, the everyday, the material existence that keeps Nini’s feet planted firmly on mother Earth, and Rose is a pillar of the community, a devout Catholic, the purveyor of churchly gossip and canonical aphorisms, while Totor is an old sea wolf, devoted servant to Thalassa, singer of shanties and believer in the power of story, who treads lightly on the land because he has the legs of a sailor, and who fails to teach Nini how to fish but instils a reverence for the sorcery of the sea. Totor initiates Nini into the Heavenly Mystery and Hellish Nightmare of the Ghost Port Bar, with its array of crackling, carnevalesque characters who play a part, banal or brutal, in the descent of Nini into the death of innocence and his retreat into conscious unconsciousness:
The Cod: “ . . . a foul tempered hyperbolic . . . used to sitting on horns.”;
The Cod’s Wife: “. . . [kept] in tune . . .” by a gang of three: The Marquis, and twins Gilles and Gillebis (Goat and Twice Goat, or Goat and Brown Goat – and goats are associated with satyrs, who belong to Pan, for their unflagging obeisance at the altar of lust);
Charlie Dee: the chimpanzee, the beloved child substitute of the Cod’s wife, although his “ . . . relations with the Cod’s wife are rumoured “seditious” by Rose” according to after-sermon small talk, and whose manner and name suggest kinship in the tradition of Darwin’s theory;
Aristide Marquis: the mimic, the modern day Marcel Marceau, whose “. . . ancestors were traders in gold and ivory and wax . . . [and] have become scavengers . . .without dreams, tending fires of thorn, fires of dung . . . [taken into] Slavery.”; his name translates from the Ancient Greek as ‘the best type’; and
Toujours-Là: or, he who is always there, with his mesmerising, sinister, tales and his baleful commentary and his readiness to pierce Nini with the double-edged sword of knowledge, dark and corrupting: “Now you know what women are, Nini . . . Blue Beard’s closet is fathomless.” Toujours-Là “. . . is powerful, too, magical, a man of keys . . . to the mystery of parents departed . . . his knowledge . . . is the tantalizing prize he holds up . . . always just beyond my reach.”.
But although each of these characters builds upon and precipitates Nini’s decline into desolation, by either protecting him from the reality of his history, or spurring his efforts to uncover it, or simply dancing as puppets on the strings of the master marionettist who parts the curtains to reveal the glimpses that entice Nini ever closer to his irrevocable plunge: “I had been haunting an underworld . . . I thought of myself as fallen . . . The Cod’s wife was a fallen woman; undoubtedly, so was my mother. But . . . that feeling of falling seemed to reach [back further] . . . I knew the underworld had always been with me . . . a sort of all-encompassing fog . . . that only the truth could cause . . . to lift;” they also regale Nini with some of the most memorable, magical, immersive stories that have been penned since Alice tumbled down a rabbit hole, and in richly inventive, lyrical language that tickles the cockles as it teases the humerus. It is these stories that are the heart of the novel, for these are fountains of joy, fountains of desire, fountains of allusion and allegory and the mystery and fantasy that leaves and forever eludes us once we have tasted of the fruit of the Tree of Knowledge of Good and Evil and surrendered to the squalid reality of a world devouring itself, a world in which no benevolent divinity has ever existed and malevolence appears to reign supreme; if the reader yearns for a restoration to the wonder of childhood, the ecstasy of Keats on First Looking into Chapman’s Homer, the delight of diving into unfettered imagination and rediscovering untainted curiosity, this then, is the current that eddies through the novel and sustains it even as Nini is sucked into the maelstrom and lost in the mere of his dreaming.
Here, with typical comic irreverence, Gilles and Gillesbis discuss the fate of Bottlenose (not a porpoise, but nosed like one), who represents the delusion of pursuing material satisfaction at the expense of the spiritual: “Everybody goes crazy sooner or later,” says Gilles. “Just look at – ” “Bottlenose!” “He had a nose for fishes . . . and so he thought he had a nose for – ” “Riches!” “He was crazy for adventure – ” “Farted higher than his arse!” “He had this obsession. Should have been smelling – ” “Fish!” “Not the fumes of – ” “Fancy!” “Bottle and Jeanne d’Arc – both crazier than – ” “Bedbugs!” “He was always a brooder – ” “Hatching castles in the sky!” “He dreamed of a skull – ” “Filled to the brim – ” “With pearls!” “So Bottlenose went cir – ” “Cum – ” “Ambulating! Me and my twin brother here, we ain’t – ” “Dreamers!” “We ain’t poets!” “We ain’t pre – ” “Sumptuous!” “And [whoever’s] in Heaven – ” “Feeling charitable,” “And if in Hell – ” “Too occupied – ” “Begging for mercy – ” “To care!”
And these snippets of conversation reverberate and ricochet in macabre combinations when Nicolas retreats into coma at the end of Part One, after Toujours-Là has seduced him into seeking out the terrible, destructive, knowledge of his murky past and he gazes into the luminous surface of the river and sees a face, the face of Totor’s Vouivre: “ . . . enchantment – a warm-blooded aquatic animal. Crab and girl, serpent and siren . . . she lives a peaceable life . . .Nicolas, you may see her just once, for she can’t be seen twice, else you pay for your curiosity with blindness or your life”; Nini is struck with divine insight and sees the face of his mother Odille (The Black Swan – narcissistic, egotistic, and concupiscent), at long last, and falls into the water to become “a prisoner of that dream [he] was dreaming when, no bigger than a fish, [he] swam [her] salty womb beneath her darkly brooding heart.”
For all the stifling efforts of practical but prosaic Rose to prevent his discovery of the ancient treachery, and Totor’s quiescent and accomplice-after-the fact avoidance of truth, the persistent endeavours of Toujours-Là to wrest the scales from Nini’s eyes succeed, and it is Aristide, the best among them, the alchemist who spins the straw of words into the gold of stories who drags Nini from the river, drowned in a coma. Where, amongst this company of adults, each well-meaning but ignorant according to their individual interpretation of the world, is the beacon to illuminate Nini’s passage back from a uterine dreaming?
Having read Ice prior to this (oops, there's a review beckoning), when Kris suggested this to me I promptly dropped everything else (including Proust...more
Having read Ice prior to this (oops, there's a review beckoning), when Kris suggested this to me I promptly dropped everything else (including Proust - sorry P - not to mention the other dozen books alternately languishing and luring on my currently-reading shelf) and plunged headlong into another Kavan world, this time one of intense, sweltering heat.
I'm not keen on rehashing a book but the setting and some of the events require mention here. I was a complete tabula rasa upon which the late Ms Kavan could paint her magic - from the opening pages I had imagined myself in either India or Pakistan with the descriptions of unrelenting monsoonal weather and invasive tropical flora and fauna and appropriately clad and inscrutable locals. That the book is set in Myanmar (Burma) I did not discover until emerging from the cocoon she had created, when I also read, during a few frenzied 'net searches, that she was a teenage bride married to a detested older man and living in Myanmar during the first year of her marriage; the semi-autobiographical patina that pervades the book and confirms, rather than informs, my reading.
If there is a fault with Who Are You?, it is that, in comparison with Ice, Kavan has an agenda (not of itself a problem) which she fails to execute in the limpid, sleight-of-hand manner she achieves in her final book. The oppression of the surrounding jungle, the threatening storm, the conniving servants, are a reflection of the constraints in which she has placed the female protagonist and the male antagonist, and rather than reflect her as a feminist, actually seem to point at Kavan's own sense of failing to break free of the coercion, repression, and limitations imposed on women by society during Kavan's lifetime.
The female protagonist remains a victim, passive, despite the dual endings which hint at a potential escape, never chronicled, and the male antagonist is depicted as equally vengeful and oppressive in both of the (intimated but never fully realised) coup de grace. Indeed, the double denouement seems contrived, because there was very little variation in either motive or action for protagonist and antagonist, no emotional growth nor (even vague) resolution, hence I was left wondering: to what purpose? The re-written passages were fleeting and the questions in both alternatives at which Kavan hinted were answered with echoes. As a device, interesting, and yet perhaps telling, seeming to point towards Kavan's state of mind and perception of reality, her sense of (her lack of) freedom and choice, even though in the years that she wrote Who Are You? she had attained some stability, autonomy, and identity of self.
While this may be contentious, I would also posit that Kavan lacks a 'modern feminist's' sensibilities, simply because 'feminist' is an anachronistic term deserving to be replaced by, as a suggestion, 'humanist'. Although the males in the book appear in multitude (there is only one other female who actually appears as opposed to being referenced), there is no male of substance or quality in the book - even the protagonist's 'saviour' is described in scathing, unflattering terms, without needing to be considered or presented as a knight in shining armor. Are all males so superficial, so irrelevant, so puerile, so controlling and aggressive or manipulative? This is not a balanced view of the genders, even if collectively, the one oppresses, with the collusion of the other.
The antagonist's 'aggressor' (not the protagonist's 'saviour') is also described brutally, and is, no less, a male of savage and barbarian demeanour. This vilification of the male gender is not, in this reader's opinion, a feminist perspective, if feminism is deemed to be about changing perception, power dynamics and status quo.
The prose is written in third person present tense and required a few pages to adjust. It is sublimely evocative, but there are instances where it descends into bludgeoning, the depiction of character serving to act as a mouthpiece for presenting the opportunity inherent in unbalanced (in the sense of power) relationships for misunderstanding, misinterpreting, and misreading of gestures and speech. Where the dialogue is sufficient, the insights into the characters apt, Kavan takes an unnecessary step further to compound the message that couples in extreme (almost surreal) circumstances behave perfectly rationally in an utterly absurd and grotesque manner.
Who Are You? suffers in comparison with Ice only because the latter shows a maturation, an acceptance, a graphic illustration of entrapment in circumstances through choice and action, but withholds judgement on both protagonist and antagonist and even setting. Who Are You? is no less worthy of being read, despite that lack of authorial distance.
Anna Kavan is a writer who I will be reading again, even if I commenced the journey with her magnum opus rather than her earlier works. I've yet to see a lesser-known (dead) author of the twentieth century more deserving of attention.(less)
I cannot think - I can only respond as the string of a violin quivers under the drawing of a bow. This is prose so voluptuo...more Ah! This writer is sublime.
I cannot think - I can only respond as the string of a violin quivers under the drawing of a bow. This is prose so voluptuous that no amount of imagery, sumptuous, voluminous, sensuous or rapturous can even begin to describe the delights of this book.
Literature only reaches the utmost limit of its seductiveness when it gives occasion for jealousy - not the petty feelings that constitute envy of one writer for another, but the searing, tumultuous emotion that demands withholding its beauty and wonder from the eyes of all other readers.
Ah! Another teetering indecision writ large. More than four and less than five* (because as a matter of taste, Gazelle is so lyrically beautiful that...more Ah! Another teetering indecision writ large. More than four and less than five* (because as a matter of taste, Gazelle is so lyrically beautiful that Netsuke, for all its brilliance, its macabre sensitivity, its fever dream quality, it rattles rather than ravishes) and my longer review to follow.
Suffice to say (au ce moment) that it is shocking, but not in the closet-prude-turned-avid-voyeur way...shocking in its execution, its exploration, its ethereal decadence and its twisted rendering and its unavoidable fascination - a train wreck in motion approaching its inexorable conclusion...
******
I recommend this book as other than the first foray into Ducornet because this is a writer who commenced powerful (and powerfully) and has developed and extended her range in such a way that to ingest of her, like partaking of finely aged and accented wine without having learned to appreciate the gradations of structure, vintage, palate, and bouquet and pronounce it thus the equivalent of mass-produced and vat-manufactured fermented fruit less than fit to be included in the concoction of the blushful Hippocrene, sans the experience of her transition from gifted raw to genius sophistication risks lacking the necessary apperception and raffinesse to discern the nuances of the story as it unfolds.
Which it does, on a number of levels. The voices of the protagonists are discrete, differentiated and sustained for the length of the novel, irrespective of whether Ducornet employs the first-person point-of-view (which she does, to astounding effect and lending an immediacy all the more acute and penetrating, in present tense) or omniscient narrator, and despite a spare, stark, prose, brutal in its impact, which is not her hallmark style, but which suits the character of her lead protagonist and creates the sense of impending, unavoidable doom that propels the story to its final annihilation. There is no redemption, no reassembling, no means to thwart or defeat the outcome of succumbing to compulsion.
This ability that Ducornet exhibits to craft her prose according to the atmosphere required of that which she wishes to explore, that to which she wishes to direct our attention and force our appraisal (of ourselves and the situation) is reflected in both the title of the work and the netsuke comprising part of the protagonist's collection of art pieces in which he professes so little aesthetic interest, and which inform his personality, his perspective and raison d'etre - the objectification and compartmentalisation of each aspect of his life as a means to deal with his Existenzkrise. That his wife is Japanese is not because she embodies a fascination with the culture but because she is emblematic of its elegance and ethereality, the purity of its precision, its lack of ambiguity, exemplified in the netsuke, miniature sculptures used as toggles to secure small containers to the obi of kimono and kosode, and traditionally worn to adorn men.
The imagery created by the prose demands the reader's willing collusion; but expect scenes to remain long after closing the book. Not because of graphic description of action, but because of graphic allusion. That is a degree of skill that few modern writers evince, let alone master. And it is perfectly suited to the material Ducornet treats here. Avoid reading this book if you expect a pop-corn style reality-docu-drama of a taboo subject - you'll be disappointed. But if you would allow yourself the vicarious experience of a relentless, sensuous, descent into hell, reading this book will bring its own provocative reward.
So, I...uh...had a deal with spenke I was supposed to be knifing open the satsuma plum of my Vonnegut chastity belt with Breakfast of Champions. But,...more So, I...uh...had a deal with spenke I was supposed to be knifing open the satsuma plum of my Vonnegut chastity belt with Breakfast of Champions. But, you know, patience hasn't been coded into my DNA, let alone cultivated as one of my virtues (sic).
In 1999, Kurt Vonnegut was asked to write an an epitaph for the 20th century. His response?
"I have written it: The good Earth — we could have saved it, but we were too damn cheap and lazy."
2 B R 0 2 B (RIP Shakespeare) is a flash fiction he wrote in 1962. Back in the good ol' days of closed, equilibrium state systems, Friedman economics, white male supremacy and the little lady at home, burgeoning consumerism as the slipslide into "utopia", and "Duck and Cover" as your friendly neighbourhood mantra in the event of a nuclear warhead coming to a cinema near you.
Vonnegut extrapolated into a future and you know, he wasn't too far wrong. It's not so much his vision that was imperfect, as the fact that physics had yet to pronounce to all and sundry that although the status quo is infinite and everywhere, like wave-particle duality when seen from the perspective of the observer it doesn't behave independently or even with necessary predictability. So what we have sixty years after Vonnegut's peek into our future is ineffective population control in the face of population growth, rather than the demand = supply steady state scenario of his story, and a continuation of resource appropriation enforced via an oligopoly of corporation-states, as opposed to the euphoric prosperity for all that is the corollary of that steady state.
"Everything was perfectly swell.
There were no prisons, no slums, no insane asylums, no cripples, no poverty, no wars. All diseases were conquered. So was old age.
Death, barring accidents, was an adventure for volunteers."
That's the opening scene. But Vonnegut doesn't go for the global perspective, he bats the ball straight into middle class suburbia and takes out a father obliged to choose which one of his three new born offspring will survive, since only his own father has offered to partake of euthanasia in order to maintain the balanced equation.
This is witnessed by the artist who is painting a garden mural - think Hieronymus Bosch' Garden of Earthly Delights and the ambiguity of what Bosch intended with his triptych - to be populated by the likenesses of the medical staff responsible for delivering life and simultaneously extinguishing it. The painter, two hundred years old, displays a callousness that indicates his contempt not just for the society in which he lives, but for the society which will follow him should he choose to commit suicide: "...express[ing] with an obscenity his lack of concern for the tribulations of his survivors."
In the aftermath of the means the father uses to resolve his state-imposed moral and emotional quandary, the painter "...ponder[s] the mournful puzzle of life demanding to be born and...fruitful...to multiply and to live as long as possible...on a very small planet that would have to last forever. All the answers...were grim." He reneges on his professed disdain and schedules himself to be euthanised, and is thus eulogised by the terminating staff: "Your city thanks you; your country thanks you; your planet thanks you. But the deepest thanks of all is from future generations."
It's not something we can expect from ours, given that we've been too damn insular and apathetic.(less)
Although Myrdal's title addresses itself to social research, his message is aimed at the insular and ivory towers of neoclassical economics, particula...moreAlthough Myrdal's title addresses itself to social research, his message is aimed at the insular and ivory towers of neoclassical economics, particularly with respect to development economics, in which so much of policy prescription is based on a normative science which not only pretends a positive fundament, but self-consciously and purposefully obfuscates any attempt to redeem itself of its fallacious self-appraisal, its faulty theoretical framework, and its biased methodology.(less)
I am sitting here with a USB stick I have just received from Australia, compliments of my mother, on which she has painstakingly copied hundreds of fi...moreI am sitting here with a USB stick I have just received from Australia, compliments of my mother, on which she has painstakingly copied hundreds of files from the floppy disks of my youth, amongst which I am convinced lies the key to my writerly fame and fortune.
(The last said very much tongue in cheek - not that I'm not convinced, just that I'm a fool. For thinking that either the files are readable - most are not, we're talking files that pre-date even MS DOS - or that fame and fortune await if I even manage to open the blighters.)
This book...this book...I read in Mozambique, in love and in lust and completely, absurdly infatuated with my delinquent, mendicant lifestyle and utterly terrified by the sneaking suspicion that it would sooner or later end in disaster (I suppose you could say it did, or it didn't, depending on which end of the conformity-to-convention spectrum you choose to sit).
Since I can't remember tiny iota of what Huxley wrote, other than that his words left me profoundly shaken as well as stirred, here are the collected quotations I stored and today managed to resurrect....Oh yes, and you can poke fun at my out-of-date (like the files) method of quoting, as well.
"...there's only one solution...l-o-v-e. Or if you prefer, the decent obscurity of the learned languages, agape, caritas, mahakaruna.". Ibid., p. 24.
"What a gulf between impression and expression!...our ironic fate - to have shakespearean feelings...the pure lyrics of experience [transmuted] into the verbal equivalents of tripe and hogwash.". Ibid., p. 36.
"...husbands: insupportable, but worth it....[?]...". Ibid., p. 43.
"...anger translates too well to lust, and sorrow surrenders to sensuality.". Ibid., p. 91.
"...morality is simply the systematic use of bad language.". Ibid., p. 94.
"...the divine was...in the nocturnal apocalypses of love...". Ibid., p. 98.
"What's lemonade? Something you make out of lemons. And what's a crusade? Something you make out of crosses...". Ibid., p. 102.
"...neither a methodist nor a masochist be.". Ibid., p. 103
"...the inner predestination of temperament and character...[and] the predestination of events...". Ibid., p. 115.
I'll never know whether it was the homage as apology that prefaced this book which coloured my reaction to it. My suspicion, however, is that it played a minor role.
I dug out the two preceding books and rifled through each after I finished The Ascension Factor. Rather fearfully, in fact. I was hoping that my memory of both justified the five star ratings I'd given, simultaneously sad that the premise set up in the series should have come to such a dismal end, and worried that in actuality The Jesus Incident and The Lazarus Effect were as poorly written and trite as The Ascension Factor.
One of the things which reportedly frustrates people about Herbert is his prose. He doesn't explain his meaning - the reader must sift through clues, piece together snippets, hold multiple abstract concepts simultaneously in sight. He does not elucidate beyond a chapter quote that teases a direction of thought. It was this brilliance that was most clearly, and quite painfully, missing from The Ascension Factor. The n-dimensional perspectives that Herbert brings to his work, the nuanced meaning and cryptic references to ideas that entice groping towards understanding, were wholly absent. This book was void (pardon the pun) of Herbert's ability to interweave themes through subtlety and inference.
So talking about the plot is a bit of a farce. It all went . . . nowhere. It didn't finish on a note of grand vision or even abstruse complexity. It was a let-down of quantum proportions.
To be fair to the real author of this work, which is not Frank Herbert but Bill Ransom, who in their right mind would want the thankless task of trying to put pen to the path blazed by Herbert? A brave soul, indeed, if a well-meaning and somewhat foolhardy one.(less)
This book is an analogy for how we justify enjoying our good fortune obtained though the enforced suffering of others. Whether it is within the circle...moreThis book is an analogy for how we justify enjoying our good fortune obtained though the enforced suffering of others. Whether it is within the circle of your own family, your neighbourhood, your state or your country, there is a chain of events, circumstance, belief and acquiescence which continues to sustain an amoral inequality in our local and global societies. We wouldn't need this book or others like it if reality was different.(less)
Sometime before my tenth birthday I read this book for the first time. I hated it. And I read it again. And again. I still hate it. And the Disney ver...moreSometime before my tenth birthday I read this book for the first time. I hated it. And I read it again. And again. I still hate it. And the Disney version is even worse.(less)
No. Those three stars are because this book has not read me. This book is utterly, if adroitly, contrived. It is belletristic masturbation of astoundi...moreNo. Those three stars are because this book has not read me. This book is utterly, if adroitly, contrived. It is belletristic masturbation of astounding proportions.
The three stars are an acknowledgement of Mr Mitchell's deliberately smug composition....see remainder of review at www.abookwithaview.com and the comments for a raise-the-eyebrows and dimple-the-cheeks discussion.(less)
I saw the movie on the plane (where else) and was frantic to surf the 'net to find out more about it when we landed. I wanted to understand more about...moreI saw the movie on the plane (where else) and was frantic to surf the 'net to find out more about it when we landed. I wanted to understand more about the book, its author, the concepts, and background. Big screen (well, in this case, the small screen on the back of a plane seat) is terrific but ephemeral, whereas with a book I have time for distractions, cogitation, re-reading (and checking things on the net!). You might argue that I can fiddle with 'Pause', 'Rewind', 'Forward' and (several iterations later) 'Play', but this tends to have the undesirable effect of tossing me out of my utterly physiological entrapment within the film. The beauty of a book is that it is really all in my head! And that's what I would like to discuss here.
Chris Nolan's treatment of the book was brilliant, precisely because of the medium; fast-paced, fore-shadowing, and with a judicious and welcome lack of gratuitous violence and special effects. But it doesn't do justice to the subject matter that Chris Priest wanted to, and effectively did, explore.
Priest's book is a marvel no less worthy precisely because it is a book! The book is written in three parts, each part representing one of the three elements of a magic act, and each part cleverly reflects the nature of the element it represents (bear that in mind when reading nay-sayers who think the opening setting is irrelevant). Nolan did condense parts of the book and the condensation works perfectly in a movie. Priest's original material is able to play with the nature of a magic act in a way Nolan could not, because of the shortening required for a screenplay.
Nolan made an emotional grab for the guts with the motivation he set up for the characters - and that is also a function of the medium. A film doesn't have the luxury of time that a book does. Priest's book, on the other hand, delves much more in the psychology of its protagonists without a quickly discernible (and emotionally acceptable) cause-and-effect providing the basis for the competition between the two magicians.
The book's haunting ending achieves a level of ambiguity the movie fails to translate (and Nolan is known for his lack of black-and-white, cut-and-dried endings). Images from the film still sit with me, but scenes from the book that I have imagined myself resonate far longer, and with far many more questions.
I think it is probably better at this point to recommend reading the book (keeping in mind that it is a book and the film is a successful adaptation) than saying anything else, because even if you have seen the movie, the book is sufficiently different that I would have to start on the path to spoilerdom. And this is a novel which deserves the innocence of an audience waiting in anticipation for the curtain to rise.(less)
The Gods are SMILING!!! Die Goetter lachen sich tot!
I'm a first reads winner! Unglaublich. Das Buch aber ist auf Deutsch. Das wird ja interessant, ein...moreThe Gods are SMILING!!! Die Goetter lachen sich tot!
I'm a first reads winner! Unglaublich. Das Buch aber ist auf Deutsch. Das wird ja interessant, einen Rezension zu schreiben!
Update:
Ok. I admit it. I just couldn't plough through the really, really, really, really, really, really (even by German standards), really long non-verbal scenes.
But...the dialogue was just so apt! I used work at one of the largest City firms in London and believe me, lawyers, whether English or German, talk exactly like this.
So...the book received the usual treatment of first 3 chapters and last chapter and skimming everywhere else when I cannot summon sufficient concentration. I gave this book away to my father-in-law (he's a retired judge) as a Christmas present. Unfinished.
Verdict: my father-in-law really enjoyed his present (which is why it is sitting on my 'read' shelf and has three stars. He didn't mind the long-winded passages, and we both liked the plot).(less)
What did I think (that teasing little prompt to write a review)? Lindstrom's book reads more like a fiction novel!
If you can wade through the overblow...more What did I think (that teasing little prompt to write a review)? Lindstrom's book reads more like a fiction novel!
If you can wade through the overblown prose (read author's sense of self-importance, borrowed deux ex machina and cliff-hanger endings to various chapters, all of which fizzle out along the way), Lindstrom actually has some sound advice for consumers!
If you value your purchasing sovereignty, read this book (and borrow it from the library, so as to avoid 'buying' into Lindstrom's hype). Marketeers are already implementing some of the ideas in this book, rightly or wrongly (and not considering the ethics and the funding of the research Lindstrom undertook).
How does a brand smell? Taste? Feel? Look like? Sound? And specifically, given the demographic in which you, as the customer, most likely fit, which representation of these characterisics should a brand/product have in order to engage your 'impulse buy' mechanism?
Ultimately, if you can determine what it is that drives you to purchase something, you're better protected against mindless consumerism. It might have not been the point Lindstrom wanted to make, but that's certainly the message I took from the book. Buyer beware.(less)
A small piece of background is probably useful before plunging into the review 'proper'.
Caris (I've moved from Mr O'Malley to the more familiar term a...moreA small piece of background is probably useful before plunging into the review 'proper'.
Caris (I've moved from Mr O'Malley to the more familiar term at his invitation) and I became acquainted during the manic month known as NaNoWriMo, he as the die-hard spewer of the requisite 1667 words per day, I as the innocent reviewer of said words. It wasn't really a match made in heaven, since he specialises in a level of violence which makes Tarantino seem like Peter Pan's Wendy on a bad hair day (think Pulp Fiction where Travolta blows the brains out of someone, blood spraying everywhere and messing up the car rear window multiplied by a factor of infinity), and my reading tastes tend to coincide with those of a young middle-grader. The one scene in his Clownstory where we connected was when the hand of his hero/protagonist welded itself to a knife. As a serious and critical reviewer, I asked whether he was intending that the protagonist's other hand should also weld to the knife, thus making 'our hero' a completely hands-on dispatcher of insane clowns. As it turned out, I'm given to understand the suggestion had merit, but related little to the underlying theme of violent television programs, thus the protagonist served the purpose better by having his other hand make irreversible contact with an idiot box, before proceeding to nullify said clowns.
We briefly colluded on his review thread of Mykle Hansen's Ethical Cannibals where he promised to complete a collaborative project with Mr Hansen as a Part II entitled How to Assemble the Perfect People Taco. The conception was Caris' reading this break-through author, who, in lamenting the overlap with his own work, forms the basis for beginning this review. Caris' idea was given further credibility when acclaimed activist K.I. Hope, described it as "the best idea in the history of literature."
Which left us both at an impasse. Caris' imagination clearly attracted my own. So, in a moment of supreme sensibility he crafted the The Egg Said Nothing - Puppy Version, which I will now proceed to review.
We have a number of different interpretations which can be placed upon this novel. A well-received existentialist explanation defies description. In the same vein, although somewhat more pragmatic, if a little phlegmatic, this reviewer noted many boxes had been ticked and approved the psychic aspect of The Egg Said Nothing.
At least once, a reader felt so removed from his own reality as to envision himself falling asleep at the wheel in order to remain 'at one' with the book. The lack of spelling mistakes also indicates the depth of meaning this book can inspire.
The existence of the Egg itself could be said to have sparked controversy. What is its true meaning? Is it, in fact, a metaphor for gender roles? Does it signify the potential for developing a nesting instinct? Is it an analogy for a future in which both sexes will reproduce?
In ending this review, which has attempted to explain the fundamental temporal and mannyfold premise upon which this novel is built, let us return to K.I. Hope, who provides a lucid metaphysical deconstruction repeated elsewhere, mirroring the coda of The Egg Said Nothing.
If you've noticed the tags I've chosen for this book, you're probably wondering if I've made a mistake about the book I think I'm reviewing. A book wh...moreIf you've noticed the tags I've chosen for this book, you're probably wondering if I've made a mistake about the book I think I'm reviewing. A book which should be in its early stages of causing a tsunami in its effects on the way we view sentience. Let those tags be your guide.
A full-disclosure clause, because although I don't know the author, I'm the person about whom she is writing. That's how I feel every day of my life, in my mind, in my reality, as another sentient entity.
To explain the last sentence would mean I have to 'spoiler' my review. So I won't do it except by saying that, in further full-disclosure, I'm not going to read the entirety of this book. Because the reality that Ms Hope describes is what I experience every day, in my mind, when I observe my other fellow sentients, from whom I feel hopelessly, ineluctably estranged. It is a suffering too harsh to bear in the written word as well as in my daily existence.
You'll have to read the book for yourself to understand why Ms Hope has so brilliantly captured what it feels like to be a sentient entity unrecognised.(less)
David Maister addresses the psychology behind professional services firms, explaining what makes partners tick, the business model that generates the...moreDavid Maister addresses the psychology behind professional services firms, explaining what makes partners tick, the business model that generates the most profit, how to effectively and efficiently manage labour resources, and what are the necessary ingredients for long-term, repeat-business relationships. This is a must-read for anyone working for or consulting to professional services partnerships.(less)
It might help to understand Burrough's prose if approached from a state of mind otherwise altered (use Zen, Yoga, prayer or any other substance of cho...moreIt might help to understand Burrough's prose if approached from a state of mind otherwise altered (use Zen, Yoga, prayer or any other substance of choice).(less)
Sherlock is lost on the plane! The culprits are identified (and harangued) but can our intrepid lost baggage service locate the missing collection!?!?...moreSherlock is lost on the plane! The culprits are identified (and harangued) but can our intrepid lost baggage service locate the missing collection!?!?! Watch this space.
A very enjoyable romp through a bygone London. Lots of lovely ideas to plagiarise if I had any inkling (or aspiration) to be a crime writer. Really, Conan Doyle should be included in creative writers' courses.(less)