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Adventure and Redemption
I received this book for free through Goodreads First Reads.
Is the Bible really gospel truth? This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, Gospels. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore Gospels is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled Gospels, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, Gospels is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.
Is the Bible really gospel truth? This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, Gospels. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore Gospels is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled Gospels, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, Gospels is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.
Cyn Armistead (14 KP) rated Moon Fever (Includes: Primes, #6.5) in Books
Mar 1, 2018
This was one of those "I finished the last thing I was reading and I'm bored, what's already loaded on the iTouch?" reads. It was on there because the anthology includes [a:Lori Handeland|17060|Lori Handeland|http://photo.goodreads.com/authors/1236700197p2/17060.jpg]'s "Cobwebs Over the Moon" (Nightcreatures, #10) and I read all of that series a while back. I didn't care to read the rest of the anthology at the time, but I hadn't gotten around to deleting the book. Ah, happy digital packrat am I!
If I've read anything by [a:Susan Sizemore|88608|Susan Sizemore|http://photo.goodreads.com/authors/1254303347p2/88608.jpg] other than "Tempting Fate" (Primes #6.5), it was eminently forgettable. I'm absolutely sure that I haven't read anything else in her <a href="http://www.goodreads.com/series/41947-primes">Primes</a>; series, because I probably would have thrown said material firmly into the nearest hard surface (or whatever the equivalent is with bytes) because of the insanely annoying number of times Sizemore feels it necessary to remind us that her vampires are Primes! Alpha Primes! They are! Really! And that means they fight a lot! Especially over women! Otherwise, it's a Mary Jane story set in New Orleans. I have a strong feeling that most of the Primes series is Mary Jane-ish, but I may at some point be trapped and forced with the prospect of staring at the inside of my eyeballs or reading more of Sizemore's stuff. I'm not sure which would be worse right now. I'll get back to you on that.
"The Darkness Within" by [a:Maggie Shayne|17064|Maggie Shayne|http://photo.goodreads.com/authors/1215028948p2/17064.jpg] feels terribly familiar, although I'm sure I haven't read it before. I have, however, read other Shayne novellas in other anthologies, and this story follows a familiar pattern. Sexy gal who doesn't think she's attractive has had a run of hard luck and may lose the house she has bought relatively recently and loves. Said house has a spooky past that she didn't know about when she bought it. Stalwart too-sexy-for-her man gets involved somehow, preferably in a way that allows her to question his motives. They are inexplicably drawn to each other and screw like bunnies (or near as makes no difference), then blame their lapse in judgement on whatever weirdness is going on in the house. (Yep, that's what they all say - and no safer sex anywhere! Does paranormal activity preclude discussion of sexual history and prevent STD transmission?)
"Cobwebs Over the Moon" by [a:Lori Handeland|17060|Lori Handeland|http://photo.goodreads.com/authors/1236700197p2/17060.jpg] (<a href="http://www.goodreads.com/series/41626-nightcreature">Nightcreatures</a>;, #10) isn't the most logical entry in that series. Neither is it the most illogical - but by the tenth entry, the series' mythology has gotten a bit ridiculous, so I don't know why I even bother bringing up something as irrelevant as logic. Silly me! In every book, we're introduced to a woman who is in some way tangled up with werewolves, then to a man who is tangled up with her and/or the creatures and, of course, whose loyalties are uncertain. There is always an element of danger to add spice to the romance that has to grow between the two. The formula never changes at all. There are always evil werewolves, but sometimes there are also good ones. If you like predictability in your paranormal romance, <a href="http://www.goodreads.com/series/41626-nightcreature">Nightcreatures</a>; is a great series for you.
I suppose [a:Caridad Piñeiro|2944621|Caridad Piñeiro|http://photo.goodreads.com/authors/1305975476p2/2944621.jpg]'s "Crazy for the Cat" isn't technically any better or worse than any of the other three stories. There's more variety in the shapeshifting and the main setting is the Amazon jungle. I couldn't get past the bigotry and colonialism, though. Dark is bad, light is good, of course! Those poor benighted natives couldn't possibly handle a few rogues without that white woman, could they? Spare me.
If I've read anything by [a:Susan Sizemore|88608|Susan Sizemore|http://photo.goodreads.com/authors/1254303347p2/88608.jpg] other than "Tempting Fate" (Primes #6.5), it was eminently forgettable. I'm absolutely sure that I haven't read anything else in her <a href="http://www.goodreads.com/series/41947-primes">Primes</a>; series, because I probably would have thrown said material firmly into the nearest hard surface (or whatever the equivalent is with bytes) because of the insanely annoying number of times Sizemore feels it necessary to remind us that her vampires are Primes! Alpha Primes! They are! Really! And that means they fight a lot! Especially over women! Otherwise, it's a Mary Jane story set in New Orleans. I have a strong feeling that most of the Primes series is Mary Jane-ish, but I may at some point be trapped and forced with the prospect of staring at the inside of my eyeballs or reading more of Sizemore's stuff. I'm not sure which would be worse right now. I'll get back to you on that.
"The Darkness Within" by [a:Maggie Shayne|17064|Maggie Shayne|http://photo.goodreads.com/authors/1215028948p2/17064.jpg] feels terribly familiar, although I'm sure I haven't read it before. I have, however, read other Shayne novellas in other anthologies, and this story follows a familiar pattern. Sexy gal who doesn't think she's attractive has had a run of hard luck and may lose the house she has bought relatively recently and loves. Said house has a spooky past that she didn't know about when she bought it. Stalwart too-sexy-for-her man gets involved somehow, preferably in a way that allows her to question his motives. They are inexplicably drawn to each other and screw like bunnies (or near as makes no difference), then blame their lapse in judgement on whatever weirdness is going on in the house. (Yep, that's what they all say - and no safer sex anywhere! Does paranormal activity preclude discussion of sexual history and prevent STD transmission?)
"Cobwebs Over the Moon" by [a:Lori Handeland|17060|Lori Handeland|http://photo.goodreads.com/authors/1236700197p2/17060.jpg] (<a href="http://www.goodreads.com/series/41626-nightcreature">Nightcreatures</a>;, #10) isn't the most logical entry in that series. Neither is it the most illogical - but by the tenth entry, the series' mythology has gotten a bit ridiculous, so I don't know why I even bother bringing up something as irrelevant as logic. Silly me! In every book, we're introduced to a woman who is in some way tangled up with werewolves, then to a man who is tangled up with her and/or the creatures and, of course, whose loyalties are uncertain. There is always an element of danger to add spice to the romance that has to grow between the two. The formula never changes at all. There are always evil werewolves, but sometimes there are also good ones. If you like predictability in your paranormal romance, <a href="http://www.goodreads.com/series/41626-nightcreature">Nightcreatures</a>; is a great series for you.
I suppose [a:Caridad Piñeiro|2944621|Caridad Piñeiro|http://photo.goodreads.com/authors/1305975476p2/2944621.jpg]'s "Crazy for the Cat" isn't technically any better or worse than any of the other three stories. There's more variety in the shapeshifting and the main setting is the Amazon jungle. I couldn't get past the bigotry and colonialism, though. Dark is bad, light is good, of course! Those poor benighted natives couldn't possibly handle a few rogues without that white woman, could they? Spare me.
Heather Cranmer (2721 KP) rated How to Save a Life in Books
Jun 7, 2018
(This review can also be found on my blog <a href="http://themisadventuresofatwentysomething.blogspot.co.uk/">The (Mis)Adventures of a Twenty-Something Year Old Girl</a>).
I won this book off of Facebook or Twitter; I forget which. I had totally forgot about this book, I'm ashamed to admit, until I was tidying up my bookshelf and came across it again. I'm glad I came across it again as it's definitely become one of my favourite reads of 2012.
Jill's dad has only recently died, and already it seems like her mother wants to replace him with a new baby. Enter Mandy. Mandy is a pregnant teen. She wants to give her baby up for adoption, and Robin, Jill's mother, seems like the perfect person to adopt her baby. Will Mandy and her baby help fill the whole in Robin and Jill's heart? Will Mandy feel loved? What if Mandy decides to keep her baby? Told from both Jill's and Mandy's point of view, this book will tug at your heart strings.
I don't really get the title to this book. Maybe there's some kind of hidden message behind the title, and I'm missing it, but I really don't understand why this book is called How to Save a Life. Perhaps it's to let the reader know that this book will be very emotional.
The cover suits the book especially when it comes to the character of Mandy. Once you read the book, you'll definitely think this cover suits the book. I won't say too much due to spoilers, but just take my word that it does indeed suit the book.
There's really not much to the setting of the book. It mostly takes place at Jill's house in Denver and a few other little places like Jill's school or restaurants. However, the setting of this book is done rather well, and it sounds like Denver!! I mean, I've never been, but it's what I'd imagine it to be.
The pacing was brilliant! It was so hard to put this book down. I was hooked beyond belief. At no point does the pacing slow down enough to become boring. Each chapter is interesting!!
The dialogue was perfect. The two main characters are teens, and I felt their language was appropriate for teen girls. There were a couple of words I didn't understand, but I think this was just down to me not knowing the what the word meant as others probably know what it means. However, this didn't take away from the story in the slightest. There are a few swear words, but not too many.
I loved the characters in this book!! Mandy was my favourite character. It felt as if Mandy's mother had brainwashed her into thinking all sorts of things, so Mandy comes off as being a bit socially inept. She's definitely a bit weird because of it, but that's what I loved about her. She has this sort of innocence and naivety that is both sweet and charming. I also loved Jill. She starts off with a "screw the world" attitude, but it's obvious she's only acting that way because of what she's been through. Jill is actually quite a sweet girl. As for Dylan and Ravi, I also loved them both. Dylan is very caring and comes across as the type that's nice to everyone no matter what. Ravi came across as the geeky but sexy sweet guy.
This book had me laughing and crying (quite literally). It also had me worried and made me feel secure. It plays up to most of the human emotions. It's just a bit hard to explain unless you read it, which I suggest you do ASAP! This book is an emotional rollercoaster. It's one of those books you just have to read!! It will also have you thinking about it long after you've finished reading it.
I'd recommend this book to everyone aged 16+. It's such an amazing book! I can't sing it's praises loud enough!! Please read it and let me know what you think. You won't regret reading it.
I won this book off of Facebook or Twitter; I forget which. I had totally forgot about this book, I'm ashamed to admit, until I was tidying up my bookshelf and came across it again. I'm glad I came across it again as it's definitely become one of my favourite reads of 2012.
Jill's dad has only recently died, and already it seems like her mother wants to replace him with a new baby. Enter Mandy. Mandy is a pregnant teen. She wants to give her baby up for adoption, and Robin, Jill's mother, seems like the perfect person to adopt her baby. Will Mandy and her baby help fill the whole in Robin and Jill's heart? Will Mandy feel loved? What if Mandy decides to keep her baby? Told from both Jill's and Mandy's point of view, this book will tug at your heart strings.
I don't really get the title to this book. Maybe there's some kind of hidden message behind the title, and I'm missing it, but I really don't understand why this book is called How to Save a Life. Perhaps it's to let the reader know that this book will be very emotional.
The cover suits the book especially when it comes to the character of Mandy. Once you read the book, you'll definitely think this cover suits the book. I won't say too much due to spoilers, but just take my word that it does indeed suit the book.
There's really not much to the setting of the book. It mostly takes place at Jill's house in Denver and a few other little places like Jill's school or restaurants. However, the setting of this book is done rather well, and it sounds like Denver!! I mean, I've never been, but it's what I'd imagine it to be.
The pacing was brilliant! It was so hard to put this book down. I was hooked beyond belief. At no point does the pacing slow down enough to become boring. Each chapter is interesting!!
The dialogue was perfect. The two main characters are teens, and I felt their language was appropriate for teen girls. There were a couple of words I didn't understand, but I think this was just down to me not knowing the what the word meant as others probably know what it means. However, this didn't take away from the story in the slightest. There are a few swear words, but not too many.
I loved the characters in this book!! Mandy was my favourite character. It felt as if Mandy's mother had brainwashed her into thinking all sorts of things, so Mandy comes off as being a bit socially inept. She's definitely a bit weird because of it, but that's what I loved about her. She has this sort of innocence and naivety that is both sweet and charming. I also loved Jill. She starts off with a "screw the world" attitude, but it's obvious she's only acting that way because of what she's been through. Jill is actually quite a sweet girl. As for Dylan and Ravi, I also loved them both. Dylan is very caring and comes across as the type that's nice to everyone no matter what. Ravi came across as the geeky but sexy sweet guy.
This book had me laughing and crying (quite literally). It also had me worried and made me feel secure. It plays up to most of the human emotions. It's just a bit hard to explain unless you read it, which I suggest you do ASAP! This book is an emotional rollercoaster. It's one of those books you just have to read!! It will also have you thinking about it long after you've finished reading it.
I'd recommend this book to everyone aged 16+. It's such an amazing book! I can't sing it's praises loud enough!! Please read it and let me know what you think. You won't regret reading it.
Hazel (1853 KP) rated God: A Human History in Books
Dec 7, 2018
<i>I received this book for free through Goodreads First Reads.
</i>
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, <i>God: A Human History.</i> To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
<i>God: A Human History </i>is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, <i>God: A Human History </i>leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
</i>
Where did religion come from? This is the question Reza Aslan, a scholar of religions, attempts to answer in his latest publication, <i>God: A Human History.</i> To date, Aslan has tackled subjects such as the life of Jesus of Nazareth, and the origins, evolution and future of Islam. In this book, the author journeys back to the earliest evidence of human existence and, using a mix of resources, theories and investigations, tries to determine how our ancestors conceived the idea of gods and souls. Maintaining the idea that the majority of humans think of God as a divine version of ourselves, Aslan also looks at the way our perception of life after death has altered due to the changes in our governments and cultures.
Reza Aslan claims that he, a Muslim-devout-Christian-convert-turned-Sufi, is neither trying to prove or disprove the existence of God or gods. Instead, he is providing readers with a thorough history of religion with a strong suggestion that we, as believers, have fashioned God in our image, and not the other way around.
Insisting that belief systems are inherited from each previous generation, Aslan takes a look at ancient cave drawings where he, and many other theorists, surmise that a form of religion was already well underway. Lack of written word results in a lot of speculation and hypothesis as to what these, usually animal-like, drawings represent, however, many have come to the conclusion that early humans had some form of animistic belief system.
Although not a dig at religion, after all, the author is religious himself, the following chapters bring in to question the authenticity of past and present beliefs. With reference to various psychologists, Aslan poses the theory that ancient humans may have misinterpreted dreams as evidence of a spirit realm. With no one qualified to clarify the things they did not understand, anything without a clear explanation may have been attributed to a god or gods.
As the author describes how religious ideas may have developed from these primitive beliefs to the fully detailed faiths of today, he labels the human race as anthropocentric creatures that have based their religions on human traits and emotions. By reporting in this way, it comes across that the past ideas of the soul, spiritual realms, gods and so forth could not possibly be true, yet, as the final chapters suggest, Aslan is still adamant about the existence of God.
Aslan’s narrative speeds up, finally reaching the recognizable religions of today. Beginning with the Israelites, enslaved by the Egyptians, the author explains, using biblical references, how the first successful monotheistic religion came about. However, researchers have studied the early Bible texts and are inconclusive as to whether the God worshipped by the Jews was the only divine being or whether there were others of a similar standing.
Next, Aslan explores Christianity, posing more questions than he solves, for example, is God one or is God three (i.e. the Holy Trinity)? He defines and compares the definitions of monotheism and pantheism, eventually bringing in Islam and the development of Sufism, which he is not afraid of admitting he agrees with.
<i>God: A Human History </i>is disappointingly short, ending with the feeble conclusion that humans are born with the ability to be convinced of the existence of a divine being and the soul, but it is our own choice to decide whether or not to believe in them. The remaining third of the book is an abundance of notes on the texts, bibliographical references, and Reza Aslan’s personal opinions about the ideas and theories mentioned in his history of religion.
Although an extensive history on the origins of religion, <i>God: A Human History </i>leaves readers none the wiser as to whether their belief is founded in truth or whether it is something that has evolved over time due to lack of understanding about the world. Granted, it was not the aim of the book to prove or disprove the existence of God, however, it may unintentionally sow seeds of doubt or, potentially, anger devout believers. However, there is no attempt at persuading readers to believe one thing or another, thus making it suitable for people of all religion and none.
Hazel (1853 KP) rated A Notable Woman: The Romantic Journals of Jean Lucey Pratt in Books
Dec 7, 2018
<i>I received this book for free through Goodreads First Reads.</i>
Whilst researching a previous book, Simon Garfield came across the diaries of Jean Lucey Pratt amongst journals collected during the Second World War for Mass Observation. Intrigued by her observations and character, Garfield became determined to learn more about her. After eventually receiving permission from Jean’s niece, he was able to read all forty-five of her diaries, edit them, and produce this huge manuscript for publication: <i>A Notable Woman</i>.
Jean began writing her journals in the April of 1925 at the young age of fifteen. Although she did not write everyday, she continued putting down her thoughts and experiences up until her death in 1986. Jean Lucey Pratt was not a celebrity, although she did write an, unfortunately, unsuccessful book; nor did she achieve anything spectacular during her lifetime. What makes her diaries worth publishing is the fact that she was “ordinary,” a woman who wrote not to impress other people, but to honestly express her emotions and opinions.
For the majority of her life Jean lived on her own in Burnham Beeches, Buckinghamshire, where she yearned for a husband. Her dreams of finding the perfect man yet only attracting a handful of lovers is both amusing and saddening. The most interesting part of her written records, however, has got to be the experiences of war. Unlike other diarist such as Anne Frank, who feared for their lives, or those that experienced the fighting up front, Jean provides the perspective of the average British citizen. She comments on the rationing, the blackout curtains as well as the political propaganda, providing her own opinions, which often changed as the war progressed. Jean amuses the reader by revealing she often slept through an air raid, only waking up at the sound of the All Clear.
The war ends midway through the book, thus delivering accounts of the latter half of her life, from career to ill health, incorporating in family events and, of course, her enormous horde of cats. Although a rather introverted, lonely individual, Jean’s relationship and love for her brother is often heartwarming. Separated by oceans and only seeing him every so many years, it is clear that the siblings are strongly supportive of each other. Jean often refers to her brother as Pooh (as in <i>Winnie the Pooh</i>), to which he responds by calling her Piglet.
Initially Jean did not intend to let anyone read her diaries but later began to imagine how other people would react to what she had written. She toyed with the idea of posthumous publication, but presumed only family and friends would read them – how wrong she was! Regardless of whether her diaries were to be viewed by outsiders or not, Jean usually referred to people by their initials. Whether she did this for a particular reason or merely to save time when writing remains debatable, however it does cause a bit of confusion when reading. Helpfully the editor, Garfield, has provided a character list that can be referred back to as needed.
Simon Garfield has done a magnificent job of compiling the diary entries together to produce an interesting, moving and occasionally amusing story about life during the 1900s. He has painstakingly sorted through handwritten entries, deciding what bits to omit and conducting further research in order to explain in footnotes the sections or references that would not make sense if left alone. Garfield has made the majority of Jean’s journals flow like a novel, only becoming erratic towards the end of her life when she would only write once every few months.
<i>A Notable Woman</i> gives a fantastic insight into the lives of ordinary people during an era of hardship and change. Readers are more likely to read an accurate description of the war and subsequent years in this book than in any emotionally detached textbook or biased account. Without a doubt this book is worth a read, although do not expect to be able to rush through it as some may do with a work of fiction. Garfield if highly praised for his efforts, and one hopes that Jean would be proud to finally have a writing success.
Whilst researching a previous book, Simon Garfield came across the diaries of Jean Lucey Pratt amongst journals collected during the Second World War for Mass Observation. Intrigued by her observations and character, Garfield became determined to learn more about her. After eventually receiving permission from Jean’s niece, he was able to read all forty-five of her diaries, edit them, and produce this huge manuscript for publication: <i>A Notable Woman</i>.
Jean began writing her journals in the April of 1925 at the young age of fifteen. Although she did not write everyday, she continued putting down her thoughts and experiences up until her death in 1986. Jean Lucey Pratt was not a celebrity, although she did write an, unfortunately, unsuccessful book; nor did she achieve anything spectacular during her lifetime. What makes her diaries worth publishing is the fact that she was “ordinary,” a woman who wrote not to impress other people, but to honestly express her emotions and opinions.
For the majority of her life Jean lived on her own in Burnham Beeches, Buckinghamshire, where she yearned for a husband. Her dreams of finding the perfect man yet only attracting a handful of lovers is both amusing and saddening. The most interesting part of her written records, however, has got to be the experiences of war. Unlike other diarist such as Anne Frank, who feared for their lives, or those that experienced the fighting up front, Jean provides the perspective of the average British citizen. She comments on the rationing, the blackout curtains as well as the political propaganda, providing her own opinions, which often changed as the war progressed. Jean amuses the reader by revealing she often slept through an air raid, only waking up at the sound of the All Clear.
The war ends midway through the book, thus delivering accounts of the latter half of her life, from career to ill health, incorporating in family events and, of course, her enormous horde of cats. Although a rather introverted, lonely individual, Jean’s relationship and love for her brother is often heartwarming. Separated by oceans and only seeing him every so many years, it is clear that the siblings are strongly supportive of each other. Jean often refers to her brother as Pooh (as in <i>Winnie the Pooh</i>), to which he responds by calling her Piglet.
Initially Jean did not intend to let anyone read her diaries but later began to imagine how other people would react to what she had written. She toyed with the idea of posthumous publication, but presumed only family and friends would read them – how wrong she was! Regardless of whether her diaries were to be viewed by outsiders or not, Jean usually referred to people by their initials. Whether she did this for a particular reason or merely to save time when writing remains debatable, however it does cause a bit of confusion when reading. Helpfully the editor, Garfield, has provided a character list that can be referred back to as needed.
Simon Garfield has done a magnificent job of compiling the diary entries together to produce an interesting, moving and occasionally amusing story about life during the 1900s. He has painstakingly sorted through handwritten entries, deciding what bits to omit and conducting further research in order to explain in footnotes the sections or references that would not make sense if left alone. Garfield has made the majority of Jean’s journals flow like a novel, only becoming erratic towards the end of her life when she would only write once every few months.
<i>A Notable Woman</i> gives a fantastic insight into the lives of ordinary people during an era of hardship and change. Readers are more likely to read an accurate description of the war and subsequent years in this book than in any emotionally detached textbook or biased account. Without a doubt this book is worth a read, although do not expect to be able to rush through it as some may do with a work of fiction. Garfield if highly praised for his efforts, and one hopes that Jean would be proud to finally have a writing success.
Hazel (1853 KP) rated The Care and Management of Lies in Books
Dec 17, 2018
<i>I received this book for free through Goodreads First Reads.</i>
British author Jacqueline Winspear states in the letter from the author at the front of the book that the idea for this novel came from a second hand copy of a book titled <i>The Woman’s Book</i> by Florence B Jack (1911) containing an inscription revealing that it was presented as a gift to a woman on her wedding day in July 1914. The story within </i>The Care and Management of Lies</i> is Winspear’s imaginings about who that woman was and what her life was like.
The book focuses primarily on four characters, the main being Kezia Brissenden née Marchant who receives the gift <i>The Woman’s Book</i> from a close friend, Dorothy “Thea”, who so happens to be the older sister of her new husband, Tom. The book was not a particularly kind gift as it emphasized Kezia’s upbringing and who, due to her father being a reverend and employer of maids and cooks, had never produced her own meal in her life nor had any experience with running a household, let alone a farm – her new home.
Whilst Kezia determinedly throws herself into her new role, showing her love for Tom through the food she learns to cook, Thea, living in London, is drifting away from their friendship. With the possibility of war on the horizon, Thea joins a pacifist movement, which is somewhat ironic as she was once involved with the suffragettes. On the other hand, once war is declared, Tom decides to enlist in the army as does neighbour, Edmund Hawkes, a man who is rather envious of Tom and his lovely wife. The reader receives two different perspectives of the terrors of war from these characters, but then also another, surprisingly, from Thea who rejects pacifism and goes out to France to help in anyway she can. This leaves Kezia at home alone with the effects the war has on Britain.
The love between Kezia and Tom is emphasized through the letters they send each other. Both are lying about their situations by trying to convince the other that they are better off than they really are. The thing that keeps them both going are Kezia’s descriptions of her fictional meals that she prepares for Tom’s dinner, describing in great detail the preparation and taste of the food.
Each chapter begins with a quote from <i>The Woman’s Book</i> (and later <i>Infantry Training</i> and <i>Field Service Pocket Book</i>) that relate to the particular events occurring in the story at that time. This is a great way of underlining the significance of that wedding present to the storyline.
The narrative quickly changes from character to character which, although helping to keep the pace of the novel, can sometimes be a little confusing. It also made it difficult to get into the story at the beginning. Sometimes it took a lot of concentration to follow the text and those with minds that easily wander may constantly find themselves suddenly reading from a different point of view without having noticed the change over.
Winspear’s grandfather was a soldier in the trenches during the Great War and so it seems likely that some of the scenes may be based on his experiences. If that is the case then it can be believed that <i>The Care and Management of Lies</i> is as accurate as can be in terms of the war and life on the front lines. Winspear also does not attempt to gloss over any of the war horrors, therefore does not create the unlikely “and they all lived happily ever after” ending that other writers of war stories have done in the past.
Those interested in war themes may be particularly interested in this book, especially as this year (2014) is the anniversary of the Great War. <i>The Care and Management of Lies</i> is a piece of literature to add to the mountain of media coverage of the commemoration of the war.
British author Jacqueline Winspear states in the letter from the author at the front of the book that the idea for this novel came from a second hand copy of a book titled <i>The Woman’s Book</i> by Florence B Jack (1911) containing an inscription revealing that it was presented as a gift to a woman on her wedding day in July 1914. The story within </i>The Care and Management of Lies</i> is Winspear’s imaginings about who that woman was and what her life was like.
The book focuses primarily on four characters, the main being Kezia Brissenden née Marchant who receives the gift <i>The Woman’s Book</i> from a close friend, Dorothy “Thea”, who so happens to be the older sister of her new husband, Tom. The book was not a particularly kind gift as it emphasized Kezia’s upbringing and who, due to her father being a reverend and employer of maids and cooks, had never produced her own meal in her life nor had any experience with running a household, let alone a farm – her new home.
Whilst Kezia determinedly throws herself into her new role, showing her love for Tom through the food she learns to cook, Thea, living in London, is drifting away from their friendship. With the possibility of war on the horizon, Thea joins a pacifist movement, which is somewhat ironic as she was once involved with the suffragettes. On the other hand, once war is declared, Tom decides to enlist in the army as does neighbour, Edmund Hawkes, a man who is rather envious of Tom and his lovely wife. The reader receives two different perspectives of the terrors of war from these characters, but then also another, surprisingly, from Thea who rejects pacifism and goes out to France to help in anyway she can. This leaves Kezia at home alone with the effects the war has on Britain.
The love between Kezia and Tom is emphasized through the letters they send each other. Both are lying about their situations by trying to convince the other that they are better off than they really are. The thing that keeps them both going are Kezia’s descriptions of her fictional meals that she prepares for Tom’s dinner, describing in great detail the preparation and taste of the food.
Each chapter begins with a quote from <i>The Woman’s Book</i> (and later <i>Infantry Training</i> and <i>Field Service Pocket Book</i>) that relate to the particular events occurring in the story at that time. This is a great way of underlining the significance of that wedding present to the storyline.
The narrative quickly changes from character to character which, although helping to keep the pace of the novel, can sometimes be a little confusing. It also made it difficult to get into the story at the beginning. Sometimes it took a lot of concentration to follow the text and those with minds that easily wander may constantly find themselves suddenly reading from a different point of view without having noticed the change over.
Winspear’s grandfather was a soldier in the trenches during the Great War and so it seems likely that some of the scenes may be based on his experiences. If that is the case then it can be believed that <i>The Care and Management of Lies</i> is as accurate as can be in terms of the war and life on the front lines. Winspear also does not attempt to gloss over any of the war horrors, therefore does not create the unlikely “and they all lived happily ever after” ending that other writers of war stories have done in the past.
Those interested in war themes may be particularly interested in this book, especially as this year (2014) is the anniversary of the Great War. <i>The Care and Management of Lies</i> is a piece of literature to add to the mountain of media coverage of the commemoration of the war.
Hazel (1853 KP) rated Valley of the Moon in Books
Dec 17, 2018
<i>I received this book for free through Goodreads First Reads.</i>
For fans of <i>The Time Traveler’s Wife</i> (Niffenegger, 2003) this captivating story by Melanie Gideon is an alluring, spellbinding work of fiction about loving, being loved and finding somewhere you belong. With a touch of time travel in an otherwise typical reality,<i> Valley of the Moon </i>will excite, enrapture and touch readers’ hearts.
It is difficult to give a synoptic review without giving too much of the plot away. In short, the book contains the two lives of complete strangers who meet under extremely unlikely circumstances. It is 1975 and Lux Lysander is struggling to make ends meet as a single mother in San Francisco. Estranged from her parents, Benno has become her life; Lux would do anything for him. The other half of the story begins in 1906 in the Californian Sonoma Valley. Joseph has achieved his dream of creating an Edenic community where races and classes can live in harmony. Greengage is a self-sufficient society where everyone is seen as equal, however, something happens to shake up the peace – literally. A huge earthquake mysteriously leaves the valley unharmed but completely surrounded by a deadly fog. No one can leave and no one can enter, that is until Lux does.
Until the two characters’ lives collide, the narrative is fairly typical, but it quickly takes on a theme that most minds would attempt to debunk. Through a wall of fog, Lux can pass between 1975 and 1906, whereas Joseph and his friends can only stay in their own timeline. Lux begins to live a double life: one with her son Benno and one with the antiquated lifestyle of the Greengage community. Unfortunately, it is only possible to pass through the fog on a fall moon, and not necessarily every month.
Lux’s modern appearance and colloquialisms baffle the community but she soon finds herself a place amongst the inhabitants. For a while, Lux is able to keep her two lives separate, but one slip up causes her to temporarily lose the love and trust of her only son. Torn between her own flesh and blood and the only place she feels she belongs, Lux has to decide how far she would go for the people she loves.
One of the key themes of the novel is relationship. Although romance develops toward the latter stages of the story, the majority is focused on familial love and love between friends. Lux and Benno’s relationship is particularly important, especially when their love becomes strained by Lux’s secret dalliance with the past. The other significant theme is about finding oneself. Lux lives in an era where, despite developments in women’s equality, single mothers are still shunned. Conversely, in 1906 where historically things were worse for women, the egalitarian society feels much more like home.
Lux’s temerity is to be admired as she continues to visit the past despite it being beyond the bounds of possibility. More applaudable is her determination to win back her son as well as her distant parents.
Despite being set for the most part in the 1970s and 80s, <i>Valley of the Moon</i> has a futuristic air about it, with an element of fantasy and science fiction. It is almost a version of <i>The Lion, the Witch and the Wardrobe</i> (Lewis, 1950) but for adults, with more realistic themes. Melanie Gideon admits that she got the idea for the novel from the film <i>Brigadoon</i> (1954) in which the protagonist stumbles across a magical land in the woods. With similarities, Gideon has created her own version of this fairy-tale-like scenario.
Journeying through a range of emotions, <i>Valley of the Moon</i> is a story that engages readers from beginning to end. With ups and downs, the author explores the lives and personalities of the main characters, which develop beautifully over time. This book is not one likely to disappoint its readers.
For fans of <i>The Time Traveler’s Wife</i> (Niffenegger, 2003) this captivating story by Melanie Gideon is an alluring, spellbinding work of fiction about loving, being loved and finding somewhere you belong. With a touch of time travel in an otherwise typical reality,<i> Valley of the Moon </i>will excite, enrapture and touch readers’ hearts.
It is difficult to give a synoptic review without giving too much of the plot away. In short, the book contains the two lives of complete strangers who meet under extremely unlikely circumstances. It is 1975 and Lux Lysander is struggling to make ends meet as a single mother in San Francisco. Estranged from her parents, Benno has become her life; Lux would do anything for him. The other half of the story begins in 1906 in the Californian Sonoma Valley. Joseph has achieved his dream of creating an Edenic community where races and classes can live in harmony. Greengage is a self-sufficient society where everyone is seen as equal, however, something happens to shake up the peace – literally. A huge earthquake mysteriously leaves the valley unharmed but completely surrounded by a deadly fog. No one can leave and no one can enter, that is until Lux does.
Until the two characters’ lives collide, the narrative is fairly typical, but it quickly takes on a theme that most minds would attempt to debunk. Through a wall of fog, Lux can pass between 1975 and 1906, whereas Joseph and his friends can only stay in their own timeline. Lux begins to live a double life: one with her son Benno and one with the antiquated lifestyle of the Greengage community. Unfortunately, it is only possible to pass through the fog on a fall moon, and not necessarily every month.
Lux’s modern appearance and colloquialisms baffle the community but she soon finds herself a place amongst the inhabitants. For a while, Lux is able to keep her two lives separate, but one slip up causes her to temporarily lose the love and trust of her only son. Torn between her own flesh and blood and the only place she feels she belongs, Lux has to decide how far she would go for the people she loves.
One of the key themes of the novel is relationship. Although romance develops toward the latter stages of the story, the majority is focused on familial love and love between friends. Lux and Benno’s relationship is particularly important, especially when their love becomes strained by Lux’s secret dalliance with the past. The other significant theme is about finding oneself. Lux lives in an era where, despite developments in women’s equality, single mothers are still shunned. Conversely, in 1906 where historically things were worse for women, the egalitarian society feels much more like home.
Lux’s temerity is to be admired as she continues to visit the past despite it being beyond the bounds of possibility. More applaudable is her determination to win back her son as well as her distant parents.
Despite being set for the most part in the 1970s and 80s, <i>Valley of the Moon</i> has a futuristic air about it, with an element of fantasy and science fiction. It is almost a version of <i>The Lion, the Witch and the Wardrobe</i> (Lewis, 1950) but for adults, with more realistic themes. Melanie Gideon admits that she got the idea for the novel from the film <i>Brigadoon</i> (1954) in which the protagonist stumbles across a magical land in the woods. With similarities, Gideon has created her own version of this fairy-tale-like scenario.
Journeying through a range of emotions, <i>Valley of the Moon</i> is a story that engages readers from beginning to end. With ups and downs, the author explores the lives and personalities of the main characters, which develop beautifully over time. This book is not one likely to disappoint its readers.
<i>I received this book for free through Goodreads First Reads.
Is the Bible really gospel truth?</i> This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, <i>Gospels</i>. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore <i>Gospels</i> is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled <i>Gospels</i>, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, <i>Gospels</i> is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.
Is the Bible really gospel truth?</i> This is the question the honourable, academic Robert Babcock aims to find out on his quest to find the earliest copies of the gospels in order to prove the reliability of the story of Jesus as recounted in the King James Bible. However, this is not the key focus of Stephen Taylor’s fictional novel, <i>Gospels</i>. The main character is the perfidious John Campbell-John, a rogue, imposter and swindler who flees 19th-century England in an attempt to escape from his debts.
John meets the magnanimous Robert in Venice and, despite being polar opposites, become firm friends. After being honest for the first time in his life, admitting to owing thousands of pounds in gambling debts, Robert offers John the opportunity to accompany him on his quest through the deserts of Egypt. John accepts and the pair finds themselves on an adventure of discovery and personal redemption.
John and Robert make an unlikely but excellent team. Robert’s knowledge of the Bible and ancient history is vital, however, John’s propensity for falsehoods and cunningness gets them out of a few scrapes and tricky situations. Nonetheless, it is difficult for John to give up his old ways and his insular behaviour threatens to get them in more trouble.
Fortunately, Robert’s humility begins to influence the young scoundrel, as does his penchant for historical artefacts. As the story progresses, John begins to leave his past behind and becomes interested in Robert’s work, learning new things about Egyptian culture and the origins of the Bible. However, when a new gospel comes to light that threatens the whole of Christianity, Robert does not know what to do; and only John can give him counsel.
John Campbell-John is a character that the author introduced in a previous book. However, the timelines are not sequential, therefore <i>Gospels</i> is a stand-alone novel. The time frame for this book needed to be set in 1835 to correspond with historical truths. Although Robert’s discovery of a Gospel of Thaddeus Jude is an invention of the author, the quest itself is based on the journeys of three 19th-century Bible hunters. Stephen Taylor has conducted an enormous amount of research, including the biographies of Robert Curzon, Constantin von Tischendorf and Émile Amélineau who, on separate occasions, sought the same knowledge as the fictional Robert Babcock.
Despite being titled <i>Gospels</i>, the novel, for the most part, focuses on John Campbell-John and his wicked ways. Through a first-person narrative, John explains his past, his betrayal of a friend, and his addiction to gambling. Initially, he has no qualms about his behaviour and acts only for himself and his selfish greed. Whilst Robert goes in search of knowledge, John goes on a journey of redemption, coming to terms with his previous wrongdoings. However, acknowledging these faults is not enough, he needs to turn away from these roguish ways.
It is disappointing that the narrative does not focus more on the gospels, both real and imagined. There was enormous scope for an in-depth look at the life of Jesus and the inconsistencies in the Bible. The fictitious Gospel of Thaddeus Jude evokes a similar reaction in Robert as the Non-Canonical Gospel of Thomas found in the 19th-century had on many devout Christians. There was so much potential with this direction of thought, however, the author passes over it in preference to the life of John Campbell-John.
Slow to begin but increasingly interesting as it progresses, <i>Gospels</i> is a book of many themes. History, both 19th-century and ancient; religion, although not a Christian story; and achievement and absolution combine together to produce a unique tale that takes the reader from the back alleys of London to the River Nile and the deserts of Sinai. A subtle clue in the prologue keeps readers alert as they await the conclusion of the adventure – an ending that ambiguously reveals whether John moves on from the follies of his past.
Ross (3282 KP) rated Cold Iron (Masters & Mages #1) in Books
Jan 22, 2019
Elaborate prose and an unsettling amount of "wait and see" damaged my enjoyment
This book feels like your standard coming-of-age fantasy - young man from a simple village finds himself in the big city destined for greatness and surrounds himself with strong watchers while he grows into his potential. It is that and it is so much more.
The story that is told is how Aranthur, this young man (selected from his village to attend the big city university) finds himself in the midst of conflict and significant events in the empire's changing status. The idea of fate dictating that this one man would be at the centre of things (see Wheel of Time) is not one that is explored here. While it is hinted at (he is frequently told off for ending up in unusual circumstances), it isn't overly laboured. Nobody tells him he was chosen or anything like that. Instead he gradually learns that he has found himself at the centre of political intrigue, plotting, counter-plotting, conspiracies and war.
This book is not about Aranthur. He is just the focal point of the book, the story is so much bigger than him. This meant it did at times become a little hard to take that he always just happened to meet the right person, go to the right place at the right time in order to witness or participate in a number of significant plot events. In hindsight, this is largely all explained as some hidden agenda and him being put in those places to make those decisions but at the time it was a little jarring.
The narrative is more akin to Robert Jordan than many contemporary writers - so much overly elaborate description of people, places, clothes, horses, weapons etc. At times this adds to the reading experience but I found it over-used and made the book feel like a much longer read (I was shocked when I found out it was just under 450 pages - it reads like around 700). Also, so much of the narrative is in either italics (to show it is a magic/majick/magik delete as appropriate) or is in some odd variation of French ("gonne" for gun, "quaveh" for coffee etc) to become irritating. At times the book is more like a decent fantasy tale or conspiracy and intrigue which has been edited by a historical re-enactment nut. Given this is fictional and the world is the author's to do with as he wishes, forcing some historical accuracy at the expense of reader enjoyment seemed an odd decision to make.
The magical system seems fairly standard fantasy fayre, albeit it is not described or explored in any detail, people just suddenly do things which haven't previously been mentioned. A large aspect of the book is Aranthur's being chosen to translate an ancient text to decode the magical secrets hidden there. I think in all he decodes three of these, and uses them, but there is no mention of them until he has to use them in a fight. It could just be that I have been reading a lot of LitRPG recently, where every spell is described in intimate detail and its uses are discussed way in advance of being needed in combat, but I felt like it was something of an afterthought or rescue from a plot dead-end ("oh sod it, say he done a magic").
While I did enjoy this book on the whole, the narrative style and the focus being on clothes rather than describing the interesting aspects of the world were to its detriment. Also, the book is written as two "books" (chapters), the first "book" covers around 80% and all in one long chapter without breaks. To my mind, ending there would have sufficed. The final 20% in "book 2" felt like part epilogue, part sequel and should maybe have been split as such.
My advice to anyone reading this, is to suspend disbelief that little bit further and trust that things do largely get explained satisfactorily before the end.
The story that is told is how Aranthur, this young man (selected from his village to attend the big city university) finds himself in the midst of conflict and significant events in the empire's changing status. The idea of fate dictating that this one man would be at the centre of things (see Wheel of Time) is not one that is explored here. While it is hinted at (he is frequently told off for ending up in unusual circumstances), it isn't overly laboured. Nobody tells him he was chosen or anything like that. Instead he gradually learns that he has found himself at the centre of political intrigue, plotting, counter-plotting, conspiracies and war.
This book is not about Aranthur. He is just the focal point of the book, the story is so much bigger than him. This meant it did at times become a little hard to take that he always just happened to meet the right person, go to the right place at the right time in order to witness or participate in a number of significant plot events. In hindsight, this is largely all explained as some hidden agenda and him being put in those places to make those decisions but at the time it was a little jarring.
The narrative is more akin to Robert Jordan than many contemporary writers - so much overly elaborate description of people, places, clothes, horses, weapons etc. At times this adds to the reading experience but I found it over-used and made the book feel like a much longer read (I was shocked when I found out it was just under 450 pages - it reads like around 700). Also, so much of the narrative is in either italics (to show it is a magic/majick/magik delete as appropriate) or is in some odd variation of French ("gonne" for gun, "quaveh" for coffee etc) to become irritating. At times the book is more like a decent fantasy tale or conspiracy and intrigue which has been edited by a historical re-enactment nut. Given this is fictional and the world is the author's to do with as he wishes, forcing some historical accuracy at the expense of reader enjoyment seemed an odd decision to make.
The magical system seems fairly standard fantasy fayre, albeit it is not described or explored in any detail, people just suddenly do things which haven't previously been mentioned. A large aspect of the book is Aranthur's being chosen to translate an ancient text to decode the magical secrets hidden there. I think in all he decodes three of these, and uses them, but there is no mention of them until he has to use them in a fight. It could just be that I have been reading a lot of LitRPG recently, where every spell is described in intimate detail and its uses are discussed way in advance of being needed in combat, but I felt like it was something of an afterthought or rescue from a plot dead-end ("oh sod it, say he done a magic").
While I did enjoy this book on the whole, the narrative style and the focus being on clothes rather than describing the interesting aspects of the world were to its detriment. Also, the book is written as two "books" (chapters), the first "book" covers around 80% and all in one long chapter without breaks. To my mind, ending there would have sufficed. The final 20% in "book 2" felt like part epilogue, part sequel and should maybe have been split as such.
My advice to anyone reading this, is to suspend disbelief that little bit further and trust that things do largely get explained satisfactorily before the end.
Bob Mann (459 KP) rated Jungle Cruise (2021) in Movies
Aug 2, 2021
Star power from Johnson and Blunt (1 more)
Direction, cinematography, special effects and score all top notch
An Amazon-based blockbuster that delivers!
Dating from 1955, Jungle Cruise was one of the key attractions at Disneyland when it first opened. Full of corny spiel from the lovable boat captains, the experience is nicely evoked in the new Disney movie: a true summer blockbuster that delights.
Positives:
- Cut the movie open and it reads "summer blockbuster pleaser" through the middle. This is largely down to the charisma of its two stars, Blunt and Johnson, who prove why they are both such bankable commodities. It's clearly based on the "will they/won't they" simmering sexual chemistry between two polar-opposites, as featured in movies such as "Romancing the Stone" and "The African Queen". (Since the theme park ride was heavily influenced by the latter, this is no surprise). But there's also a heavy dose of tongue-in-cheek ridiculousness as featured in other great B-movie homages such as "The Mummy" and (most notably) "Raiders of the Lost Ark". (A few scenes directly mimic the Indiana Jones movies.)
- The supporting cast also have fun with their roles. Jack Whitehouse, doing almost a like-for-like copy of John Hannah's character in "The Mummy", could have been extremely annoying. But although he's the comic relief in the piece, he steers it just the right side of farcical, avoiding Jar-Jar Binks territory. ("When in Rome" he declares, swallowing a flagon of fermented spit. "God - I wish I was in Rome"!) Jesse Plemons, one of my favourite actors, who proved his comic chops in "Game Night", here delivers one of the most over-the-top Nazis since Ronald Lacey's Toht in "Raiders". Rounding things off is Paul Giamatti with a bizarrely comic performance as Nilo, a competing riverboat owner.
- Special effects, cinematography (Flavio Martínez Labiano, of "The Shallows") and James Newton-Howard's score all add to the lush blockbuster feel of the movie. And director Jaume Collet-Serra (who did the clever shark B-movie "The Shallows") keeps the movie clipping along at a fine rate, with only a few sections of character-building dialogue to get the kids fidgety.
Negatives:
- I mean, it's popcorn nonsense of course. The Amazonian 'McGuffin' is a tree that only comes to life under very specific conditions. And isn't it amazing that watery machinery (developed by who?) still works after at least 400 years, when my dishwasher gives up after ten? (But it's done with verve and style, so who cares?)
- Although the screenplay is actually very slick for a movie of this type, it feels like a script by committee at times. A single writer might have been tempted to duck the Hollywood ending and leave things on a more thoughtful, albeit downbeat, note.
Summary Thoughts on "Jungle Cruise": This was a pleasant surprise for me. A fun and light-hearted movie that ticks all the boxes as a summer blockbuster. It nicely evokes the cheesiness of the theme park ride operator (past alumni have included Robin Williams and Kevin Costner), especially with Johnson's opening scenes. But then rounds it out as a spectacular and appealing tongue-in-cheek adventure.
And, by the way, in case you fancy sitting through the interminable end titles to watch a post-credits scene.... there isn't one.
(#takenonefortheteam).
Parental Guidance: One question might be whether, with a "12A" certificate, this summer blockbuster is one that your kids might enjoy or be freaked out by. A comparison with "Raiders of the Lost Ark" is perhaps useful here. There are quite a number of "jolts" involving snakes and bees but probably not as bad as the ones you get in an uncut version of "Raiders" (think the spiked Satipo; the mummies/snakes when escaping the 'Well of Souls'; and the melting Nazi bad-guys). So if you have kids that lapped up that stuff then I don't think they would have any issues with this one.
(For the full graphical review, please check out One Mann's Movies on the web, Facebook or Tiktok. Thanks).
Positives:
- Cut the movie open and it reads "summer blockbuster pleaser" through the middle. This is largely down to the charisma of its two stars, Blunt and Johnson, who prove why they are both such bankable commodities. It's clearly based on the "will they/won't they" simmering sexual chemistry between two polar-opposites, as featured in movies such as "Romancing the Stone" and "The African Queen". (Since the theme park ride was heavily influenced by the latter, this is no surprise). But there's also a heavy dose of tongue-in-cheek ridiculousness as featured in other great B-movie homages such as "The Mummy" and (most notably) "Raiders of the Lost Ark". (A few scenes directly mimic the Indiana Jones movies.)
- The supporting cast also have fun with their roles. Jack Whitehouse, doing almost a like-for-like copy of John Hannah's character in "The Mummy", could have been extremely annoying. But although he's the comic relief in the piece, he steers it just the right side of farcical, avoiding Jar-Jar Binks territory. ("When in Rome" he declares, swallowing a flagon of fermented spit. "God - I wish I was in Rome"!) Jesse Plemons, one of my favourite actors, who proved his comic chops in "Game Night", here delivers one of the most over-the-top Nazis since Ronald Lacey's Toht in "Raiders". Rounding things off is Paul Giamatti with a bizarrely comic performance as Nilo, a competing riverboat owner.
- Special effects, cinematography (Flavio Martínez Labiano, of "The Shallows") and James Newton-Howard's score all add to the lush blockbuster feel of the movie. And director Jaume Collet-Serra (who did the clever shark B-movie "The Shallows") keeps the movie clipping along at a fine rate, with only a few sections of character-building dialogue to get the kids fidgety.
Negatives:
- I mean, it's popcorn nonsense of course. The Amazonian 'McGuffin' is a tree that only comes to life under very specific conditions. And isn't it amazing that watery machinery (developed by who?) still works after at least 400 years, when my dishwasher gives up after ten? (But it's done with verve and style, so who cares?)
- Although the screenplay is actually very slick for a movie of this type, it feels like a script by committee at times. A single writer might have been tempted to duck the Hollywood ending and leave things on a more thoughtful, albeit downbeat, note.
Summary Thoughts on "Jungle Cruise": This was a pleasant surprise for me. A fun and light-hearted movie that ticks all the boxes as a summer blockbuster. It nicely evokes the cheesiness of the theme park ride operator (past alumni have included Robin Williams and Kevin Costner), especially with Johnson's opening scenes. But then rounds it out as a spectacular and appealing tongue-in-cheek adventure.
And, by the way, in case you fancy sitting through the interminable end titles to watch a post-credits scene.... there isn't one.
(#takenonefortheteam).
Parental Guidance: One question might be whether, with a "12A" certificate, this summer blockbuster is one that your kids might enjoy or be freaked out by. A comparison with "Raiders of the Lost Ark" is perhaps useful here. There are quite a number of "jolts" involving snakes and bees but probably not as bad as the ones you get in an uncut version of "Raiders" (think the spiked Satipo; the mummies/snakes when escaping the 'Well of Souls'; and the melting Nazi bad-guys). So if you have kids that lapped up that stuff then I don't think they would have any issues with this one.
(For the full graphical review, please check out One Mann's Movies on the web, Facebook or Tiktok. Thanks).
