Robert

When I read reviewers write, “the best book I have ever read,” I thought yeah right! ‘must not have read many books. Well, I have read a fair bit myself and this is definitely one of the best written books I have ever read. I believe it is a book that one can read and reread and enjoy over and over and find something new in each reading of it. Not to be redundant, it is also one of the most fun and funniest I have ever read. It is a scholarly and even literary work, if you will. And yet, at the same time, the book is totally enchanting, witty and charming.

The legend of King Arthur and the Knights of the Round Table arose in the early Middle Ages, when England was just beginning to come under the influence of Christianity. When anyone retells the story, the author brings his own perspective to the tale of chivalry. Here T.H. White often appears to use the education of the young king Wart by Merlyn to educate the reader. While not in so many words, or maybe it is that: Merlin is a time-traveler. Not so much in the context of some science fiction novel but in his memory. Merlin is aware of past, present and the future. Certainly the author is aware of those times and uses those temporal events to tell his story. The book is in many ways a critique of mid-twentieth-century British culture. At first, things seem somewhat anachronistic but then we see that the narrator regularly references events and people in modern times to help tell his tale even more effectively.

Both T.H. White’s The Once and Future King and J.R.R. Tolkien’s The Lord of the Rings were written in the shadow of World War II, and both reflect that context to some extent:

“No. There is one fairly good reason for fighting - and that is, if the other man starts it. You see, wars are a wickedness, perhaps the greatest wickedness of a wicked species. They are so wicked that they must not be allowed. When you can be perfectly certain that the other man started them, then is the time when you might have a sort of duty to stop him.” (Merlyn)

Not only is T.H. White’s The Once and Future King full of anachronistic references to places and events of modern times, but it also plays fast and loose with time within the framework of the novel itself. Given the references to the death of Uther Pendragon in 1216 and the appearance of Thomas Malory at the end of the story, Arthur would have lived from 1201-1485. In effect, what White does is telescope almost three hundred years of English history and social development into the backdrop of a single narrative.

The book is long. But multiple versions of the story of King Arthur are considered within its covers so how short can it be? No, this is the best of several interpretations of the legend and it is not too long. While much of the book’s ending dwells on allegory, philosophy and social commentary, it is done with and eloquence and prose that is hard to compare with.

One of the young reviewers of this book that I found tried to figure out the audience for for whom the author intended and concluded there were many. I agree:

For children and young adults-
“I have been thinking ... about Might and Right. I don’t think things ought to be done because you are able to do them. I think they should be done because you ought to do them.” (Arthur). One of the central themes of the book is War: Right and Might.

On one level, both Mark Twain’s A Connecticut Yankee in King Arthur’s Court and T.H.
White’s The Once and Future King are children’s stories, yet both novels contain very
serious social commentary clearly intended for adults. Who could argue though that the social satire found in these novels detracts too much from the ability of children to enjoy them. Could a child appreciate all that is contained within TOaFK? Certainly not. However, there are many stories in this legend and many that target the child in all of us. One need not read this entire book though I am sure a lust will always remain to do so.

No reviewer could possibly do justice to this book. How about some more of the author’s own words:

On Wisdom-
“The best thing for being sad ... is to learn something. That is the only thing that never
fails. You may grow old and trembling in your anatomies, you may lie awake at night listening to the disorder of your veins, you may miss your only love, you may see the world about you devastated by evil lunatics, or know your honour trampled in the sewers of baser minds. There is only one thing for it then - to learn. Learn why the world wags and what wags it. That is the only thing which the mind can never exhaust, never alienate, never be tortured by, never fear or distrust, and never dream of regretting.” (Merlyn)

This is a story about great compassion-
“If I were made a knight ..., I should insist on doing my vigil by myself, a Hob does with
his hawks, and I should pray to God to let me encounter all the evil in the world in my own person, so that if I conquered there would be none left, and, if I were defeated, I would be the one to suffer for it.” (Wart)

The author writes a great deal about the evolution of man-
“Here, all you embryos, come here with your beaks and whatnots to look upon Our first
Man. He is the only one who has guessed Our riddle, out of all of you, and We have great pleasure in conferring upon him the Order of Dominion over the Fowls of the Air, and the Beasts of the Earth, and the Fishes of the Sea. Now let the rest of you get along, and love and multiply, for it is time to knock off for the weekend. As for you, Man, you will be a naked tool all your life, though a user of tools. You will look like an embryo till they bury you, but all the others will be embryos before your might. Eternally undeveloped, you will always remain potential in Our image, able to see some of Our sorrows and to feel some of Our joys. We are partly sorry for you, Man, but partly hopeful.” (Badger)

Much is written about human morality-
“Morals ... are a form of insanity. Give me a moral man who insists on doing the right
things all the time, and I will show you a tangle which an angel couldn’t get out of.” (Lionel)

This title actually includes Books 1-5 of T.H. White’s magnum opus. It is not so much about world-building per se though there is enough of that. The book is more about us as humans and our nature... our intellectual, psychological, social and even political nature. The book is philosophical, satirical with even a little theology thrown in. Not too much; just the right amount. If it is action that ye seek, knockdown, drag out fighting, best look elsewhere. This is one more about relationships and different kinds of heroes.

This is brilliant storytelling brilliantly read and performed. The narration by Neville Jason is as good as it gets. I could not recommend a book more highly.

Winds of War is the first in a two book historical fiction series about WWII. The time span of this first installment begins six months before the German invasion of Poland and ends with the attack on Pearl Harbor and the official entry of the US into the war. I found the story’s prelude to the war to be one of the most fascinating aspects of the book and it all mostly revolves around the life and naval career of one Victor “Pug” Henry, his immediate and extended family.

Prior to the war, this fictional character Pug, a naval attache to Berlin, draws the attention of FDR after writing an insightful prediction of the German-Russian nonaggression pact. Thus begins the relationship between Pug and FDR that will keep the former on land instead of at sea as the personal, though mostly unofficial, “intelligence” officer to the President. Pug’s goings and comings including his meetings with the likes of Hitler, Mussolini, Churchill and Stalin serve as the backbone of this novel.

I generally avoid books of this ilk aware that so many dwell on the Nazi atrocities that are more than this reader can handle. While mention is made of these, it is not what the book explores in detail and again, the novel is about the antecedent and beginning aspects of the war when not a great deal was known about what was going on in camps behind barbed wire.

I sometimes had issues with the book’s editing. The book is 46 hours (~900 pages) in length. I do not hesitate to take on a tome of this length as long as I don’t encounter too much fluff. And, while I felt there was not an inordinate amount of triviality, there were episodes of detail about the personal lives of friends and relatives of Pug that I could have done without. That said, this was still a “driveway” book; a book I would sit in my driveway upon returning home after my drive from work and continue listening to because it was just that captivating. Not to be misunderstood, I believe that the relating of the lives of Pug’s family and friends were essential to the book. It made the historical events personal, not just cold hard facts. I did feel, however, that the emotions of his immediate family were sometimes rather cavalier with respect to war in general. But they were what they were.

IMHO, the book is a masterpiece. The three E’s are all there contained within its covers. The book is educational, enlightening and entertaining. The text is peppered with excerpts from a fictional dissertation by a German General Armin von Roon. I found his [Nazi] German perspective on Hitler and the war to be particularly fascinating.

Finally, the book is made even better by the superlative narration and performance of Kevin Pariseau. I do not believe a book has ever been better performed. I would recommend this book to everyone.

I tend not to write much about books I did not care for or totally understand. This book qualifies for both. Rather than any kind of rational or critical analysis I can only offer here feelings and opinion. Actually, this is the second of three books of Mieville that I pretty much felt that way about. But this was a book I really wanted to like and appreciate. It is a book about language and few things in the world fascinate me more than the subject of language.

I was part of a Goodreads group that read this piece together. I thought that would help. What I believe I did glean was that I was not the only one who struggled with this book. The fact is I generally enjoy tough books. Something I can really sink my teeth into. But the result of all this reader's intellectual mastication was mostly pretty bland. For the life of me I kept getting the feeling that one of Mieville's intentions was to make for a difficult read and not because the story called for it but just to be a pain in the ass.

I had to step back before writing anything about this book. I read five or six other books since finishing Embassytown. I thought maybe it would give me a more favorable perspective... 'didn't work.

I'm actually a bit angry still so I'm going to leave it at that before I get in too deeply. BTW, I'm not angry with CM. I get angry with me when I force myself to finish a book that I'm totally bored with most of the way through. My time is precious and this book just took too much of it.

While Ursula K. Le Guin wrote several novels about the fantasy world of Earthsea, A Wizard of Earthsea appears to be the first of the main cycle by that name. I found it difficult to pin down whether the series is written for children and/or adults. I concluded that while there are a number of philosophical themes that adults could appreciate, the target audience was probably that of a younger age. Let’s say YAs.

Further, on the subject of age, this is basically the coming of age story of a young mage named Ged who is drawn to wizardry and develops into just that as the story unfolds. There’s much in the way of magic, spells and personal discovery along the way. However, as Ged learns, all of the power and might of of a wizard comes with a price. Wizardry is not for the faint-hearted nor is its magic lightly wielded by the ignorant or arrogant. Much of this is taught Ged by Ogion his primary mentor along with his own life’s little (and not so little) foibles in and around Earthsea. Does all this sound a bit familiar?

The monster of the story we learn is… uh, not so fast. That would be a major spoiler. And I believe the book is worth reading to discover that as well as the other things Ged learns along his way through apprenticeship and personal discovery. The book is very straight forward. That appears to be Le Guin’s style. After recently reading a bunch of China Mielville prior to Earthsea, the latter was a refreshingly, relaxing read. However, we probably should not be fooled by her simplicity. Contained within the pages are a depth and breath that can be easily missed if we’re not paying attention. What can I say; it’s obviously a classic and who could not recommend that.

This review is the same for all three books of the “House Trilogy.”

The author of the Dune [Chronicles] Saga, Frank Herbert, died in 1986 before completing the final installment, Dune 7. According to his son, Brian Herbert, a couple of years after the passing of his father, a safety deposit box was found with copious notes about the saga’s past and outlines for its future completion. His son collaborated with Kevin J. Anderson on the final book but also several prequels including a Prelude to Dune trilogy about the three prominently featured houses or families of the saga: Atreides, Harkonnen and Corrino.

I thoroughly enjoyed the audio version of the original Dune years ago. And, after just finishing the entire “House” trilogy, I reread the original to more freshly compare them. I must say, I think that I enjoyed the prequels more. However, I don’t know that I would have had I not read the original first. Before going on about the “House” series, because one cannot edit a review on Audible once it’s posted, a comment here about Book 1 might be helpful. The original Dune is narrated by Scott Brick, Orlagh Cassidy, Euan Morton, Simon Vance and a cast of others. At first it seemed like a good idea to have each character in the book have a unique voice. Unfortunately, from the way the book sounds, each narrator performs in a different studio setting. How do I know? Because it sounds that way. The dialogue sounds stilted, jerky and downright amateurish. Everyone of the characters in the prequels is played by Scott Brick. And they are far superior recordings. Scott Brick’s character dialogues are fluid, of the same ambience and just don’t sound dated like the original.

To continue about the prequels, they have an added depth to them. The characters are more fully fleshed out. The separate and familial relationships among all the characters are more fully explored. I realize this in not in accord with some other reviewers who sometimes seemed to find conflict with the original material. On the contrary, I found mostly only continuity that added to and enriched the original.

In the prequels we learn how Paul Atreides becomes the product of the generations of genetic “engineering” (selective breeding) of the Bene Gesserit to obtain the Kwisatz Haderach. And we learn of the backgrounds of all the other major players: Baron Harkonnen and his maniacal family, Emperor Shaddam and his, Jessica, Rev Mother Mohiam and a whole lot of background on the other Bene Gesserit “witches.” There was a mystical context in the original chronicles but these prequels greatly amplify on that.

The Guild Navigators and their relationship to the spice is mentioned only tangentially in the Original but plays a significant part in the prequels. All the female characters of Dune Prelude play a much more significant role and that too is much to the credit of these authors. It’s always nice to have that balance. We could just go on and on but why spoil it. Hopefully, I’m communicating my sense of excitement about the Prelude to Dune Trilogy. I think that each “House” installment was just excellent and the old man would have been proud of his son and his coauthor. If you’re a fan of the Dune Chronicles, you owe it to yourself to read the “House Trilogy.”

This review is the same for all three books of the “House Trilogy.”

The author of the Dune [Chronicles] Saga, Frank Herbert, died in 1986 before completing the final installment, Dune 7. According to his son, Brian Herbert, a couple of years after the passing of his father, a safety deposit box was found with copious notes about the saga’s past and outlines for its future completion. His son collaborated with Kevin J. Anderson on the final book but also several prequels including a Prelude to Dune trilogy about the three prominently featured houses or families of the saga: Atreides, Harkonnen and Corrino.

I thoroughly enjoyed the audio version of the original Dune years ago. And, after just finishing the entire “House” trilogy, I reread the original to more freshly compare them. I must say, I think that I enjoyed the prequels more. However, I don’t know that I would have had I not read the original first. Before going on about the “House” series, because one cannot edit a review on Audible once it’s posted, a comment here about Book 1 might be helpful. The original Dune is narrated by Scott Brick, Orlagh Cassidy, Euan Morton, Simon Vance and a cast of others. At first it seemed like a good idea to have each character in the book have a unique voice. Unfortunately, from the way the book sounds, each narrator performs in a different studio setting. How do I know? Because it sounds that way. The dialogue sounds stilted, jerky and downright amateurish. Everyone of the characters in the prequels is played by Scott Brick. And they are far superior recordings. Scott Brick’s character dialogues are fluid, of the same ambience and just don’t sound dated like the original.

To continue about the prequels, they have an added depth to them. The characters are more fully fleshed out. The separate and familial relationships among all the characters are more fully explored. I realize this in not in accord with some other reviewers who sometimes seemed to find conflict with the original material. On the contrary, I found mostly only continuity that added to and enriched the original.

In the prequels we learn how Paul Atreides becomes the product of the generations of genetic “engineering” (selective breeding) of the Bene Gesserit to obtain the Kwisatz Haderach. And we learn of the backgrounds of all the other major players: Baron Harkonnen and his maniacal family, Emperor Shaddam and his, Jessica, Rev Mother Mohiam and a whole lot of background on the other Bene Gesserit “witches.” There was a mystical context in the original chronicles but these prequels greatly amplify on that.

The Guild Navigators and their relationship to the spice is mentioned only tangentially in the Original but plays a significant part in the prequels. All the female characters of Dune Prelude play a much more significant role and that too is much to the credit of these authors. It’s always nice to have that balance. We could just go on and on but why spoil it. Hopefully, I’m communicating my sense of excitement about the Prelude to Dune Trilogy. I think that each “House” installment was just excellent and the old man would have been proud of his son and his coauthor. If you’re a fan of the Dune Chronicles, you owe it to yourself to read the “House Trilogy.”

This review is the same for all three books of the “House Trilogy.”

The author of the Dune [Chronicles] Saga, Frank Herbert, died in 1986 before completing the final installment, Dune 7. According to his son, Brian Herbert, a couple of years after the passing of his father, a safety deposit box was found with copious notes about the saga’s past and outlines for its future completion. His son collaborated with Kevin J. Anderson on the final book but also several prequels including a Prelude to Dune trilogy about the three prominently featured houses or families of the saga: Atreides, Harkonnen and Corrino.

I thoroughly enjoyed the audio version of the original Dune years ago. And, after just finishing the entire “House” trilogy, I reread the original to more freshly compare them. I must say, I think that I enjoyed the prequels more. However, I don’t know that I would have had I not read the original first. Before going on about the “House” series, because one cannot edit a review on Audible once it’s posted, a comment here about Book 1 might be helpful. The original Dune is narrated by Scott Brick, Orlagh Cassidy, Euan Morton, Simon Vance and a cast of others. At first it seemed like a good idea to have each character in the book have a unique voice. Unfortunately, from the way the book sounds, each narrator performs in a different studio setting. How do I know? Because it sounds that way. The dialogue sounds stilted, jerky and downright amateurish. Everyone of the characters in the prequels is played by Scott Brick. And they are far superior recordings. Scott Brick’s character dialogues are fluid, of the same ambience and just don’t sound dated like the original.

To continue about the prequels, they have an added depth to them. The characters are more fully fleshed out. The separate and familial relationships among all the characters are more fully explored. I realize this in not in accord with some other reviewers who sometimes seemed to find conflict with the original material. On the contrary, I found mostly only continuity that added to and enriched the original.

In the prequels we learn how Paul Atreides becomes the product of the generations of genetic “engineering” (selective breeding) of the Bene Gesserit to obtain the Kwisatz Haderach. And we learn of the backgrounds of all the other major players: Baron Harkonnen and his maniacal family, Emperor Shaddam and his, Jessica, Rev Mother Mohiam and a whole lot of background on the other Bene Gesserit “witches.” There was a mystical context in the original chronicles but these prequels greatly amplify on that.

The Guild Navigators and their relationship to the spice is mentioned only tangentially in the Original but plays a significant part in the prequels. All the female characters of Dune Prelude play a much more significant role and that too is much to the credit of these authors. It’s always nice to have that balance. We could just go on and on but why spoil it. Hopefully, I’m communicating my sense of excitement about the Prelude to Dune Trilogy. I think that each “House” installment was just excellent and the old man would have been proud of his son and his coauthor. If you’re a fan of the Dune Chronicles, you owe it to yourself to read the “House Trilogy.”

What can I add to all that's been written about a book that's been around awhile except that I did not think as highly about it as others. There was nothing new or imaginative here: Typical holocaust story with no new theme, premise or nuance.

I read this around the same time as I saw the movie "Seeking a Friend for the End of the World." Both had similar themes but the movie was head and shoulders better and Rotten Tomatoes only gave the flick 55%. That's about what I'd rate this book. From a commercial standpoint, I think the book succeeds. In all other respects, not so much.

Will Patton did a decent job narrating. I just don't think that he had that much to work with. But then I wasn't particularly enamored with McCarthy's "The Road."

From time to time, I have felt the urge to bump up a book’s rating for the wrong reasons. In fact, I now feel guilty, the urge to come clean and say a little more about it.

There were those innocent occasions when I felt that a book deserved better than I wanted to give it because I just didn’t care for the book though I recognized that others might have and it deserved “a nod.” However, there were also those other times, admittedly fewer times but times nonetheless, when I kicked a rating or two up a notch because I thought I might otherwise appear unlettered, unread or unsophisticated. Reviewers, who not only I but many others respected, might have had nothing but praise for a particular book and I knew I would appear foolish if I did not enthusiastically or passionately praise a particular book; I could not do that but I had to at least award it a decent number of stars.

It cannot compare to how foolish the feeling is now admitting to that deceit and dishonesty.

I am probably guilty of little harm or foul of significance in this forum. There are so many reviewers / reviews and I’m surprised when anyone even reads one of mine. But I also write reviews for myself. I write them in an attempt to improve my writing skills. I sometimes gain additional insight into a book by writing a review. I sometimes gain insight into myself: If I am not honest about a book, I am not being honest with myself.

My feeling about China Mieville’s The City and The City is lukewarm at best. The premise of two cities occupying virtually the same space but “unseen” by each other sounds intriguing enough but the “unseeing,” “unhearing” and yes, especially the “unsmelling” gets a tad old after awhile. Actually, it didn’t work much for me at all.

What premise that has worked for me is the one proposed by Michio Kaku in Parallel Worlds of actual parallel universes. Here is a thrilling journey into multidimensional space that requires no suspension of “unbelief.” These are cities, nay universes that might exist everywhere within centimeters of each other. And the most intriguing premise is that it might just all be true.

What I also particularly appreciated about Kaku’s work was the cosmological and even religious implications, a discussion of which by the author has the ability to bend the reader’s mind. We get little of that from Mieville. Instead, for me, the piece comes across as shallow, pulp fiction with a noir device that was not always brilliantly executed. It seems a bit smelly to me when the detective has a Columbo-esque moment and has to explain and summarize the whole crime to the audience; when all the details don’t just naturally unfold to the reader within the storyline itself. And I’m sure there were a few, maybe even several memorable quotes from the book but for the life of me, I cannot remember one.

But dang, there were all those awards the book received. What am I to do with them? Could I possibly give this book only a couple of stars? Shoot, let’s just round it up, give the damn thing 3 stars and call it good. Now that wouldn’t be dishonest, would it? I told you what I did! Yeah it would be dishonest. I really didn’t care much for this book. I read Perdido Street Station (2000) and this (tC&tC 2009) is no Perdido Street Station. Is it fair to always compare back in time to an author’s earlier work? I think that it is when much later works don’t seem to tread water, let alone get better. Sorry folks and sorry China. I just haven’t been impressed with the emperor’s newer clothes.

Pure Hitchens; he throws lots of $hit here with little bull. Except for the "funny women" thing, which I'm not sure Hitchens actually meant as many have taken it, each essay is brilliant.

While I’m not sure of the original publication date, the English title came out in 1991. Over twenty years old, this makes it one of Murakami’s earlier works and it feels that way.

While many of the author’s works might be considered fantasy, this one is more science fiction. Though, while I continue not to understand why many folks insist on always combining the two genres, this selection clearly has elements of both. There’s everything from unicorns to moving between worlds. How exactly, outside the author’s own “mind,” the latter takes place, I am not sure.

Beginning this new year, I decided to be more dedicated than ever to reading worthwhile books and not books just to pass (kill) time. Here, in this Murakami selection, I have failed miserably. For me, too much time is spent in the book with everyday character machinations and not enough time developing the mechanisms for reconciling the two worlds contained in it. Too much license is taken by the author to leave it to the reader’s own imagination. As a result, the books comes off as immature and not the product of a intelligent, well-seasoned writer portrayed in his later works.

Narration-wise, I believe the reading outperformed the writing.