Author: Brian J. Noggle

This book shares an awful lot of plot with The New War. Grimaldi flies Mack Bolan into the jungle, where Bolan is supposed to rescue a man from an enemy camp, and then Grimaldi returns to save the day.

This time, though, Bolan is returning to Vietnam to exfiltrate a soldier who stayed behind and who knows about American POWs still held by the Vietnamese. He joins up with some Hmong in-country and runs into difficulty when a beautiful resistance fighter fancies Bolan over another man in her unit, and that man is a hothead who might cross Bolan to get the girl.

Unfortunately, this book was a bit of a slog for a variety of reasons. For starters, there are some technical inaccuracies to consider: For starters, the method of getting Bolan into the jungle is for him to eject from a Harrier (the new hotness at the time), and then for the Harrier to fly back to base. With part of the canopy missing. Presumably, Bolan will land and go on fighting, albeit an inch or two shorter for the time being (ejecting from a fighter is not the same as jumping from a skydiving school, kids; it’s a violent action that sometimes knocks the ejected unconscious). Then there’s a lot of bringing weapons up to the hip in firing position. Oh, and the firsts. When thinking about how good Grimaldi is, Bolan thinks, “I’m a pretty good pilot myself.” Uh. That’s new. And he lights a cigarette. And he sheds a tear. So Bolan in this book is a bit more of a stock action hero than the man shaped by the history of the first forty books in the series. He even moons over the Hmong woman even though he’s got the love of his life in America. On the other hand, the contact with Stony Man Farm is dismissed, and we don’t get chapters of Hal and April fretting or remembering what an awesome guy Bolan is, either.

Still, I think I’ll take a break from the series for a bit.

Oh, and if you’re wondering whether I’m actually reading Julius Caesar or merely using its presence on my chairside table as a pretext to read junk: I’ve finished The Civil War, but it’s all Super Mario Brothers on poor Caesar. “Thank you, Caesar, but victory is in another castle!” And so Caesar is off to Egypt. I’ve got the Alexandrian War and the Spanish War to go.

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This book says its text is by Abraham Lincoln and the photos are by Mathew Brady; however, only the latter is true for the most part. Although the book does quote Lincoln on every page, the editor’s text far outweighs Lincoln’s words. The book is 200 pages of photographs, and the images themselves take precedence. The editor provides a light running history of the war accompanying the images, and then Lincoln gets his say at the end of each snippet of historical text. Lincoln’s comments come from speeches, letters, and cables he sends during the course of the war.

It’s a quick perusal–although it’s 200 pages, I ran through it in a little over an hour–but the book has a good summary-level review of the Civil War and, most strikiningly, the photographic record of a war one hundred and fifty years ago.

That’s before the Internet, child. And before television, even over-the-air broadcast television.

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This book is a 1949 paperback. Let that sink in for a minute. It’s sixty-five years old. That’s a quality paperback. And it was in pretty good shape before I started sticking it in my pockets and sitting on it for a couple of weeks.

At any rate, this book covers ten painters considered “old masters” in 1949, including:

• Leonardo da Vinci
• Raphael
• Michelangelo
• Titian
• Bruegel
• Rubens
• Rembrandt
• El Greco
• Velasquez
• Vermeer

Each chapter includes a two-page intro by the author that talks about the text selection for each author, and then the text that follows is some writing about the author. I have to say that generally, because some of it is biographical, some of it is interpretive, and some of it is fiction. For example, for the Renaissance Italian fellows, we have some biographical sketches of da Leonardo, Michelangelo, and Raphael. But for Titian, we get a bit of purple prose describing Titian’s works in glowing and abstract terms. For El Greco, we get a section of On Human Bondage, a novel. So it’s unfortunate that the chapters are uneven.

This book also includes a number of black and white reproductions of some of the artists’ work. It’s unfortunate that they’re only in black and white, though, but given this is a little pocket paperback from the immediate post World War II period, it’s understandable. Still, the writers often talk about the artists’ unique use of color and that’s not something the reader can see.

Still, it’s a good quick summary course in these artists and could serve as a stepping stone to further interest. I’m more interested in Vermeer now and have researched him a little on the Internet to see some of his works in actual color.

So it’s an effective book, for sure, and it made me lament contemporary art museums and the elementary school rubbish on the walls there. But that happened because few enough people in the middle of the last century cared to make artistic judgments for themselves and instead let the academics and critics dictate taste.

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This book is really one of the last books I read in 2014, but it’s taken me a while to write it up because I’m a procastinator and because I wanted to nearly-simultaneously write it up for the professional(?) blog. But now that I’m content to recycle most of the content, it’s much easier. It’s always much easier when you just give up.

As its title implies, this book really does contain a set of rules for programmers to follow: The left pages have the rules in large font, and the right pages have the rules explained in a paragraph or two. The book focuses not only on programming best practices, but also on software development best practices, and these are much more applicable to modern programming than the pre-object oriented programming lessons.

For example, first and foremost are the rules about making sure your program answers the users’ needs. Rules like:

1. Fit your program to your users’ needs.
2. Aim your program at the widest circle of users
3. Explain to your user how to use the program
4. Make it easy for the user to run the program

Other rules cover interface design, such as Display results with pertinent messages which are just as relevant now as it was when the interface designed displayed only green or amber text.

Even the discussion of loops, variables, and breaking your program into sections has a sort of relevance because it discusses these things philosophically, at a high level, in a way that programming how-to books and online language tutorials do not.

It’s a quick read or browse; although it’s roughly 220 pages (which is still slim by modern, $60 computer book standards), it’s really less than that since the text is not densely packed on the pages as described above, and it’s worth the time for the insights not only into the crystallized rules but also in the recognition of some software development problems and goals predate the Internet, which I am pretty sure some of our younger co-workers don’t know.

But now that I’ve read it, I’m torn. Do I put it on my regular read bookshelves, or do I put it on the computer programming bookshelves along side twenty-year-old hardware primers and introductions to the C programming language (some of which are thirty years old)? Well, the decision is probably less philosophical and more practical in nature: there’s space on the regular shelves, whereas the computer bookshelves are tightly pressed with books I have not read. Also, they’re behind four comic book long boxes containing most of my comic book collection and a couple other boxes of paraphernalia.

So I’m definitely putting it on the regular shelves. Because I’ve read it completely, unlike the other computer books which were for reference, text books, or the hope thirty years ago that I’d be more of a knowledgeable IT professional than I actually am. Not because I’m lazy.

Books mentioned in this review:

This book follows closely on the heels of The Violent Streets. I’m not sure Mack Bolan will ever get a full night’s sleep for the next forty years.

In this volume, Bolan is called to protect an Iranian military figure on the run after the revolution who has been hiding in the United States. The night before he is deported from the country, an elite squad of Iranian commandos has been dispatched to take him out. Bolan looks over the compound and finds the security is Mafia, and that the Iranian’s American wife wants out–and the Iranian is not above killing her lover in front of her to teach her a lesson.

So Bolan comes in, finds an unlikely ally in a mafia guard and that someone inside the Iranian’s circle is ultimately behind the whole thing, tipping the Iranian government off.

The pacing of the book is pretty good, mixing action and the Bolan War Journal style drop-ins a little better, but it’s still less than seamless. As these are early books written by the staff writers at Gold Eagle, they’re bound to be less smooth than later editions as the book and myth of Bolan becomes clearer. After all, none of these guys read the first forty books before writing them, and this patch of first entries was written at the same time, so the little tics each author introduces contradicts other ones.

Also, this volume identifies a possible flaw in the way the books are written. On page 91, Bolan gives his silenced pistol to the wife of the Iranian for her protection. On page 111, Bolan shoots a bad guy with the very same weapon he no longer has. Then, later in the book, a bad guy has the gun after having taken it from the wife. I can’t help forensically musing that the author wrote the action set pieces first as though they were identified in the outline most clearly and then filled in the other stuff which lead to this particular gaffe. And no one noticed it. Maybe the author didn’t read the whole book through in its entirety in its order. Perhaps someone else punched it up and added this. But this whacky error made it into the book.

Hey, I’m no saint. In my own novel (Available now!), I had an eight day week and demonstrated the old revolver-for-a-semiautomatic switcheroo. But I read the book over and over again looking for things like this, and I found them.

The Gold Eagle books are probably rife with errata like this and with other inconsistencies as authors not familiar with the character but familiar with the tropes of the genre insert them into Bolan books (as we’ll see next time).

On the whole, the series has its up books and its down books, but overall, the quality might not suffer too much from the Pendleton books, although this is yet an optimistic view in my experience and with the hopes that they straighten out a bit and fly truer. Time will tell.

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This book finds Mack Bolan in St. Paul immediately after returning from Turkey (as described in Double Crossfire, which I read in 2010 before I filled in gaps in the series). One of the Stony Man operative’s sister has been raped, and it’s a like several other rape/killings that have been haunting the Minnesota capital for years, off and on. Bolan investigates and discovers that elements of the police are covering it up because the suspect is the son of an elected official, and they want to use the knowledge and cover up as blackmail on the pol.

Then Bolan shoots most of the bad guys. finis.

Still, it’s a good read, certainly better than The New War, and I can see now how the house, by removing Bolan’s focus solely on the mob, broadens the variety of plots and adventures Bolan can have (and by now has had). This one is a little more vigilantish with the bad guys not being terrorists or external enemies, but domestic crime elements. This will definitely keep the series fresh. Unfortunately, the Bolan War Journal asides that talk philosophically about the nature of Man and the Hobbesian worldview must be mandatory, and in some books they’re not grafted well into the narrative. Instead, whole chapters are dropped in with a couple of nouns changed to reflect the current plot. Also, the books generally contain a roll-up of the overarching storyline from the Bolan books, especially the Mob War of the Pendleton books. These, too, jar expositionally when they’re inserted. They’ll probably move away from them as the number of non-Pendleton books increases, but they don’t aren’t well done in these early books.

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