Category: Books

This is a later Heinlein novel. Published in 1984, it has a heft to it that the earlier rocket jockey stuff had, but it’s a bit boggy and ends less than well from my perspective.

The story: A fundraiser from a world where religious fundamentalism has its way is on vacation cruise when he bets fellow passengers that he could walk on fire like the south Pacific natives. After he does, he faints from the fumes, and when he awakens, he is not in his own world any more. Things have changed, from the underlying technologies to the name by which his fellow passengers recognize him. He discovers that his alter-ego in this world is carrying a million dollars in cash and has been having a (sinful!) fling with an attractive ship’s maid. After a while, he professes his love for her and suddenly, both of them find themselves shifting worlds with nothing but what they’re wearing and carrying. On each, they pick themselves up and make plans, only to be thwarted when worlds shift again.

It’s an interesting conceit, but it becomes a little unfocused toward the middle, and the last quarter or fifth of the book gets a little unwound as the book, as a wise man put it in a comment on the review of The Cat Who Walks Through Walls:

…its final act falls apart when the story goes cosmic.

At the end, we have a relationship of Satan and Yahweh along with some other deities as subordinate to a still higher power (which might be subordinate to an even higher power, onto infinity). Of course, spoiler alert: They were testing this fellow, and the end takes place after Armageddon. Also, after Ragnarok. Where the world has not ended for the Norse gods somehow.

You know, trying to weave actual theological entities into fantasy novels is most often a real mess (see also Anthony’s Incarnations of Immortality series, the for-a-while-last, but now penultimate, book dealing with God somehow–I’ve not made it through that particular volume).

Still, Job is a good read in spite of all of that. Heinlein keeps the story moving along rather well, which is a nice contrast to the other science fiction book I’ve read recently (Voyage From Yesteryear). I’m pleased to be getting to the end of the Heinlein later stuff, but I probably won’t reread it unlike some of the rocket jockey stuff.

I grabbed this from the free cart at church last Sunday, and I dived right into it because it’s a short, pleasant book written by a retired priest who adopts a stray cat.

The vignettes are small–a page or two–and the stories simple, but they’re amusing, especially if you’re familiar with cats. The priest anthromorphizes the cat a bit, having conversations with it in English. The cat’s a bit of a biter–the priest says it’s to punish the priest for not doing what the cat wants. I currently have a biter, so I empathize.

It was a quick read, upbeat and, yes, full of exclamation points. This is a signed copy, and I wonder how it got from Connecticut to a free book cart in Springfield so quickly. Even Five Themes of Today took years, but it started in the UK.

As you might recall, gentle reader, I bought this book at ABC Books last month because I thought it said Epicurus. I’ve already read Epictetus’s Discourses. This book is derived from a subset of the Discourses called the Manual or the Handbook or the Enchiridion (depending on who’s talking about it and the translation, I gather).

The producer of this book is a calligrapher living in Paris who presents epigrams from Epictetus, formatted like poems, with Greek versions of the same or derivatives calligraphied up on the facing page. As such, the author presents it more as a calligraphy/art book than anything else. His afterword section describes his life and technicque in greater detail than the preface described Epictetus.

Still, it was a quick breeze to read (and adding to my woefully behind annual reading count this year), and it does present some of the wisdom of Epictetus in a koan, Tao Te Ching kind of fashion.

But as to calligraphy as an art form in itself, I’m not sold.

Wow, Brian J., you might ask. Didn’t you used to read books? I know I ask myself that question frequently. But my reading time was curtailed the first quarter of this year. First, I didn’t have a lot of time to read a small “carry” book that I took out with me to various locations where I’d have a half hour or hour to kill. I’ve not been going to martial arts classes enough this year so far, and when I do, it’s been on days where I’ve not had to get there for my children’s classes, where I would wait for mine to begin thirty or forty five minutes later. And instead of sitting on a bench in church on Sunday mornings during the Sunday School hour, I’ve been schlepping my laptop to a local coffee shop to try to bang out the beginnings of a novel. Also, as you might recall, I’ve been working my way through some Shakespeare, and the book that I’ve picked up in the middle of Measure for Measure is long, too. So I’ve not been adding to my annual to-read list very much this year.

However, this month I have determined that the schlepping of the laptop is a lot of work compared to the actual throughput I get in writing (currently, I’m on page two of the novel, as it takes me ten minutes to get to the coffee shop, a couple minutes to eat a pastry or several, and then I have to pack up twenty minutes later to return to church to pick up my family), so I decided to return to my perch at church to do some reading.

I started with this volume that I got in December. Because it’s short, and it’s about reading books. How meta.

At any rate, the author gave this particular speech at two separate commencements to the graduating class of 1929. It’s broken into three parts. The first talks about reading at the university, and how so much of the university is designed to teach the students marketable skills and not so much about the classics and the love of learning. The second talks about how it’s important to learn to love reading when you’re young, as the things you read then you will read with relish and zeal that you lose a bit as you get older. The habit, built then, will lead to a lifetime of reading which might lack the zeal of the young but brings its own pleasure. In III, he explains the benefit of being well read, where it will lead you to make synthetic connections between things that you might not otherwise get, and that only broad reading gives you this chance to make those connections between the things you read and encounter.

The book is very literate, chock full of allusions and quotations (without sourcing) that he expected a college graduate to get in 1929, many but not all of which I recognized in spite of a twenty-some year old degree in English and philosophy and continued reading since then (he quotes Miranda from The Tempest which is fresh in my mind).

But his address really just illustrates that what goes around comes around. You find contemporary thinkers worrying about the university not teaching young people to think or read the classics and only teaching them skills for commerce. Of course, William Wordsworth talked about too much getting and spending, too, even before Lowes.

The commencement addresses were given to college students of the late 1920s, which were more hoity toity than you get today after the GI Bill and government loan programs made it available to everyone. And they hit the workforce and the real world months before the stock market crash that launched the Great Depression. So history has made itself a double-effect narrator that makes us cringe a bit for those students.

So worth an hour or so of your time if you’re into books or history, I suppose. Or if you have to start furiously padding your annual list of books read.

As you might recall, gentle reader, I am a pretty big fan of James P. Hogan (see also the reviews for The Multiplex Man, Paths to Otherware, The Legend That Was Earth, and Martian Knightlife). However, do not let the stretches of time between those book reports diminish my claim. That I apparently haven’t read something by Hogan since 2009 more indicates how time flies when you get older.

The exposition of this book: In the near future (nearer to us than to readers in 1983), international relations are tense (the Soviet Union is still around, and the Chinese/Japanese alliance (?!) is a rising power). An international space probe is launched to a habitable planet around Alpha Centauri. At the last minute, the building blocks of human life are added with the thought that the robots and computers on the probe can build habitation and factories and whatnot that will then build human children to live on the distant planet to ensure humanity survives in case of a cataclysm on Earth. A major war erupts, and an American civilization rebuilds first and sends a generation ship to the new planet, Chiron, to enlist the residents there in the predicted war against the Eastern Asians, who send their own ship four years after the Americans. In the twenty-year journey, the Americans on the Mayflower II have developed their own politics and expectations of their first encounter with the Chironians, and they’re stumped when confronted with the libertarian utopia that has evolved in the forty years when the society with its abundant technologies build itself from scratch.

That’s the setup, and the bulk of the book describes the interaction and adjustment or lack thereof of the individuals and institutions to the Chironian way of life. About halfway through the book, I thought perhaps the book would take a twist akin to a book I’d read some time before — Code of the Lifemaker. Which, as it turns out, is Hogan’s next book. But this book did not take the turn I expected, and it was straight forward and earnest throughout.

Thematically, the book deals with how a society might build structure itself if the base understanding of life and the universe was one of abundance instead of scarcity. How would they organize politically? How would they make their lives meaningful? The book goes into some alternative science premises that Hogan used a lot. As I was reading, I was thinking the Chironian society was like something I’d seen before in The Probability Broach by L. Neil Smith.

Overall, the sweeping themes and meta nature–with political subplots and chapters on quantum physics (with which I’ve tried to grapple with on numerous occasions recently) bogged down my reading of the book. I would have enjoyed it with fewer characters and sidelines, but that’s probably because my attention span has shortened over time.

Also, I think Hogan’s hopeful thesis about how people raised in abundance and without the death-focused strictures that I assume he associated with Christianity and old timey religions would behave. Forty years later, our Western society’s generations raised since this book came out, have proven to be quite petty instead of interested in all being little Howard Roarks and Dagny Taggarts.

Still, an interesting concept and a breath of fresh extraterrestrial air amid the Shakespeare comedies I have been reading this year.

Like the book on Raphael, I hoped to read this book during football games. I picked it up last fall after reading two books with Cotswold/Catswald in the title (Cotswold Mistress and The Catswald Portal). But, as I mentioned in the report on the book on Raphael, I didn’t end up watching a lot of football last autumn, so this book, too, got pushed off but now serves as an interlude between the Shakespeare plays I’m working on.

The book suffers from a similar malady to the Raphael book: A high prose to image ratio, and that the captions beside each image go beyond what you’re looking at in the picture itself. An image of a cottage or a landscape with a distant mill in it will mention the region’s history and role in the wool trade in the Middle Ages (hint: almost whatever the village, it was probably involved).

That said, I really enjoyed the book. The sense of old one gets from European cities definitely trumps the 200 years, maybe, you get out here in the Middle Western and Western parts of the United States. Combining this book with the travelogue of Kim du Toit, who spent part of last year in England, and I might someday be tempted to leave the relative safety of the middle of this country for England. I’d better hurry while there’s still an England, though.

At any rate, a cool book. A step up from the normal tourist takeaway books I read about different regions or the coffeetable photography books about San Francisco or New York.

As you know, gentle reader, I sometimes like to page through books of poetry, art, or photography whil I watch a sporting event such as a football game or a baseball game, where I can browse a small chunk, watch a play, peruse a bit, watch a play, and then ingest a bit more during commercials. But, Brian J., you did not do that much this past football season! What gives? Well, gentle reader, this was not a good year for the Green Bay Packers, as you know, so I did not stick with football games for the full three hours. Also, some of the books I picked out had pretty high text-to-image ratios and required a bit more attention than I could muster during football games.

This is one such volume. It’s a collection of paintings done by Raphael accompanied by a biography. The text did not lend itself to easy perusal for a couple of reasons. For one, it’s a pretty detailed art history piece, where we learn about with whom Raphael worked in his youth and the influence that myriad Italian Renaissance painters had on him and in which of his works. As I have no idea who any of these guys were, I did not get much from that. Secondly, the book talked about paintings whose images were pages away, so by the time I got to the painting, I’d forgotten what I’d read about it.

So I couldn’t read it during a football game. So I read it as part of my breaks from the volume of William Shakespeare that I am reading currently. The book still had the same drawbacks to reading at length, but I got through it.

I want to flip through these books to get a sense of what the author’s work looked like and maybe so I can say something intelligent about it. I’m not sure I could tell a Raphael from another Renaissance painter, but I can tell one from a Rembrandt, although this book says Raphael used chiaroscuro as well–but to be honest, Rembrandt used the effect better. Also, although they must have been getting better by the time the cinquecento rolled around, the proportions of the bodies are still a little off. You look at some of the shoulders on the people relative to their necks and heads, and you have to wonder how their eyesight was.

At any rate, I’ve learned the difference between the quattrocento and the cinquecento from this book, so I’ve got that going for me. For those of you who don’t watch football and thus are not exposed to Renaissance art, that’s the 1400s and roughly 1500-1530 in Italian art.

Worth a browse, but probably better if this is not your first exposure to Renaissance art.