My first impression of Disturbed Digest – on receiving my first contributor copy, for my story in the December 2018 issue – was that the cover is brilliant and perfectly fits the topic of the publication. It looks like something that might have graced a cover of one of the horror or fantasy mags in the fifties, which is the highest compliment I can think of for cover art. I’ve never been shy in admitting that I love those old covers and feel that the modern ones suffer by comparison. This one does not suffer. It’s the perfect blood-red design with a classical human looking unsuspectingly to his symbolic doom. Wonderful.
So the stories inside had to live up to the cover, which is something that wasn’t always the case back in the Golden Age of science fiction in which the mags had classic stories by brilliant masters (Asimov or Heinlein or Leinster or whoever) but also filled their volume with lesser work.
Disturbed Digest doesn’t fall into this trap. There is no filler here, and the stories are chilling enough to carry the cover. Everything from nicely tuned dread to cosmic horror on a Lovecraftian scale, these dooms can be well-deserved or utterly unfair, as the story demands.
The story I enjoyed the most was probably Lee Clark Zumpe’s “Wild with Hunger” that, though it breaks no new ground when it comes to monsters, it is beautifully written and delivers the sensation of being in a dreadful place as well as I’ve seen recently. Another particularly good one was Aria J. Wolf’s tale, “The Death Waltz”, with a reveal at the end that you likely won’t see coming.
Gustavo Bondoni is a novelist and short story writer whose latest collection is entitled Off the Beaten Path. Moving away from the usual western European settings, this one will open your horizons to cultures and places you never suspected existed. You can check it out here.
As you probably know by now, I’m not exactly a prude when it comes to page-turning action books what the establishment turns its nose up at. I make no secret that I loved The Da Vinci Code, and still read Dan Brown’s books when they are released.
But, to my surprise, I found that I actually do have standards below which I get annoyed. Who’d a thunk it?
The Pharaoh Key was purchased at an airport for a couple of reasons. The first was purely research–I was interested to see what kind of books in the adventure (as opposed to international espionage) genre were selling in sufficient numbers to justify high-value real estate in a Hudson News outlet. The second was that the book looked really fun, and it could also serve as a gift for my father, who enjoys this kind of thing.
The first red light was when my dad, after reading it said he thought it was awful, but since he’s more into the spies than ancient treasure, I assumed that was where he was coming from.
It might actually have been where he was coming from (I didn’t ask him when he read it and haven’t discussed the book with him since), but my own dislike for this one comes from a completely different source: the writing makes Dan Brown look like Oscar Wilde, and the outrageous stuff that happens often throws you out of the plot.
I’m usually fine with that second one, so I dug into it a bit more. Just why did the outlandishness of the whole thing bug me so much?
Perhaps the first part is that, unlike Brown, the actions and descriptions of some of the exotic places didn’t ring true. The way the characters remove themselves from police custody at one point is utterly imbecilic, while the plot point of a lost tribe living in the Egyptian desert rang hollow; for all I know, it might be true, but it just seemed false, which is exactly the opposite of what I’m used to. Maybe that’s because I am an SFF reader. In science fiction and fantasy, authors are experts at making things the reader knows don’t exist seem real. Perhaps I’m spoiled, so when people who have the advantage of usually writing plausible things stretch credibility, I expect them to be better at it than Preston and Child were in this case.
The entire book is full of stuff like that, so my own review, had I left one on amazon, would have been 2 stars. It’s certainly not a one star book: it’s grammatically correct and the writing isn’t actually bad, just a little weak in some key areas.
But, going back to the reason I purchased this one in the first place, I’d like to remind everyone that that my review isn’t the one that matters. I checked Amazon, and readers seem to really like this book, and it’s currently sitting at 4-and-a-half stars. A lot of people have weighed in on it, so it’s not like a couple of the authors’ friends bumped it up.
Clearly, Preston and Child know exactly what their public wants, and write to that target with precision and skill, and while the style might not impress a fellow writer, the ability to find the style and deliver it every single time is extremely impressive. Popular fiction isn’t easy to write, and prose that is technically sound but still appeals to the majority of readers is a finely-honed skill. I probably would have loved this book when I was twelve, and many people still do. That is awesome, and no one should begrudge the authors an iota of their success for catering to their public.
So while I didn’t like this book, I respect it enormously. And now I know what is selling in the adventure thriller market, which was the whole point of the exercise.
Gustavo Bondoni is a novelist and short story writer whose own thriller, timeless seems to be the exact opposite of the Preston & Child book reviewed above. While theirs is simply written and almost completely asexual, Timeless is very well-written and sexually charged. The only similarity is that both are fast-paced page-turners. You can check out Timeless here.
When we discuss the great novels of the 20th Century, we usually look at mainstream or literary fiction. We talk about The Great Gatsby, Heart of Darkness, The Sun Also Rises, To Kill a Mockingbird, Ulysses and anything by Hemingway. To that list, I’d add The Remains of the Day, a near-perfect book if ever there was one.
But science fiction usually doesn’t make it into the conversation. Even the pieces of genre that the literati accept aren’t quite in the select group. 1984 and Brave New World fall just short, and the only other major crossover SF book, The Handmaid’s Tale, is crap (the subject is wonderfully chosen, but I would have liked to see it in the hands of someone who understood the dynamic of SF–Ursula K. Le Guin would have been wonderful).
There is one exception, one book, that, though it’s definitely science fiction, gate-crashes the conversation.
I was afraid A Clockwork Orange would be a difficult, dense read. One of the first things you learn about this book, after all, is that Burgess invented a new slang for a lot of it, and that is never fun.
But there’s something you need to remember about Burgess. He’s a virtuoso, a brilliant writer who isn’t afraid to write brilliantly. So despite the book being in unusual language, it works perfectly well. It’s a quick, almost light read.
Of course, it isn’t quite a light read, because the subject matter is a savage attack against… well, as a reader it wasn’t quite clear to me what Burgess was attacking other than the excesses of government in involving itself in people’s lives. I found it to be more of a commentary about the breakneck pace of modern lives and how it affects the subcultures involved. Answer: they get extremely violent…
Now that answer may not seem particularly groundbreaking, and in the hands of a lesser author, it wouldn’t have been. But Burgess makes it work. This book is a must-read, and I was fortunate to buy the Folio edition pictured before they ran out.
But whichever edition you can get hold of, there’s absolutely no excuse to give this one a pass unless you either hate the best books in the 20th century hate anything that looks speculatively at the future.
As an aside, this is considered Burgess’ greatest book, but it’s not my favorite. The Kingdom Of the Wicked is a romp through the ancient world which is unmatched even by Gore Vidal’s Creation. And that is saying quite a bit.
But returning to Orange, all I can say is that the very few hours you’ll spend on this one will be worth it. Sometimes it’s nice just to let a master lead you by the nose.
Gustavo Bondoni is a novelist and short story writer. His own vision about how society will fall apart around us can be found in the novel Outside. You can check it out here.
I found Volume III to be truly well-written, action-packed and just plain fun. Volume IV veers in a different direction, being a little more pensive and experimental, although I’m not certain that’s what the writers of the short stories actually intended: it may be because a larger number than usual of the stories are either translated or written by authors whose first language isn’t English.
The reason this feels a little more experimental is down, I think, to three things: pacing, word choice and sentence structure.
The pacing issue is probably the easiest to spot. A couple of stories (both by Italian writers) were extremely slow and convoluted. If Lovecraft were writing today, that’s probably what he’d been doing. I don’t know much about the state of Italian literature today (my latest Italian reads were Eco and Bassani), but I hope that’s not where fantasy writers in that country are today, because they’d have eighty years of catching up to do.
Word choice and sentence structure are also off in some places, which certainly didn’t help my own reading pleasure. I know a lot of people believe the influx of foreign voices into the English canon is a wonderful thing. I agree… to a certain degree. Sometimes, you don’t want a chore, you want a bit of entertainment, and that means being comfortable with the text in order to enjoy character development and story. So foreign writers, in order to have a wider readership in English, need to learn to create prose that works for typical readers… and translators need to understand that the differences in structure are not wonderful pieces of the author’s voice but things that are intrinsic to the structure of the language of origin; there’s no need to inflict them on readers in other languages.
I read in English primarily, but I also read at a high level in Spanish and Portuguese – I will never read a book in one of those languages in anything but the original, because translators often make the mistake of bringing the things that sound fine in one language into the other… where the reader stumbles over it.
Fortunately, there are a couple of stories in this one that not only don’t suffer from the language ills mentioned and also aren’t slow, bizarre pieces which I find pointless. “Me and Septimus: In Extremis” by Kain Massin is a novella length piece which I absolutely loved. Fun, historical and with excellent monsters, it felt a lot shorter than it was. “The Story of Mynheer Reinaerde and the Purloined Tails” was not only fun, but also proved that authors Tais Teng and Jaap Boekestein have a pitch perfect ear for the English language (either that or their translator doesn’t suffer from delusions of artistry, which is a wonderful thing). Wonderful, memorable tales, both of them.
For the record, my own tale in this one is called “Summerland”… For obvious reasons, I won’t review that one.
The rest of the book certainly wasn’t bad, but it wasn’t quite as good as Volume III in my opinion. I’m pretty sure modern critics will disagree strongly with that, so to each, their own!
Gustavo Bondoni is a novelist and short story writer whose latest major collection is entitled Off the Beaten Path. As its name implies, it brings visions of a world far from the usual European and North American haunts. You can check it out here.
Guest columnist Richard H. Fay is back today, as he continues to give us his very well-researched take on the odd and the occult. You can read his blog here, and we also recommend checking out his Zazzle Store, and artwork referred to this piece can be found here.
Art: An Invitation to Elfame by Richard H. Fay
Writers of prose fiction do not necessarily write in voices that are their own. Narrators of works of fiction need not be the authors themselves, oftentimes they are personae, fictional characters distinct from the authors This is true in both works of general fiction as well as works of genre fiction. It is also true of poetry, especially when it comes to speculative verse (poetry with fantastical, science fictional, or mythological themes). Characters speaking or thinking in poems need not be the poets themselves. Heck, when it comes to speculative poetry, the narrators need not even be human!
Speculative poets often speak through an imaginary or historical narrator. It seems doubtful that most speculative poetry is meant to be confessional verse, at least not it the usual sense of the term. Speculative poets frequently take on the voices of others, and these others might be aliens, or fairies, or demons, or mythical beasts, or mundane animals, or even objects traditionally seen as inanimate. It should be obvious to those either reading such poetry or hearing it read that the poets haven’t actually turned into such things. It should be clear to all that the poets used their imaginations to speak in the voices of beings or things distinct from themselves. However, the notion that ALL poetry MUST be confessional has muddied the waters a bit. The line between imagined and real might not always be clear to all readers or listeners, especially when speculative poets speak with voices all too human.
In my own brand of speculative verse, both dark and light, I’ve used this idea of persona again, and again, and again. I’m certainly not a brain-eating demonic serpent (“Serpent of Storms”), or a cosmic fighter pilot facing his own demise (“Last Thoughts of a Cosmic Fighter Pilot”), or a life-draining vampiric entity (“Life is the Life”), or an Earthling married to a furry alien (“Marriage of Earth and Antares”), or a killer being driven to madness and suicide by visions of the face of the lover he killed (“Your Bloody Face”), or a fairy inviting a mortal to Elfame (“An Invitation to Elfame”), or a bleak haunted island (“The Haunted Isle”). However, in the respective works, I spoke as if I were a brain-eating demonic serpent, a cosmic fighter pilot facing his own demise, a life-draining vampiric entity, an Earthling married to a furry alien, a killer being driven to madness and suicide by visions of the face of the lover he killed, a fairy inviting a mortal to Elfame, and a haunted island. I think the ability to speak in the voice of another is just as important to fictional poetry as it is to prose fiction. It is also one of the creative techniques that can set speculative verse apart from more mainstream poetry.
Contrary to what some believe, not all poetry need be confessional, at least not personally confessional. Unfortunately, it seems some poets and poetry readers believe otherwise. They apparently think poetry is, by its very nature, confessional. This can lead to a misunderstanding of speculative verse, especially when speculative poets write in personae.
During one of the Poet’s Live Corners I attended at a local library, after I stated that I had some dark speculative pieces to read, one of the other poets present mentioned the time they had a poet show up and read poetry about murder and mayhem. I got the impression that the group had been shocked by this other poet’s material, as if it were almost confessional in nature. Did they truly have a murderer in their midst that day? I doubt it. I had to smile, knowing the dark and often diabolic nature of much of my own verse. Does that mean I’m a dark and diabolic person? Of course not!
Just because a poet writes about bloody murder doesn’t make that poet a bloody murderer. That’s the whole point about writing in persona – it’s imaginative versus outright confessional. However, I think my experience at the Live Poet’s Corner exemplifies the lack of understanding speculative poets writing in personae may face within the broader literary community.
One of the first things a reader or listener of speculative poetry must understand is that such verse is imaginative verse. The poet is speculating about other places, other times, other beings, other thoughts. They are imagining more than confessing, although confession may still be buried beneath the imaginative trappings. Unfortunately, if a reader or listener operates under the notion that poetry is confessional by default, they might misunderstand the concept of personae in speculative poetry. They might not fully realize that the speculative poet is speaking as someone or something else, that they are imagining. They’re missing the point of what the poet created!
Only a couple of months after that review came out, I learned that Robert had taken his own life. I’ve now read the next book in that series, Volume III, and it was another wonderful look into three genres I love. But more than that, it was a reminder of just how good a sense Robert had for a good story.
Unlike a lot of anthos of this type, particularly from small presses, there wasn’t a single dud in the lot (which I suspected – I tried to send Robert a trunk story for this one and he told me to try harder… the man knew his stuff), and some of them were really, really good.
This volume contains everything from monks besieged by demons to superheroes to Poe-based science fiction. It truly does what it says on the cover, and it’s obvious Robert received a bunch of good stories for this one, because it’s a thicker volume than the last.
My own favorite was the wonderfully offbeat “A Particular Skill Set” by Julie Frost that deals with fairy queens in a very different way, but also has fanged bunnies. Weirdest one was “Even Souls Sleep” by Jay Hellis, in which a man who checks cargo manifests on trains full of dead souls finds an anomaly…
But, as I said before, there isn’t a true dud in the lot. Some have endings that I didn’t like, but that’s to be expected (and something deliciously ironic, considering how many people have taken me to task for my own endings on occasion).
Like I said last time, there’s something in here for everyone, and this one was truly strong.
Gustavo Bondoni is a novelist and short story writer whose collected fiction appears in many places. His most recent full collection is Off the Beaten Path, a mix of light and dark, fantasy and SF that takes place far from the usual, overdone settings. You can check it out here.
I’ve said it before, so I won’t belabor the point, but I wish Peter F. Hamilton edited about 25% out of his books. They are too long and the narrative structure, which jumps around from one focus of the action to another very often, doesn’t help. If he was a talentless hack just filling in pages, or if his stories were bad, that wouldn’t be so frustrating.
But he isn’t. His Commonwealth saga is a truly interesting story with well-developed characters that takes place within a wonderful setting. I’m a sucker for mid- to far-future stories with human colonization of the galaxy, and this one definitely qualifies.
The story itself is about an interstellar war in which there is one clear antagonist and a bunch of nonhuman races (both human-generated and fully alien) whose loyalties aren’t quite clear at the outset. Intertwined with the galaxy-spanning conflict, we also get a police investigation novel intertwined… and in the end, the cops become almost more important than the people driving the starships against the enemy alien.
In fact, my one criticism of the saga is that it becomes clear rather early in the book that the war will go humanity’s way, and the final enemy standing is more of a question of justice than of survival. When a book is a thousand pages long, knowing that the good guys are too powerful to lose anything but their morality by page 500 is a little too much.
But even with that criticism (which in any other book would have been the death knell), the novel is worth finishing. You want to know how the character arcs play out despite the plot losing a certain amount of attraction, and you want to spend more time in that coalition of planets linked together by wormholes through which trains tie the planets together (yes, an interplanetary civilization based on trains. How cool is that).
If you’re patient, this is well worth reading. If not, you may be better off reading The Lost Fleet, which has a lot of the elements that make the Commonwealth fun but with a laser focus on action and character.
Gustavo Bondoni is a novelist and short story writer who has explored the question of humanity making a last stand against the forces of an uncaring galaxy in Seige, a well-received novel that looks not only at the limits of humanity’s physical powers, but also at the definition of humanity itself. You can check it out here.
As we mentioned on Monday, guest columnist Richard H. Fay will be writing all three of this week’s posts, as he continues to give us his very well-researched take on the odd and the occult. You can read his blog here, and we also recommend checking out his Zazzle Store. Additionally, the artwork referring to the creatures discussed in this article can be found here.
A legendary monster that bore many names (Manticore, Manticora, Mantichora, Manticory, Manticoras, Martikhora, Mantiserra, Memecoleous, Mancomorion, and the Satyral), the fearsome Manticore featured in the lore, bestiaries, and creative works of various lands and cultures, from ancient Asia to medieval Europe, and beyond. However, the Manticore legend first took root in ancient Greece and Persia. A garbled account of man-eating Bengal tigers of India may have been the seed that sprouted all subsequent tales of this strange and ferocious hybrid creature. Despite its dubious origins, the legend of the Manticore persisted and developed over the centuries.
Ctesias, Greek physician to the Persian King Artaxerxes II Mnemon (reigned 404 to 358 BCE), penned what seems to be the first written account of the Manticore. Even though Ctesias never visited India, he wrote that a lion-sized man-faced monstrosity prowled the sub-continent. As preserved in later works by the Roman writer Aelian (c. 170 – c. 235 CE) and the Byzantine scholar Photius (c. 815-897 CE), Ctesias described what he called the Martikhora (derived from the Persian mardkhor, meaning “man-slayer” or “man-eater”) as possessing pale blue eyes, three rows of sharp teeth, savage claws, a cinnabar-coloured pelt, a scorpion’s tail, additional stings on the crown of its head and each side of its tail, and a voice that sounded like a trumpet. Ctesias also claimed that the creature could, to defend itself, shoot regenerating foot-long stingers both forward and backward a considerable distance. One animal alone could withstand those poisoned quills; the thick-skinned elephant had little to fear from the Manticore’s otherwise deadly sting. To hunt such a formidable beast, Indian natives rode upon elephants and attacked their prey with spears or arrows.
It seems likely that the man-eating Martikhora of Ctesias was based upon tales of the Bengal tiger (Panthera tigris tigris). The Romanised Greek Pausanias (c. 110 – c. 180 CE) believed this to be the case, and wrote about his thoughts on the matter in the ninth book of his ten-volume travelogue entitled Description of Greece. In his section on fabulous animals, he suggested that the red-hued pelt described by Ctesias could be explained by a tiger appearing to be a homogeneous red in colour when observed running in full sunlight. Pausanias also put forward the opinion that the more fanciful traits recorded by Ctesias, such as the lethal stingers and three rows of teeth, arose from natives exaggerating the deadly characteristics of a man-eating beast they dreaded. According to what Irish naturalist Valentine Ball wrote in his 1883 paper “Identification of the Pygmies, the Martikhora, the Griffin, and the Dikarion of Ktesias”, these two traits dismissed by Pausanias as false may have had a basis in fact. Ball argued that the Manticore’s three rows of teeth might have been derived from the tiger’s trilobate molars, while the tail-borne stingers might have been a distorted account of a horny dermal structure he asserted exists at the extremity of a tiger’s tail.
Regardless of the reality behind Ctesias’ account, other ancient writers helped propagate the legend of the Manticore. With the sceptical qualifier of “if we are to believe Ctesias”, Aristotle described the Martichora of India in his History of Animals of 350 BCE. He included most of the characteristics already mentioned and also said that the beast’s call sounded like a combination of pan-pipes and a trumpet. The Roman author and naturalist Pliny the Elder, in his Naturalis Historia of c. 77 CE, displayed little scepticism over the creature’s actual existence when he echoed Ctesias and Aristotle, although he placed the creature in Ethiopia. He added that the triple-rowed teeth fit into each other like a comb. He also claimed to have been informed that the man-faced monster could mimic human speech.
Inspired by the writings of ancient Greek and Roman naturalists, the compilers of medieval bestiaries included the Manticore among their compendia of beasts, both ordinary and fantastic.
The exact appearance of the creature varied from work-to-work, although all variations displayed a feline-body with a human face. One 12th century bestiary featured a Manticore wearing a Phyrgian cap. An English bestiary of the early 13th century portrayed its Manticore as possessing a particularly savage countenance and prominent stingers all along its tail. Another mid-late 13th century English bestiary depicted the Manticore with a visage that was merely a rough approximation of a human face. Yet another 13th century bestiary, this one from northern France, portrayed the beast as having a distinctively human head, but no stinging tail. This particular depiction also deviated from the standard reddish coat colour, in this instance (assuming the colour hadn’t faded or altered drastically over time) the illuminator had instead opted for a greyish hue.
Besides its frequent presence in bestiaries, the Manticore also made appearances in medieval sculpture and even, on rare occasions, medieval and Tudor heraldry. The Manticore carvings found in some medieval churches stood as symbols of the weeping prophet Jeremiah. The late medieval Lord Hastings adopted a tusked Manticore (or mantyger) as his heraldic badge. The Tudor-era Lord Fitzwalter had, for his badge, a purple-hued Manticore. At times, the head of the heraldic Manticore would be adorned with spiral horns.
Over time, the Manticore became associated with other fabulous creatures and served as inspiration for other legendary monsters. In the later Middle Ages and Renaissance, the heraldic Manticore helped shape the imagery of the female-faced chimaeric creature that stood as a symbol of the sin of fraud in “grotteschi” (grotesque decorative elements) and some Mannerist paintings. Edward Topsell, in his 1607 work The Historie of Foure-Footed Beastes, copied the description of a Manticore as given by Ctesias, but then equated the man-faced beast with the badger-headed cloven-hoofed Leucrocota and the hyena. In Spanish lore, the Manticore transformed into a kind of werewolf that kidnapped and preyed upon children. Tales of the Manticore told by sixteenth century missionaries to the New World may have formed the basis for the Cigouave, a human-faced feline-bodied beast, of Haitian Vodou tradition.
As the ages progressed, the Manticore of art and popular culture gained additional attributes. Along with the spiral horns added by heraldic artists, others tacked on scales, udders or dragon’s wings. A scaly Manticore sporting horns, udders, and wings featured in a 17th century bestiary. In modern times, a bat-winged Manticore has numbered among the monsters that adventuring characters may encounter in the fantasy realms of a certain well-known role-playing game. The Manticore in Gustave Flaubert’s 1874 work The Temptation of St. Anthony spoke of possessing screw-like claws and the ability to spew plague.
Interestingly enough, although it seems likely that distorted tales of man-eating tigers served as the basis for the man-faced scorpion-tailed stinger-flinging Manticore of ancient natural histories and medieval bestiaries, the legend lives on. In Indonesia, some villagers today tell tales of a man-eating Manticore that prowls the jungle and kills its human prey with a single bite or scratch. It just goes to show that the Manticore has endured, in human imagination if not necessarily in reality.
So, how far behind am I? I just finished reading the June 10 and 17, 2019 issue of The New Yorker. A lot of the articles, particularly the ones referred to goings on about town are probably out of date a year and a half, plus a pandemic, later. The reviews, though still valid, probably aren’t as fresh as they could be, either.
But a fiction issue, as this one purports to being, should be okay, so I read it with enthusiasm. All right, let’s qualify that: I don’t normally love the fiction in TNY. I find it a little too dull and boring.
The three stories in this issue were not bad. Not memorable in any way (Sanctuary in the Artist’s Studio is probably the best of the three), but not bad.
More interesting is the fact that they sprinkled the usual content with something called border crossings, where immigrants in different parts of the world describe their experiences. This is non-fiction, and it’s kind of weird to see The New Yorker voicing it. Weird because I expect TNY to show an idealized intellectual-progressive view of things, which obviously doesn’t exist when you bring the real world into it. Even more shocking to me was an honest article about what life in supposed socialist paradise (and failed state) Venezuela is like. It’s the kind of thing one would expect TNY to sweep under the rug, as it will definitely make a good portion of its readership uncomfortable.
So my respect for the magazine–despite still feeling the fiction is just okay–went up a few notches this time. It’s nice to see realism even among the intellectual elite who tend to try to block it out and live in an idealized world where theory rules and when reality doesn’t support that way of thinking, it’s reality that’s wrong.
If you need to understand The New Yorker by reading one issue, this is the best one to pick up of the ones I’ve seen.
Gustavo Bondoni is a novelist and short story writer whose work spans several genres. His literary fiction is collected in Love and Death, a novel in short story form that tells the tale of several families, intertwined through generations. You can check it out here.
I like reading books about libraries. The best of these is probably this one because it balances, but there are many, many wonderful pictures with a complete history of the content and the buildings that made up libraries all over the world, both ancient and modern. Interestingly, it is also entitled The Library (although the main difference with today’s subject is the fact that the earlier book also had a subtitle: A World History).
I also enjoy reading chattier, more personal, history of bibliophile things and in this sense, Nicholas Basbanes Patience and Fortitude is a good bet, and a nice thick book that will keep you entertained for some time. If your own library is in any way quirky or fun, you’ll like this one.
Today’s work is a much lighter read than either of these two, but that isn’t entirely a bad thing.
The Library – A Catalogue of Wonders by Stuart Kells is one of those cases in which a book is perfectly described by its subtitle. The “Catalogue of Wonders” part immediately brings to mind those cabinets of curiosities that wealthy private individuals used to have. These so-called cabinets (they were sometimes rooms) could contain anything the person found of interest, from stuffed birds to shrunken heads.
This book is kind of like that. It’s not a chronological history of the evolution of the library (although it does give a well-researched glimpse into that), but a collection of eclectically arranged chapters that tell of major things that befell or happened in libraries. So one chapter might give an evolution of medieval libraries while another might talk about imaginary libraries in literature (of course, Eco’s is in there, but so are the ones from LotR, and Kells shows himself to be a bit of a Tolkien scholar).
It’s actually a perfect book for those who either have already read the two mentioned previously or for those who don’t want to invest the time you’d need to do the others justice. At slightly under 300 pages, the Kells is the perfect length for the casual reader while having enough new anecdotes and stories to be a delight for those who’ve read the other volumes.
Heartily recommended to book lovers everywhere!
Gustavo Bondoni is a novelist and short story writer whose book Love and Death is a single story made up of many stand-alone shorts. The characters deeply affect each others’ lives, often without ever knowing the others exist. You can check it out here.