books

A nitpick critique of Ariel, by Stephen Boyett

Jason Coyne — Wed, 16 Sep 2009 15:46:55 GMT

So I read about the first 50% of Ariel, its fun so far, but one thing really bugs me. The lack of guns.

In all science fiction/fantasy, I give the author a chance to set up whatever rules they want. Aliens exist, Psychic powers exist, whatever. All I ask that whatever new rules the author sets up be consistently applied.

In Ariel, some undefined event happens, and all technology stops working, in exchange magic starts working. This is a really interesting premise, and allow me to speculate : If the switch happened once, maybe it happens every so often (galactic rotation?) which would explain all of our current myths as actual history from a time when they were true.

so anyway, my gripe is that as part of this shift, guns stop working. Now, as far as the genre/story is concerned, this is a fine thing, and allows the author to have characters solve conflicts in other interesting ways. But I wish he could have explained why a bit better. Let me elaborate :

The main character uses a crossbow regularly. Therefore we know that simple machines such as springs, hooks, triggers, etc still work. Also, general momentum and trajectory and gravity rules are still in effect

He also regularly uses a blowgun. Therefore we know that the physics of pressure are still in effect. (Also some more confirmation about projectiles)

He regularly starts fires (presumably using flint or some other form of sparking) so we know sparking works.

He uses the fire to cook food, so most likely thermodynamics is still in effect. And the character doesn't mention anything about the heat and smoke not rising from the fire. From this we can infer that heat is still causing expansion.

Put all these pieces together : Guns still work. It would be a very narrowly defined rule that would stop guns, but keep everything else working.

I think the author could have gone the route of guns (or perhaps just the ammo) now being incredibly difficult to reproduce and therefore rare and very valuable, and this would have managed to keep most of the guns out of the story, but not leave this logic hole. Or perhaps, fires burn a lot more slowly? There are probably some other solutions that would leave guns out of the picture, but have the rest of the book unchanged.

Anyway, I completely realize this is nitpicking. But its the kind of thing that bugs me.

Outside of this nitpick, Ariel is a fun story so far. Well written, and in an interesting sub-genre. We are in the modern work, yet without technology, and there is magic. Sort of a post apocylptic mad-max world.

In any case, Ariel is available from Amazon or your favorite bookstore, as well as in ebook format. Take a look.

http://www.amazon.com/Ariel-Steven-R-Boyett/dp/0441017940

http://store.fictionwise.com/ebooks/b94442/a-href-ebooks-b94442-Ariel-Steven-R-Boyett-si37Ariel-a/Steven-R-Boyett/?&si=37

The Third Translation by Matt Bondurant - A Book Review by Jason Coyne

Jason Coyne — Wed, 06 Sep 2006 19:30:00 GMT

Along with most of the other books I have reviewed thus far, “The Third Translation” is marketed in the genre of The Davinci Code. If that genre is what you are looking for look elsewhere. In fact, almost whatever you looking for - look elsewhere.

The Third Translation revolves around Walter Rothschild, a middle aged Egyptologist. Rothschild is obsessed with Egypt, but particularly heiroglyphics and ancient cryptology. He is so obsessed that he has alienated all of his friends and family.

Rothschild's specific obsession is with the Stella of Paser, a slab of stone with some text written on it in Hieroglyphics. Supposedly there are three ways to read the Heiroglyphics (vertically, horizontally, and an unknown Third Way).

This book has essentially no coherent plot. Random plot diversions come up all the time, that are never really resolved, as if the author is getting high, and writing down his stream of thought. For example, Rothschild randomly runs into some American Pro Wrestlers in the streets of London, who are apparently just out there to party. Later on, the wrestlers are somehow the bodyguards of the secret cult that is also trying to translate the Stella.

The book jumps back and forth between the present, and various times in Rothschilds past, all the time, very confusingly, and often without purpose.

The book gets into way too much uninteresting detail about Heiroglyhpics, and I say this as someone who loves ancient egypt (see my King Tut post for example)

You know that guy who is obsessed with some topic? Football, Anime, D&D, whatever - and no matter what you are talking about, he will bring up his favorite topic and show how the current item and his topic are closely related? The author, Bondurant, is that guy. Female bodies, political intriege, chineese noodles, curry, emotions, are all repeatedly and tediously used as targets of Hierogrphical allegory.

Anyway, avoid this book. There are much better novels about Egypt, much better mysteries, much better books. Go watch paint peel, you will enjoy it more.

-- SPOILER -- SPOILER-- SPOILER-- SPOILER-- SPOILER-- SPOILER-- SPOILER

This novel gave me a big case of the blue balls. It builds and builds and builds. And in the end, there is no climax. There is no big mystery, the cult is just deranged, the stella has no third translation, and the entire novel has been a big exsistential jerk off. With no climax.

Review of King Tut (Tutankhamun) Exhibit in Chicago at the Field Museum- Underwhelming and misadvertised - Where is the death mask?

Jason Coyne — Mon, 10 Jul 2006 23:57:00 GMT

I have been a fan of Egypt since I was a kid. I taught myself (some) hieroglypics, went on excavations in the backyard, and even had plans to be mummified. So when I saw King Tut was back in the states, I had to go. My mom had taken me when I was very young, but unfortunately I don't remember it.

I tried to go on opening weekend, but it was sold out, so Natasha and I went back to the Field Museum this last weekend. This went sour pretty quickly. I brought my camera, and several lenses, along to be able to capture all of the great treasures. But all photography (even non flash) was prohibited. This was completely unadvertised, and was a big pain in the bottom, because I now had to lug around my giant camera bag, with no benefit! I dont know if this was due to some greedy need to want to sell books and pictures at the gift shop (likely) or because...

The place was packed... Even with time restricted tickets (only good for a 30 minute window) the place was very full. In order to see some of the items, you had to wait 5 or more minutes to work your way to the front of the crowd. The photography restriction is understandable in this situation, as it would take hours to let everyone get their unobstructed photos of the items (plus idiots using flash on 3000 year old paint), but it would have been nice to be warned in advance.

Then you get to the content. The exhibit was easily more than 70% not Tut artifacts. Lots of Amonhotep II , III, and various other royals (probably) related to Tut. That isn't to say that the items aren't interesting, and rare, and worth seeing - but the exhibit is clearly advertized as revolving around Tut.

In particular, Tut's golden mask is the centerpiece of all advertising, including posters all over the city, the internet site for the exhibit (www.kingtut.org), the admission tickets, etc. But THE MASK IS NOT ON EXHIBIT. I don't know if I can emphasize how dissapointing (and frankly fraudulent) I feel this is. The single most iconic item related to Tut, and advertized everywhere, is not on display. Also not on display were the golden chariots, thrones, etc. There were really only 6 or 7 items actually from Tut's tomb, plus a large stella that refered to Tut from a temple.

In any case, I think the exhibit is worthy of a visit if you are a fan of Egypt, especially if you live near Chicago or one of the other venues, but be realistic about what you are about to see.

update Technically the show is not using false advertising, the mask that is used for all the ads is the “Canopic Coffinette of Tutankamun” This is a miniature coffin (about 16 inches long) that was used to store Tut's liver.

but the image is highly cropped to seem the same as the mask. The brochure does name the item correctly, but I think that 99% of all viewers would assume it is the mask. Interestingly, the coffinette is more ornate and more impressive (at the same level of detail) than the famous mask that everying thinks of, but the mask is of course much larger. See the images below for the actual item, how the item is presented, and compare that to the mask. I think its clear from the cropping that they are trying to evoke the mask. They could have cropped less tightly to make it obvious that wasn't the mask, but still give an impressive photo.

	The Cofinette (It is difficult to tell from this picture, but the coffintte is only about 16 inches long.)
	The Coffinette as cropped in the ads
	The mask everyone is expecting. You can tell the ad is the cofinnette, because the full mask does not include the crossed arms with the crook and flail

Book Review : The Last Cato, by Matilde Aseni - Not a DaVinci Code Knockoff!

Jason Coyne — Tue, 30 May 2006 00:00:00 GMT

Here is another book for DaVinci code fans. I would categorize this book as a DaVinci Code knockoff, except that it was published two years BEFORE DaVinci was. The book was originally written in Spanish (as was Shadows of the Wind, another book I will be reviewing shortly), and published in 2001. No doubt the book's current popularity, and possibly its publishing in the United States can be attributed to DaVinci, but at least the author was original. Like DaVinci, The Last Cato revolves around a conspiracy theory and the Catholic church. However, this book has some interesting twists on the genre. First, the protagonists of the book are members of the Catholic church. One is a nun, and a member of the Vatican Archives, and another is one of the Swiss Guards, and the "muscle" of the Vatican. There is a third protagonist, but he is not a member of the church. The second interesting twist on the genre, is that all the normal "conspiracy" ideas that these books deal with are already known. The cover-ups regarding the early history of the church are taken for granted by the protagonists (who as a result of their two roles in the church have access to classified material). This was a nce twist, as it allowed for all of the mystery and conspiracy atmosphere that the genre is known for, without casting the church as the bad guy. DaVinci centered around secrets, hidden in great works of art. The Last Cato has a simmilar theme - Dante's Divine Comedy (in particular Purgatory) holds the secrets to a ritual for joining a secret society. This secret society has protected the true cross (the actual cross Christ was crucified on) for thousands of years. Relics of the cross have been given to various churches throughout the world, and they are now being stolen, presumably by the secret society. The ritual deals with purging the aspirant of the seven deadly sins, and making them worthy of the role of protecting the cross. The book deals quite a bit with the history of the church, particularly the scism between the Catholic and Orthodox churches. Th historical (and contemporary) politics of the great churches forms a wonderful backdrop for the story, as the protagonists travel from one ancient city to another (one for each deadly sin). This book was very well written, and well translated. The characters are well developed, and the dialog is believable. The book does fall into some cliche elements, such as the inevitable romance between the male and female leads (although the female in this case is a nun, which adds some nice twists). If you are a fan of the historical/religious mystery, I highly reccomend this book. In my opinion, it is probably better than the DaVinci code. The book refers back to Dante's text often, however the relevant sections are always quoted, and sometimes quoted in the original language and English. The book deals with language a lot, as many of the clues are hidden in various church names, saints names, etc. A fan of languages and word puzzles will not be disappointed.

Book Review : The Last Templar by Raymond Khoury - A DaVinci Code Knockoff

Jason Coyne — Tue, 23 May 2006 05:54:00 GMT

The DaVinci Code has sparked a flurry of novels in its wake. Some of these are excellent. Some are horrible. Unfortunately Templar leans to the latter. The Last Templar has some redeeming features, but in the end, your time and money are probably best spent somewhere else. Templar is Raymond Khoury's first novel, and it shows. The novel is extremely cliche, and the dialogue is almost painful in some locations. The book is directly inspired (if not lifted) straight from Dan Brown's DaVinci Code, even to the point of having the whole “bloodline of Christ” be one of its potential conspiracies, and directly reffering to Brown's novel in Templar several times. Templar follows the formula for this genre flawlessly, including the obligatory hook-up between the male and female protagonist. One nice change was that the female lead actual drove most of the discovery and action throughout the book, the male lead was the side-kick.

The book does feature several flashbacks to the Templars, each time reavealing a bit of the backstory, as the protagonists have discovered clues. These parts are wonderful, and if Khoury had written a book purely about the Templars, I belive it would have been a rousing success.

To repeat myself, spend your time and money elsewhere, unless you are a huge Templar fanatic, or have a lot of spare time. I recommend the following books that fall roughly into this genre(reviews forthcoming)

The Name of the Rose, Umberto Eco - The book that spawned the genre. A must read.

The Historian, Elisibeth Kostova - Excellent historical mystery, revolving around the history of Dracula, both the ruler, and the vampire.

Shadows of the Wind, Carlos Ruis Zafon - A wonderful novel, very rich in its descriptions. Highly reccomended

More book reviews to follow.