Adventures in Bookland: A Space Traveller’s Guide to the Solar System by Mark Thompson

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I don’t know about you, but I always open a book with the intention to like it (there might have been a slight exception with The Da Vinci Code, but that’s the exception that proves only literary incompetence tied to astonishing success will break my general bibliphilic disposition). And I really wanted to like this one: I’ve read a couple of other, similarly themed but historical books, such as Ian Mortimer’s The Time Traveller’s Guide to Medieval England, and really enjoyed them, so I was hoping for something similar from Mark Thompson. What’s more, while I read widely about astronomy, planetary and stellar, when I was younger, I’ve not looked at it much recently, so I expected there to be a huge range of exciting new findings from all the space probes that have visited the solar system’s planets and satellites over the last 10-15 years. And there probably is – but I’m afraid, my eyes glazed over and my attention wondered.

This book is dull. Dull, dull, dull. At best, I’d call the prose workmanlike and clear. As a positive, I now understand the mechanics of using the gravity slingshot to accelerate a spaceship to the outer reaches of the solar system much better. But the rest of it is all so dreary.

Look, here’s a telling example. Venus, we’ve found out, rather than being the planet of love is as near hell as you can get this side of death: crushing surface pressure, hot enough to melt lead, sulphuric acid clouds: anyone on the surface would be crushed, cooked and corroded in seconds.

But if that wasn’t enough, there is now evidence that the entire planetary surface, every half billion years or so, dissolves into a molten magma lake. This is because Venus has no volcanoes, so there is no mechanism for the heat at the planetary core to escape, so it builds up and builds up and builds up until, in a truly apocalyptic scene, the whole surface of the planet melts, allowing the pent up heat of 500 million years to escape. Then, slowly, it cools and solidifies, and the whole cycle repeats.

So, something pretty juicy for a science writer to get his words into, you’d think? Think again. Here’s Mark Thompson’s description of Venerean apocalypse:

Like all the rocky objects in the Solar System, Venus displays thousands of craters, and the majority of them are still in excellent condition. This suggests that there has been minimal erosion of surface detail. More interestingly, it implies that the surface underwent some kind of global restructuring event around 600 million years ago…In a global event that lasted perhaps up to 100 million years, the entire crust weakened and yielded to the mantle, in effect recycling itself.

There, you see? Thompson takes the most cataclysmic event imaginable and turns it into a bloody Bob the Builder episode (for those who don’t have toddlers and thus are unaware, Bob is clean and green, and committed to the three ‘Rs’: Reduce, Reuse, Recycle).

But if dullness was the only objection, I’d give the book three stars: it’s at least reasonably clear; good, stolid sciencey stuff. But why, oh why, oh why do science writers, who would be appalled (justifiably) if someone accused them of mixing their neutrons with their neutrinos, not feel the same obligation to check their historical facts as they do about checking their scientific facts? Thompson, in the laziest way imaginable, rehashes the old, old Galileo Affair story as a conflict between obscurantist Churchmen, wedded to outdated and unobservable models of the universe, and brave, bold Galileo, speaking truth to power come hell or house imprisonment. I mean, this version of events went out fifty years ago: even Wikipedia has caught up with what actual historians think about what happened. For a proper review of the myths and realities of the Galileo Affair, see this article by historian Tim O’Neill (and lest I be accused of special pleading, note that O’Neill is an atheist and a sceptic).

The consistency with which science writers regurgitate these old lies makes me wonder, in my more paranoid moments, whether there really is a hidden agenda. But no. It’s far more likely to be the lazy assumptions of unexamined prejudice – something as prevalent among scientists and science writers as any other section of the population. So, for this egregious lapse, I’m knocking an extra star off: two out of five stars for A Space Traveller’s Guide to the Solar System. Try reading some of Patrick Moore’s books about the solar system instead – at least he can write.

Rejection notes – no.29 in a series

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Throwing this one open to comment. Now, last Friday I received this email (incriminating information removed):

Dear Edoardo Albert,
Thank you for submitting “The God Star” to […] for consideration. I really liked it, and have sent it along to the Editors-in-Chief for further consideration. You should be hearing from them soon, one way or the other.

Sincerely,

[…]
Submissions Editor, […]

By this point in my career, I’ve had enough experience to know not to get too excited when receiving emails like this, but even so, I think the follow-up, a couple of days later, was pretty poor.

Hello, Edoardo.

Thank you for submitting “The God Star” to […]. Unfortunately it’s not what we’re looking for at this time. Best of luck.
Warm regards,

[…]

Editors-in-Chief

Sure, it’s their magazine, they can publish whatever they want, but I think, after the first email, a little more by way of explanation in the second would not have been out of place – even it was only to say that they’ve run similar stories or they’re moving the magazine in a different direction.

What do you think? Am I being over sensitive or is this just another example of the lack of regard in which writers are held?

Adventures in Bookland: Trigger Warning by Neil Gaiman

Trigger Warning
Trigger Warning

I wonder if the book might have been better if Gaiman had dropped the first ‘r’ in the title: Tigger Warning – if nothing else, I’d say it suggests the contents a little better. There’s the usual Gaiman excellence and the usual Gaiman frustrations: his talent runs over and doesn’t really, in the end, seem to know where to go. There’s a comparison to be made with the work of Alan Garner: the seem commitment to the imagination, the same deep, gnawing fear that, underneath everything, these are all just imaginings, phantasms of words and thoughts, sounds and furies signifying nothing. Gaiman is at his best when he adds a lightness of touch, a sense of humour to his stories – Garner doesn’t do jokes. There’s not many funny stories in here – most are dark and creepy – but they’re effective; I’d be hard put to say they are anything else.

Adventures in Bookland: Flashman at the Charge by George MacDonald Fraser

Flashman at the Charge
Flashman at the Charge

It was PG Wodehouse who likened his first reading of Flashman to Keats’ experience of reading Homer in Chapman’s translation, although I can safely say that Flashy is unlikely to ever hold his silence, even on a peak in Darien – he’d be looking for a likely woman or an escape route. The whole point of Flashman is that, despite his being a cad, a bounder, a coward and a cheat, yet, in the madness of the Crimean War, his cowardice takes on a certain honesty. Indeed, given the fact that Flashman contrives to take part in the charges of both the Heavy and the Light brigades – the latter with his bowels erupting in a fanfare of farts – there is a case for calling him the bravest man there: one who knows fear and yet still carries on. Thankfully, just when it seems like Flashy might be turning into a proper hero, he does something truly appalling and the reader breaths a huge sigh of relief.

Adventures in Bookland: The Story of Babar by Jean de Brunhoff

The Story of Babar
The Story of Babar

This is a review written by two people, or rather, the same one, separated by so many years that he is, to all intents and purposes, two different people. The first is me, now, age 52, married, with three sons; a home owner, a writer, a man set in the tramlines of a life that has barely moved six miles north on the Piccadilly Line through those years.

The second is me, age 6: a child, a boy who loved reading above all other pleasures, a mixed-race child in a ’60s London that was not, at least where we were living, in the least swinging or happening; a boy whose physical boundaries were circumscribed by being a shy child but whose mental scope had widened immeasurably when he discovered, first, reading and then, the local library.

This young me read Babar, all the Babar stories, and loved them. This young me could not see why there should be this barrier of wordlessness between us and animals – why shouldn’t they speak? And, for that matter, why shouldn’t Babar wear a bowler hat and take tea outside a cafe in an unnamed city that bore a striking resemblance to Paris. Nor did it seem odd to me that Babar should be able to get to Paris on foot, when running away from the horrible hunters who had killed his mother. If, God forbid, hunters killed my mother, I’d want to run away too, and preferably to somewhere where a nice, rich old lady would take me in, give me cake, dress me up nicely and teach me to speak properly.

The old me, getting the book from the library to rediscover his childhood, discovered rather how far away that childhood was. The faith in story – even though I am a writer – is not strong enough now to carry me over what seem to adult eyes the glaring gaps in the story. I think my adult eyes are wrong. Why shouldn’t animals talk? They were obviously meant to. Would I really be surprised if, one day, my cat looked up at me, sniffed, and said, ‘You really are an insufferable bore?’ before sitting on a newspaper to absorb the latest news.

No, I wouldn’t be surprised. In some deep sense, I’d think this the return of a natural order, somehow unaccountably lost along the way. But, for my young self, that lost natural order seemed so much closer and the leap, in book form, hardly any leap at all.

There are many reviews from old people decrying Babar for all sorts of reasons. Don’t believe them. They read with old eyes and older minds. Those for whom Babar was written see him, see story, with different eyes and clean minds. We old people bring the accretion of decades to him, when Babar needs to be read fresh, by a child still barely touched by the world. They will read him, and they will love him, and they will be right to do so.

 

Adventures in Bookland: Clouds of Witness by Dorothy L Sayers

Clouds of Witness
Clouds of Witness

A while back I read The Mind of the Maker by Dorothy Sayers and loved it: its mix of no-nonsense theology and creative analysis provided me with the best, and most personal, account of the Trinity I have ever read. In the dim past, Sayers’ translation of Dante’s Commedia was the first version of the work I read, and her determination to include Dante’s terza rima scheme gave me some first pale idea of the power of the original. But, of course, nowadays (and indeed during her life), Sayers is best known for her detective novels starring Lord Peter Wimsey, so I thought I would give one of these a go.

Case solved. It’s not for me. Not for any lack of ingenuity or paucity of literary skill – quite the opposite. The book gives a terrifically acerbic account of upper-class country house life just after the Great War. The mystery is ingenious and the plotting as thorough as any of the other great ladies of detective fiction.

No, it’s the language. Where Sayers’ brusque, almost staccato use of language worked to bracing effect in The Mind Of the Maker, here I found it like listening to pebbles being fired at a corrugated iron wall – one after another after another. This is purely a personal taste and I’m sure other people will find the style as invigorating as I found it exhausting. I do wonder if the style is specific to this particular book, or continues through the series. I will probably dip into another Lord Peter Wimsey to see how it reads in comparison to Clouds of Witness. But, for now, that’s enough – I feel like I’ve been sandblasted!

In Search of Alfred the Great – out now in paperback

In Search of Alfred the Great
In Search of Alfred the Great

If you thought £20 was a bit much to pay for the hardback edition of In Search of Alfred the Great: the King, the Grave, the Legend (and although it has lots of pictures and diagrams and some lovely words, that is quite a lot of money) then now is the time to click on the link – for the lovely people at Amberley Publishing have just released it in paperback. So, sit back and discover just why Alfred is the only king of England to be called ‘great’.

Adventures in Bookland: Hornblower and the Atropos

Hornblower and the Atropos
Hornblower and the Atropos

Has anyone remarked on the double entendre in our hero’s name? No. Then I won’t either.

Right. The book. Yes. I know I had all sorts of interesting things to say about it, but I finished reading it a month ago and the interesting things have slipped away into the place all those bon mots and lightning quick quips go when you actually want to use them, to be replaced by leaden, frankly rather dull, words. Words like episodic, entertaining and edifying: they all apply but really, if you’ve read any Hornblower, you’ll know that already.

What did I have to say that was interesting? Ah, was it this: this is story as single-person drama. While it’s not written in the first person, it’s absolutely Hornblower’s story – something evinced by the relatively small amount of dialogue. It’s all action and Hornblower planning on, or reflecting on, action. As such, it’s a peculiarly solipsistic book. Not bad for that, but I think having read four Hornblowers I need to take a break for a while. It might have helped if Hornblower had a sense of humour, but he’s as devoid of that as he is of musicality. Music is a bit hard to do in a book; humour is almost as hard.

Adventures in Bookland: Knights of the Hawk by James Aitcheson

Knights of the Hawk
Knights of the Hawk

It’s fascinating, sometimes, to step behind a story and into the intentions of the writer. Now, James Aitcheson is a skilled writer and this is an excellent book – it fully deserves the glowing reviews it has received on Amazon and Good Reads and elsewhere. So let’s just take those reviews as read, and move into the swampy mire that is the mind of the writer at work.

Now, I thought I had this book worked out. Laconic hero – from the Norman side although a Breton so, I suppose, a double enemy of the Anglo-Saxons – faces English folk hero in Hereward, who proves to be as ruthless and determined a killer as, well, William. Nice set up of Hereward as the adversary, the assault on the Isle of Ely, Hereward’s escape around the half way point of the book, and I’m expecting it all to continue through further encounters and skirmishes until a final denouement 150 pages later.

Only, it doesn’t. James does a story swerve on the reader, and completely dumps his expectations in the fen fastness into which Hereward’s legend disappears.

That’s when I started thinking about what James is doing here and in the previous books about Tancred, and I kept on thinking, following trails and suggestions, through to the end of the book. There’s a clue, I think, in the title of the first: Sworn Sword. Many of the warrior societies of the early and high Middle Ages were held together by oaths, by the pledging of service and loyalty and arms through the giving of word upon the sacred. With limited recourse to law or recompense from human society, a surer, although post-mortem sanction was required to hold men in check, and the giving of oaths before and to God provided that, for failure to uphold an oath meant sure and eternal punishment in the afterlife. Or did it?

That is what James Aitcheson is doing in these novels, I think. He is working through the implications and understandings of an oath-bound society, using his hero to investigate the consequences of this within an imaginative recreation of a historical society. And it’s quite, quite fascinating.

Knights of the Hawk ends with Tancred largely cut free from his previous oaths and obligations, to kings and lords and even the woman he had loved. Now, it will be fascinating to see where James takes the story, for both literally and metaphorically, Tancred ends the story at sea – and the sea can take you anywhere.