Book reviews from RaymondMathiesen

Backward Compatible

by Sarah; Clark, Pete Daltry

Is there someone for everyone? Even me? Time is passing and the Y Generation have now become young adults. During this social period computers and the Internet have become household items, at least in the Upper and Middle classes. Online gaming has now become a subculture complete with language, social activities and dress. The word 'geek' has become more a description of an alternate subculture than a derogatory term. Daltry and Clarke take us on a wacky trip into the world of computer geeks, as they follow the hectic lives of Katie Garretty and George Lindell. Will this young woman and man come together in a sweet romance, or will they be doomed to remain single forever? Does being a computer geek mean you can never have self-respect, or can these young people grow in self-confidence? Will the pair ever battle their way to the end of Fatal Destiny, the game which dominates their young lives? Backward Compatible is a romantic comedy that will entertain those who enjoy reading New Adult or Young Adult fiction. Right from the start it should be pointed out that this book is a comedy and much of the humour revolves around politically incorrect views. This book is full of foul language, sexual references and biases against minorities. If you are looking for a book that will expand your social and political ideology you would do well to go somewhere else. If, however, you are looking for something that will make you smile, this is the book for you. In tune with the gaming ethos of the book, the novel is divided into 15 "Levels", reminiscent of computer game levels in which each new stage represents a higher degree of complexity and difficulty. The plot of Backward Compatible can roughly be divided into two halves. The first half, Level 1 – 7, revolves around the issue of whether Katie and George will actually get together, and the complication of a possible relationship between Katie and Jeff Browning ("Seynar"). The second half, Level 8- Boss Level (15), covers Katie and George's budding romance and a gaming hunt for hidden keys, in order to win a $10,000 prize and a trip to Montréal. Both halves each contain an extended description of gaming play, so it should be pointed out that this novel is particularly designed for those interested in online games. If you are not so interested, these sections may seem a little dull. Most of the book, however, is of general human interest and so will appeal to a wide range of readers. The chapters are written alternately from Katie's, then George's, point of view. As a result we gain a look into both the female and male minds and lives of young adults. This book, then, should appeal to both male and female readers. At 356 pages Backward Compatible is of average length, however, it is just a little too long for the content. It could have benefited from some minor editing. Daltry and Clarke have created a collection of likeable characters who the reader will instantly relate to. These characters will remind the reader of themselves or their friends. Both Katie and George are bright and witty, and at the same time vulnerable. We relate to their lack of confidence, and hope the best for them. Typical of the romantic comedy genre even the antagonist character, who I will not name in order to avoid spoiling the story, is not too bad: even they have endearing qualities. The character of Katie has an arc of development spanning the whole novel. We follow her as she progresses from an aching lack of self-confidence to a position of much more self-assurance and certainty. The character of George has two arcs of development. The first arc covers the first half of the story, and takes George from being a nervous young man who does not believe he will ever get a girlfriend to a happy young man who is now dating. The second arc revolves around the issue of whether George will actually have sexual relations with Katie. The character of Katie is a little more fully developed than that of George. The internal monologues for Katie take us deep into her mind and experiences. The character of George also has internal monologues, but we do not get quite the breadth of characterisation. For example, we hear of George's physical longing for sexual satisfaction, but there are few detailed descriptions of this physical angst. This is not to say that George does not live on the page. The reader does relate to him as real. In contrast to the new circumstances of the Y generation and technological development, as the subtitle suggests, romance is the central theme of Backward Compatible. This ageless theme is fully developed to the reader's satisfaction. It is a simple fact of life that for many of us at least part of the solution for lack of self-confidence is finding a partner who we can love and be with. Katie and George are not the only characters to pair off by the end of the novel. Family is a very secondary theme. The reader gains a brief look into the families of George, Katie and Lanyon (George's ever present buddy). We see parents who cramp their children's style, but are caring, and a brother who is competitive, but willing to help. These two themes fit well together, as one has a tendency to lead to the other. Of course, a family is a long way ahead in Katie and George's future, and we do not know if it will eventually come to be, but the reader can hope. The humour in the novel works quite well. There is a great amount of witty comment and repartee, slapstick humour and tongue in cheek events. George and Lanyon are particularly a comedy duo a little reminiscent of The Three Stooges, although of course there are only two of them. For example, while George and Lanyon are at the store, at midnight, to buy the new release of Fatal Destiny George tries to pull Katie as a date by giving her his copy of the game to buy. Seeing this Lanyon comments, "I mean, if you are going to give up a midnight release the least she can provide you with is a little midnight release." During the same incident George comments of Katie, "her smile is more that of a hungry T-Rex than innocent ..." At times the plot wanders a little into hyperbole. For example there is a three-storey climbing incident which is a little unreal, and certainly would not work in a less humorous and more realistic story. Similarly, in reality few friendships would last if a young man hit his friend in the testicles. But as has been noted this is a comedy and the reader is not too upset by these unrealities. From the perspective of Feminism women in the novel are represented as quite dynamic and forward. Katie, despite her lack of self-confidence, can be very forceful in making her opinions known. She is a talented gamer and an aggressive fighter in Fatal Destiny. She is also an intelligent university student, an Art History major, who has gained entrance to Amherst College, a prestigious and exclusively selective university. Allie, Katie's friend, is the first to turn against the antagonist character, deliberately killing their game avatar even though the antagonist is supposed to be on the same team. Anna, Katie's best friend, is, however, more of a female stereotype. She is interested mainly in guys and clothes. Anna certainly gets a ribbing from Katie, though, on these points. Stacey and Vicki, two hussies who knew Katie in high school, also represent the female stereotype of get a man, have a baby and raise a family. These two women, though, are hardly represented positively, and their lifestyle is certainly not recommended.

The Neurotic's Guide To Avoiding Enlightenment

by Chris Niebauer Phd

Deep thoughts about the self and self-improvement… Even a quick look at the self-help shelf at any bookstore will quickly reveal that the industry is booming and that most of us seem to have a secret desire to ‘be a better person’. We search for that magic formula which will give us enlightenment, hopefully the quicker the better. But is enlightenment, as we understand it, really achievable? If we did have a better life what would it be like? Would it be very different from our current life? Even more, what if we found that this ‘self’, which we are so bent on improving, turned out not to really exist, to be a myth, an unreliable creation of our own brain? Can modern neuroscience throw any light on this subject, and if so do you have to be an expert to understand it? If you are confused already get ready to have many of your ideas challenged by Chris Niebauer’s thought provoking book The Neurotics Guide To Avoiding Enlightenment: How The Left-brain Plays Unending Games Of Self-improvement. Many self-help books are written from a New Age / Eastern Mysticism perspective and in a way Niebauer’s book fits into this category. Niebauer is strongly influenced both by the mid twentieth century author Alan Watts and the contemporary writer Eckhart Tolle. Watts wrote on a variety of Eastern Religions including Zen, Hinduism and Taoism and Tolle is greatly influenced by Buddhism. To describe the book as being purely of this ilk, however, would be greatly misleading. Also, to describe The Neurotics Guide simply as a self-help book, would be equally deceptive. Certainly there are mind-exercises and meditation techniques included which the reader may find helps them achieve a new mind-state, and which gives them a new approach to life, but this is very much a book of theory / philosophy which concentrates on challenging our standard ideas about ourselves and our lives. Niebauer is indeed “a college professor specializing in cognitive neuropsychology” (Preface) and the book has a heavy neuroscience content. In essence Niebauer is attempting to give Eastern Mysticism a neuroscience framework, taking it from the world of pure ideas and giving it a firm background in science. As the reader may by now be guessing this is not really a beginner’s book. Some understanding of both Eastern Mysticism and psychology would be useful. Niebauer’s ideas are unorthodox and very challenging, and need to be thought about quite a bit. The first chapter, for example, may be a struggle to understand, but Niebauer’s ideas become easier to appreciate if you stay with the book and keep reading. By the end you may not agree with everything Niebauer says, but you will certainly have been forced to think through much of what you believe about yourself and the world. Despite the emphasis on theory, the book does not use technical terms or give lengthy, in depth scientific discussions. There are illustrative examples from Niebauer’s real life and that of his family. These examples help to make the text more personal and easier for the average reader to relate to. As the subtitle suggests a great deal of this book has to do with the left-brain. This is the hemisphere which is dominant, that is, which is most prominent in our thinking. It is pattern seeking and sees the world in terms of categories. It divides the world into nouns, that is stable ‘things’. All this is fine except that much of the world is process, which is to say that things change, indeed often are in considerable flux. Thus we tend to think of ourselves as a permanent ‘picture’. We tell stories from our history which illustrate ’who we are’, when in fact we are a changing entity. This idea is very much in agreement with narrative psychology (Dan P. McAdams. The Stories We Live By: Personal Myths And The Making Of The Self:__ New York: The Guilford Press, c1993). Taking another example, we tend to see enlightenment as a ‘thing’ which can be achieved, a permanent state in which our old self ends and a new self comes. That is we see enlightenment as the ceasing of one stable thing and the beginning of another. As Niebauer points out our left-brain will never cease operating, even if we become much more aware of our right-brain, process oriented, expanded awareness, therefore enlightenment is a continuing process of change, of seeing the world in a new way. Much of the book centers on the discovery that, in the absence of solid data, the left brain confabulates, that is, invents perfectly reasonable sounding, yet untrue, explanations for why the world appears as it does. That is when we have little information we see ‘patterns’ which don’t exist, at least not in the way we believe they do. This discovery comes from split brain patients. These are people who, usually because they suffer from extreme epilepsy, have had their corpus callosum cut. The corpus callosum allows the left and right hemispheres to communicate. It does not take much to remember an occasion in which we have ‘jumped to conclusions’. At the time we are sure of our ideas, but later we come to doubt because we find information otherwise or because we see that we actually have no evidence. The end result of these findings is of course that we should be much less certain of ourselves. This is an idea Alan W. Watts proposes in his book The Wisdom Of Insecurity (New York: Vintage Books, c1951). Niebauer proposes two main solutions to our problems in life. The first is that we be aware of life, observing ourselves, and the things that happen to us, from a distance. This allows us to truly observe, rather than jump to conclusions. It also allows us to distance ourselves from the emotional drama of our lives. We observe “I am upset’, but by the act of extended observation we are one step from our unsettledness. This of course is what is known in Buddhism as mindfulness. Niebauer’s second solution is to approach life with a playful attitude. We take ourselves less seriously and do not know with the certainty which our left brain wants to assure us that we have. Once again we are distanced from the drama of life. Of course the three paragraphs above only just touch on the topics discussed in Niebauer’s book which range from as specific and real as what can be done about anxiety, to as broad and esoteric as what part of the self survives after death. While the book is not long there is much in it, and the reader may prefer to only read one chapter a day in order to give the author due consideration. One point of criticism is that all of Niebauer’s evidence comes from brain damaged patients and optical illusions. These are not circumstances in which the ‘normal’ aspects of life apply. This leads us to wonder how much these circumstances occur in ‘ordinary’ life. It is not that we doubt what Niebauers is saying, but we wonder how often the circumstances occur. How often do we, for example, jump to conclusions? Niebauer would have it that we do this frequently, but is that so. A little more evidence on this point would be useful. But even if we disagree on the frequency Niebauer’s book is still certainly an eye opener.

Armageddon and The 4th Timeline

by Don Mardak

A thrilling ride from the first page… Armageddon and the 4th Timeline by Don Mardak is a thrilling ride from the first page. This science fiction novel combines time travel, spiritual themes, a fascinating mix of characters and modern intrigue to create an unputtable down novel. We meet the CIA Director, Scott Cunningham, a former Navy SEAL, and his Assistant Lori Colbert, addressing a meeting after a terrible terrorists attacks. We also meet husband and wife Kathy and Eric who are in Lhasa, Tibet, on a spiritual quest. Through Eric's time travel, both worlds intersect. Mardak's premise throughout the novel is that there "is a spiritual universe, and mankind has the ability to rise into a higher level of consciousness where all conflicts can be resolved peacefully without resorting to wars, or threatening a nuclear holocaust.” Mardak's Armageddon and the 4th Timeline is a science fiction novel, containing elements of time travel. It is set in 'the Present' with a clear aim of trying to reconcile what is happening. There is a definite sense of good and bad in the novel. Mardak’s fascinating use of the scriptural characters of Paul and Silas to both examine Christianity, and to change the future, is an amazing read. How Mardak structures the novel is particularly well done, so that the ending is both satisfying, works in a science fiction way, and races to the finish, all at once. The novel examines the various tenets of a number of the main religions (Christianity, Tibetan Buddhism, and Judaism) using them as plot devices: e.g. Paul's Missionary Journey. This exploration of religion is quite a wild ride, but worth it. The first third of the novel introduces us to the characters: to the CIA, the issues related to Eric and Kathy, and to the Himalayan mystic Shimahn. This first third also introduces broader geopolitical issues, as well as setting up the 'four dimensional world of space time'. In the second section of the novel the actual time travel begins. We see its effects from Eric's point of view. He is an interested participant. In this section Mardak makes good use of structure to make his point, but also to move the plot along. The last third of the novel brings everything together: the time changes and the new ideas and perspectives. There is an ending which is in some ways surreal, and which is beautifully realised. One of the main themes of this book is religion. It's a fascinating book because I believe many people see Religions as having "Truths" and this novel certainly plays with some of those. Anyone who believes that the Bible is the written word of God will have a difficult time with this novel. That said, it is far from Mr. Mardak's aim to make anyone annoyed about this. I feel, quite the contrary. The novel discuses time travel and how it can save the world. What difference would it make to war? Mardak also asks what kind of world are we creating? How do we cause and prevent nuclear holocaust? Armageddon and the 4th Timeline is also about an attitude of helping and working together to create change. The relationships that are explored in the novel illustrate personal growth and caring. Kathy and Eric, Colbert and Cunningham, Paul and Silas are all studies in how we see, how we relate, and how we can change. The focus in Armageddon and the 4th Timeline is how this happens. A minor quibble about the characters is the character of Kathy. I didn't feel that she had very much to say for herself, and was a little too passive for my liking. Eric, however, is well written and his relationship with Kathy is nicely drawn. The CIA group are depicted as a good bunch. They sounded quite different to Eric and Kathy: they were exciting and gung-ho. They were well drawn. The scenes in the desert were particularly evocative and the relationships depicted there, though brief, remind the reader that some of the central ideas of the novel are relationship and awareness. The different families in the desert remind the reader that families have many different shapes. In terms of diversity and families there are a range of families: Lori Colbert is a divorced mother, Kathy and Eric have been married seven years and there are the families in the Sinai desert. There is also the relationships between Shimahn and Eric and Kathy, and between Paul and Silas. Mardak also emphasises diversity by depicting various religions and mixing those religions in unique ways. This novel runs along at a fast, fast pace. At times it fairly gallops. It has fantastic ideas about time and space and makes the reader think. Armageddon and the 4th Timeline has a thoughtful purpose, but is highly readable and action packed. Mardak's plot is well structured and he makes good use of characters. From the first' gloomy Thursday in Langley…' I wanted to read on, to find out what was happening, what was going on. The science fiction genre makes a twist with a spectacularly good ending. I am happy to rate this novel as 4.5 out of five stars.

Crimson Footprints

by Shewanda Pugh

The balancing act of life…Deena Hammond is a 24 year old architect living and working in her home town of Miami, Florida. In some ways Deena is very successful, but she comes from a poor background, and in many ways she is still inextricably tied up with those origins. Her grandmother, Emma Hammond, who brought Deena up, is constantly demanding and never satisfied. Deena’s adult brother Anthony is a small-time criminal, and her sister Lizzie, though still at school, is incorrigibly wayward and seems headed for a disaster of a life. Deena is half African-American and half white and feels that she was never really accepted by the black side of her family when they took her in as a child. In very harrowing circumstances Deena meets Takumi (Tak for short) Tanaka, the son of her world famous, distant and demanding boss Daichi Tanaka. Immediately the personal chemistry and attraction seems right, but everything else between these two people seems impossible. Deena is a mere underling. Should she even be talking to the son of the owner of the business she works for? What is more Deena’s family very much expects her to date a black man. Can these two people overcome the odds and form a friendship, or even the romance they both desire?Shewanda Pugh’s Crimson Footprints can certainly be classified as a romance; however, it is much more than that. It is a story of class consciousness and racial division. It is about the struggle to find the right equilibrium between work and family, and it is a story about trying to ‘do the right thing’. Most of all, this novel is about balance in all things. We are all different, but we must overcome our resistances and come to the centre ground if we are truly going to be a success in life. Pugh has managed to successfully weld sweet romance with biting ‘slice of life’. Romance, especially the first phase, usually seems enjoyable, even with its ups and downs and Pugh captures the pleasant nature of first love well. Mixed in with these chapters, though, are insights into the often seedy, cruel world of the lower class. This juxtaposition works very well, jarring us, and reminding us that while life can seem pleasurable, there is always harshness, perhaps not too distant from us. There is considerable irony in the contrasts between Deena’s romance, and her striving for career success, and Lizzie’s pure-flesh ‘sexploits’ and base efforts to get ahead (for example the Ch. 7 / Ch. 8 contrast). Pugh’s phrasing, particularly at peak moments, is often excellent, lifting her prose from the mundane. In Chapter 1, for example, which describes the run down suburb of Liberty City, we read of “Torn fences that imprison rather than embellished” the houses which Deena passes. This care with words, and occasionally poetic turn of phrase, helps to mark out the book as more than the average read. There are moments of pure humour, particularly the events surrounding Takumi’s cousin Mike and his fumbling attempts to capture Deena’s attention (CH. 47 & following). There are also moments of true shock and also scenes of high drama that take us far from the average world of romance. Pugh has included occasional swearing, and sex is very openly discussed and depicted. This may offend conservative readers, but is certainly justified by the themes, characters and story line.The book has a more unusual plot structure. Part One (Ch. 1 - 7) serves as a general introduction to the Hammond and Tanaka families, and to Deena’s work. The plot peaks early, then builds as complications follow. Part Two (Ch. 8 – 42) is a very long section covering Tak and Deena’s extended holiday road-trip across much of the U.S. Romance blooms as Deena learns to loosen up, then a series of couples are met. These couples serve to show how Tak and Deena’s love perhaps could work. The sequence comes to an unexpected close as events suddenly twist in a crisis. This Part could perhaps have been divided into two sections, though the whole sequence is certainly united by the structure of the holiday. Part Three (Ch. 43 – 64) covers the problem of the hidden nature of the romance, centring on complications during a working holiday break. The disastrous climax of the novel is reached followed by a brief sequence wrapping up circumstances with the Tanaka family. Part Four (Ch. 65 – 67) describes the complications with Emma. This section is quite brief and perhaps could have been extended a little considering Deena’s grandmother’s earlier resistance, tenacity and belligerence. The Epilogue, set some years in the future wraps up the plot lines nicely, though one question is pointedly left open.As already indicated the main theme of Crimson Footprints is balance, or Difference/Harmony. We like people ‘like us’, but we are all individuals. What does it really mean to be ‘like me”? Is this merely a matter of externals, or are internals more important? We need to accept who people are, and where they came from, but not be bound by that. An openness in outlook and balance is needed otherwise we will be bound forever in very limited circumstances. On another level, how do we handle the conflict between work and family / social life? Is one demand more important than another? Can we neglect either? Of course there are no easy answers, though those may be the first to come to us. Life is complicated and this book explores these complications.The family is a second important theme. Families can be both sources of pain and sources of strength, and both features can occur in the same kinfolk. Families are what make us, but at the same time are what we grow from. They can be conservatively stolid, relying heavily on tradition, or can adapt to new circumstances. We can ignore them, but we can never really escape them. Following from tradition, a family can be a basic mother, father and children, or it can be a less conventional grouping. Families are very basic to human nature and being taken in, or adopted, does not make it of less importance to us. This very contrary institution in fact dominates us. We come from families and then we make new families, or at least extend those which we have.Another important theme in the novel is what could broadly be termed as success. We are encouraged to ‘do our best’, to ‘do good’, to ‘shine’. What is success and what are the traits that allow us to see it? Is it hard work resulting in material objects? Is it love, honesty, caring and ethics resulting in respect and attachment? Is there room for both? Millennia ago the ancient Greeks asked, “What is the good citizen?” In response they formulated the idea of “Virtue” (Ben Dupre. 50 Philosophy Ideas You Really Need To Know: Quercus, 2007, p. 96 – 99), that is, the character traits that make us wisely successful in both working life and family life, and indeed everything that we do. This idea of ‘virtue’ is central to Pugh’s novel. Deena struggles to be a ‘good person’ ethically, socially and workwise. For her these are not separate issues, and not merely because she is in love with the boss’s son: all are tied up with who she is as a person. Of course there is success in terms of one social class’s ideals or another’s, but what is truly wise success. In the end isn’t success really related to what makes us “happy” (Ch. 20), as complex an issue as that may be?Following from this there is also a minor theme of ‘religion verses ethics’. The Christian religion claims to be the guide for good, but surely considering the evil things that befall us for no reason we should conclude that God in some ways unfairly hates us (Ch. 2)? Indeed doesn’t hell hang over us like some permanent, inescapable damnation (Ch. 2)? Even if these things aren’t entirely correct theologically, aren’t accusation and condemnation how Christians really act? Is this really what good is all about? Equally, for so many, isn’t Buddhism in reality simply a constraining tradition full of rules about obligation (Ch. 10), rather than a source of right behaviour leading to internal peace? Once again this may not be correct according to the true tenets of Buddhism, but isn’t this how it often works out in practice? If religion in practice isn’t such a good guide for ‘goodness’, what do we take as our guide? Surely we must fall back into the painful position of finding our own way, and indeed Deena must struggle to find her own position.Deena Hammond is an interesting character who we immediately like and care about. What strikes us is her positivity in very negative circumstance and her determination to get somewhere better. Deena is a ‘Star’, without being too perfect. Despite her determination, in certain circumstances, particularly with her Grandmother, she collapses. What unites these converse character elements is the fact that she is a self-accuser. Her accusation drives her on to career success, but also holds her up in her battle with her domineering Grandmother. While she accuses herself, Deena is somewhat driven to help others, particularly her siblings. This kind of complexity does much to make Deena seem more real to the reader. She is no cardboard cut-out. Deena must learn to limit her career “expectations” (Ch. 12) and not rely so much on “reason” (Ch. 16) alone to solve problems. These are human challenges the reader can recognise and understand, even if they do not personally suffer from them.Takumi Tanaka is in some ways the ‘perfect man’ every woman dreams about. He is “athletic” (Ch. 1), a success at both art and business (Ch. 5) and caring. His limitation is that, while he can understand Grandmother Emma all too well, he only has a limited understanding of his own father and family. Despite this the reader wonders if Tak could have had just one or two more faults to make him more human.Grandmother Emma Hammond is an appropriate nemesis. She is a narrow minded bigot, uneducated, an immense hypocrite and appropriately venomous, though occasionally she can give way. The words “consistently hostile” (Ch. 1) certainly sum her up. Her Christianity is certainly a biting irony.Daichi Tanaka is describe by a magazine is “Architectural God” (Ch. 3) and his behaviour exhibits the kind of flaws that such adulation would certainly bring. He can be arrogant, bad tempered, rude and cold, but he is also willing to give others a chance to prove themselves, and even work to bring out the best in people. Daichi is like Deena in his determined, even driven nature, and in his concern for others, but quite different in his self-adulation. Pugh has these two character form an interesting and rich relationship, and has managed to make Daichi equally complex.Examined from the perspective of Feminism it can easily be seen that Deena is a successful young career woman and entirely self-made. Deena’s challenge is to live up to the goals set by Betty Friedan (Cathia Jenainati. Introducing Feminism: Icon Books, 2010, p. 90 – 94) of being successful both in her job and family life, without falling into the same traps that men do (primarily favouring career over relationships). Hatsumi, Tak’s mother, however, is by marked contrast a 1950’s woman: unloved, unhappy, trapped at home, but beautifully dressed. Even Hatsumi, however, has a certain dignity and demonstrates a mind of her own, showing how women can rise above these circumstances. Emma, for all her failings, is certainly headstrong. Lizzie has a mind of her own, but serves as representative of the ‘sex object’ so propagated by traditional media and male driven dominance. Pugh makes it more than clear that according to her this option is not to be desired. Rhonda, Deena’s aunty, is also a career woman (Ch. 4), but demonstrates the bigotry which the ‘new woman’ faces as she must “constantly field unfounded accusations that she is a lesbian” (Ch. 4) simply because she does not fit a very narrow picture of what a woman should be like.Daichi is very representative of the 1950’s male role model, being a stranger to both his feelings and his family, and believing that his duty as a male is solely to provide income. He sees himself as the family figure head. As the story progresses, however, this position comes under increasing, condemning scrutiny. Tak, by contrast, is the twenty first century man: not New Age / Spiritual, but none the less in touch with his own feelings, and caring of others. As an artist he expresses freedom and creativity, rather than being trapped in a rigid role. Anthony Hammond, Deena’s brother, represents that large group of men who have not progressed to the standard proposed by twenty first century male Gender Studies. He is everything a man should not be, trapped in a 1950’s ‘tough rebel’ role, renamed “gasgsta” (Ch. 56) as if it were something new.This is by far a predominantly heterosexual novel, though, LGBTIQ people are very briefly represented by Bridget, “a lesbian” (Ch. 20), who is positively depicted as a successful career woman. Two quite large families are depicted in the novel, plus other minor characters, and we wonder if more of a representation of LGBTIQ people could have been made, particularly in a book where ‘difference’ is an important theme.The aged, who are often ignored in society, are chiefly represented by Emma Hammond, though this is clearly not a sympathetic depiction. Of course being old does not automatically make you nice or wise. The absent character of Eddie Hammond, Emma’s husband, is equally uncomplimentary, though that is not surprising as the two belong together, having chosen each other as partners. Yukiko, Tak’s grandmother, by contrast proves to have learned wisdom over the years and in an important scene gives Daichi very useful words of advice.This is a novel very much about minorities and highlights the difficulties those who would reach beyond their group face, as well as the difficulties those of mixed racial background face. African-Americans are highlighted, as are the U.S. minority of Japanese-Americans. This is, however, not really a book about political agenda or advancement in the standard way Post-Colonial Studies thinks. We do not, for example, really hear of civil rights. The social history behind African-American food is certainly mentioned early on (Ch. 4), and we hear that this is the food of slaves who must do with left overs. Also we hear that architecture should reflect the culture of the ethnic group (e.g. Mayan farmers) and empower these local groups (Ch. 3). As has been seen, both Deena and Rhonda are successful, black career women, and Daichi is certainly successful way beyond the normal expectations. The bigotry faced by both Japanese and Negroes in the U.S. is also briefly touched on as is the difficulties of mixed race couples (Ch. 57). The difficulties of people of mixed racial origin are also mentioned (Ch. 22). In all of this, however, the emphasis is on personal coping rather than political agenda. As has been said, this is a book about ‘Virtue’, and Pugh’s aim is to demonstrate the personal attitude in the face of these circumstances is what is important. Personal action to overcome poverty, for example, is the solution, rather than simply social programs. This is illustrated by the marked contrasts between the Tanaka and Hammond families. The Tanakas, despite their problems and failings, are educational achievers, work achievers and socially successful. The Hammonds, on the other hand ignore education, choose criminal careers, and glory in social bigotry and abrasiveness. They lead lives full of failure and ineptitude and seem to glory in it. Deena and Rhonda are of course the exception. As can be seen Pugh is not pulling her punches. This is a tough message and will be unpopular with at least some, though her message is overwhelmingly one of hope.Similar to the position on minorities, Pugh takes an unusual stand in the Capitalist / Socialist debate. The evils of poverty are openly depicted. One example is the Liberty City high school where it is virtually impossible to take driver education courses because of under-resourcing (Ch. 7). There is no doubt that people should be able to live better. But once again the primary solution is personal virtue and not government programs. Opulent wealth is not openly condemned, far from it, but it is not placed above interpersonal caring and personality characteristics of value. Monetary wealth is of value, but not if that is all you have. This is certainly in keeping with the theories of Marx (Gill Hands. Understanding Marx: Hodder Education, 2011, Ch. 6), but is hardly standard Socialism. Pure Capitalism at the expense of virtue is certainly to be denied. Anthony has his “Air Jordans” (Ch. 6) and Lizzie has her tawdry, growing personal income, but at what expense to them personally? None the less this novel is in part a celebration of the American rags to riches ideal: the self-made man/woman.Pugh is of course aiming to write about ‘real’ people and ‘real’ life, and so the field of psychology comes into play. Psychology aims to discover truths about human nature and behaviour, and so is a useful tool and aid to fiction. Deena is primarily motivated by guilt instilled in her by her overly-critical, religious grandparents who “bullied” her relentlessly (Ch. 12), and as a result is very critical of herself (Ch. 7), though she has achieved much in her life. She is controlled by the voice of others rather than her own “decision making and self-regulation” (Michael J. Formica. Guilt is a Wasted Emotion: Psychology Today: July 25, 2008, http://www.psychologytoday.com/blog/enlightened-living/200807/guilt-is-wasted-emotion). She is a rigid planner (Ch. 9) locked in schemes to ensure success, so that the critical voices (now in her head) will be appeased. Of course Deena must break free of this circumstance, and that is a major plot line in the book. Also it can be noted that Deena is a “rescuer” (Andrea Matthews. The Rescuer Identity: Psychology Today: April 21, 2011, http://www.psychologytoday.com/blog/traversing-the-inner-terrain/201104/the-rescuer-identity), who feels that she must ‘save’ her sister and brother, but is never successful in doing so. She carries out her ‘mission’ at great expense to her own development. She tries to ‘save’ others, but has never really established her own self-worth. Once again, it is clear that Deena must overcome this issue and Pugh explores this plot line in some detail.A name can often help to shape us into the people we are, and studying names can sometimes help the reader to understand fiction. According to David L. Gold (A Dictionary Of Surnames: Oxford University Press, 1988, p. 237) the family name Hammond means “home”, with the special implications of “high [ … ] protection” and “ancestor [… ] protection”. This is certainly very ironic as Deena’s home is indeed anything other than a place of strong refuge, and her grandparents are hardly shields against the ill-will of the world.Pugh’s novel is not heavily symbolic: however, the image of architecture hangs over the whole book. Architecture is “order in a world of chaos, sense in a world of madness” (Ch. 9). It can be something false and contrived that we impose on nature, or it can blend with the environment, as Deena wants to do with her Postmodern theories (Ch. 5). It can construct artificiality or it can deconstruct our fake ideas of life (Ch. 3). As has been noted Deena is trapped in the construction of her family and their “expectations” (Ch. 12), as well as her own, and needs to break free into her own natural being.Shewanda Pugh’s Crimson Footprints has many aspects to it. It has the themes of difference / harmony, family and success, which are explored in some detail. Its characters tend to be complex and life-like, and are in tune with the ideas of modern psychology. The issues of racial and class division are explored in depth. The limitations of 1950’s values for both men and women are depicted, and the alternatives, as proposed by Feminism and Gender Studies, are examined. The role of money verses personal worth, as seen in the Capitalist / Socialist debate, is investigated in some detail, though Pugh chooses an individual solution, and is not bound by the constrains of either of those theories. Pugh writes well and she has created a successful novel which I am happy to rate as 5 stars out of 5.

The Only Way Out

by Mr Don De Lene

Problems, problems, problems… Solutions?Hannah Lane, the seven year old girl we remember from The Power, The Miracle and The Dream, is now 22 years old and a “Pulitzer Prize winning photographer and renowned peace activist” (Ch. 1). She is with a National Geographic team that has just landed on Mars, and has become officially the first woman to set foot on the planet. Hannah has come a very long way since her loosing childhood days as an asthmatic, but how exactly did she get here? Was it really the secret of “the power within … [her] … mind” (Ch. 12) that brought her to these heights? The Only Way Out: Forgiveness - The Path To Peace & Happiness takes us deeper into the spiritual philosophy set out in De Lene’s earlier book, concentrating on our desire to hurt others, and the solution of reconciliation through absolution. We can never really be at peace unless we are willing to forgive wrong. In this book De Lene digs deeper into a metaphysical view of the world, particularly the idea of God, however, the philosophy presented is not at all ‘orthodox’ religion. De Lene instead derives his inspiration from the non-fiction book A Course In Miracles (Helen Schucman. Foundation for Inner Peace:__ 3rd ed.:__ 2007). De Lene’s book is an unusual blend of novel and teaching manual, and is a very enjoyable and easy way of looking deeper into philosophy.Set not too far into the future, the novel has elements of science fiction, such as the “video phone” (Ch. 2), permanent Moon and Mars bases, and the “Intelligent Traffic Management System” (Ch. 21), where cars are robotically steered. Most of the life depicted, though, is very familiar to the reader, and indeed the book concentrates on ‘ordinary’ life and the all too common problems such as work and relationships. The book is not science fiction in the true sense of the word. A great deal of the 29 chapter book is plot line which entertainingly dramatizes the philosophical points, though there are four teaching chapters which deliver ideas in a chatty, but more instructive way.The books structure is divided into two parts of roughly equal length: Chapters 1 to 16 and Chapters 19 to 29. Chapters 1 to 3 are introductory, covering the events of Hannah’s childhood and adolescence. Some of this section recaps very briefly the events and philosophical points raise in the first novel in the series. Chapters 4 to 11 cover the teaching and learning experiences surrounding the new idea of forgiveness. Chapters 11 to 16 are wholly narrative and cover the events surrounding Hannah’s contact with National Geographic and her first working trip to Kakado National Park in Australia. These chapters also cover the beginning of Hannah’s friendships with Meiling Wang, “Editor In Chief of National Geographic” (Ch. 5), and Alexander Messina, an apparently arrogant but very gifted staff photographer. In Chapters 17 to 24 the plot takes on a truly international theme in which the troubled world of the Middle East is explored, and in which the idea of synchronicity or “meaningful coincidence,” (Carl Jung. Synchronicity: An Acausal Connecting Principle, in The Structure And Dynamics Of The Psyche:__ 2nd. ed.:__ Princeton University Press, c1969, p. 426) is dramatized. Chapter 25 is an adventurous interlude covering exciting action on the moon. Finally Chapters 26 to 29 explore the outcome of the earlier events surrounding the Middle East.As would be expected from the sub-title of the book the main theme is forgiveness. We all hurt and we all do harm, and this seems to be a fact of life, but is there a solution which practically works? We freely talk about forgiveness, but what does it really mean? What about retribution and justice? Are they ignored if we forgive? Success is a second theme strongly running through the novel. We want to get ahead in the world, but how do we do that? Is success simply making money, or are their deeper values we can judge ourselves on? Are money making and values opposed? What should we do with our personal success, or is it an end in itself?The three main characters are immediately likable and indeed this seems to be one of the benefits of the philosophy they each espouse: we like ‘nice’ people and want to be friends with them, even if we don’t agree in every detail of what they say. Hannah is in the main positive in her attitude to life. She does have moments of negativity (Ch. 3) and to a certain extent she underestimates her own ability, but she is a high achiever: the kind of girl we all wanted to be friends with at school. She of course is very successful, but she never ceases to be amazed at this, and even more puts in the work learning her photography. She does not assume she ‘knows it all’: indeed she is known for her “determination” (Ch. 2). Meiling is even more successful, but she too has worked to get there. She is perhaps less certain than Hannah in her philosophical approach to life, but the two women work well together and from the beginning we wish the best for their friendship. Alexander, behind his exterior of conceitedness, is jovial, admits his faults and is willing to pass on his skills as a photographer. These three people move the book forward as we at first wonder about them, get to know them and then hope for their plans.As we have already mention, this is in part a teaching book and some of the ideas put forward should be mention and looked at in more detail, though there is too much to cover in a short review. Synchronicity has already been mentioned. De Lene’s take on the subject is that “there is a reason behind everything” and that each event provides an “opportunity to learn more about ourselves” (Ch. 2). In essence a person should “set your goal … [and] … synchronicity will take care of the rest” (Ch. 2). De Lene proposes that there is an element of “spirit” in life. He speaks of “the power within his mind, connected to spirit” (Ch. 2 and following) and also of “spirit or God” (Ch. 2 and following). In many ways, though, this element remains undefined. People pray to God (Ch. 15) and one minor character who claims to see God’s angels seems to know Hannah’s future (Ch. 4), but the picture of God remains distant. Can we honestly ever truly know the spiritual in complete detail? On the other hand there is a detailed ‘creation story’ of sorts in the novel and here many readers may experience considerable resistance. We are encouraged, as a result of this story, to believe that we should forgive because all of life is an illusion, a dream, because “nothing really happened” (Ch. 9). Most readers would respond that this dream seems very, very real and so does the pain we suffer. Similarly in Chapter 13 we read of a near death experience (NDE), which seems to confirm De Lene’s notion of a God filled with only love. This experience, as described by De Lene, is in agreement with much of the psychological literature, especially Raymond Moody’s Life After Life (Bantam Books, 1976). It should be noted, however, that Maurice Rawlings in Beyond Death’s Door (Bantam Books, 1985) reported encountering just as many negative NDE’s as positive. Judgement and hell seem very real. These metaphysical notions of illusion and an all-loving God, though, are not central to the book and are not needed in order to understand and appreciate the main point of forgiveness. The “ego” (Ch. 2 and following) is a central notion in the book. Primarily it is seen as being “controlled by … negative emotions” (Ch. 2), chiefly “guilt”, and because of this it divides us from others so that we see ourselves as “separate selves” (Ch. 7). There is also the notion of “holy relationships” (Ch. 10) which basically says that if two ‘right minded ’people work together huge amounts can be achieved. All these teaching points are dispersed throughout the book and are often integrated into conversations arising out of the plot.There are quite a few women characters in the book and virtually all of them are successful and dynamic in one way or another. We have already talked of Hannah and her career as a photographer. Meiling reveals herself from an early age to be “creative” (Ch. 12) displaying a talent for painting. She is also intelligent and is successful in school. She displays winning physical ability at sport, being a state champion at “badminton” (Ch. 12). Like Hannah, she is characterized by a determination in all that she does. As “Editor In Chief” (Ch. 5) she has reached the top of her profession. She is no ‘pretty silly thing’ of the 1950’s. Anna Messina, Alexander’s partner, is a psychologist who earlier in her life worked in “a prestigious medical center in Washington” (Ch. 20). Hilda is a “social worker” (Ch. 4) who Hannah meets. She is head of the “Community Refuge Center” (Ch. 4) in Australia. She is very knowledgeable in her field. Professor Amy McLaughlin, who initially teaches Hannah at university, is “highly regarded in photographic circles around the world for her technical expertise in the field of photography, as well as for her innovative ideas” (Ch. 5). Feminists will be pleased by this book as the women display both emotional and social intelligence, determination and business nous, all of which enable them to achieve.The two most prominent male characters in the book, Alexander and Nathan (Hannah’s boyfriend), both outwardly fit the traditional male role of tough, rough men. Alexander is full of pride and Nathan is a hard drinker. We at first feel these men would very much be at home in the 1950’s. Alexander, however, actually has a very soft side which he has learned to develop as a result of great personal hurt, and Nathan shows that he can learn to listen and change his ‘macho’ ways. De Lene’s novel shows the benefit of Gender Studies and will be a challenge to some men.Minorities are represented by Meiling who is an immigrant from “China” (Ch. 12). Here difficulties on coming to a foreign country, the U.S., are mentioned. As we have seen she perseveres to success. Minorities and the dispossessed also are mentioned in the novel in the form of the Palestinians, in the Middle East, and Aboriginals, in Australia. While mentioned, though, their presence is not really dramatized. The Palestinians very briefly appear in the character of Ramy, a youth who has had great personal hardship, but Aboriginals must be represented simply by their rock paintings. Also both these groups are to some degree represented as being helped by others, rather than being self-possessed. A book centring so much on personal overcoming and empowerment would have been considerably enhanced by dramatizing these minority groups more.The elderly appear in the character of an “old bag lady … Doris” (Ch. 4). While being bereft personal possessions because of “bad choices” (Ch. 4), she possesses a remarkable friendliness, joy of life and wisdom. This is a dignified picture of this often ignored group.LGBTIQ characters are completely absent. Once again, in a novel dealing with empowerment, it is unfortunate that this group is ignored as including them would have added extra dimensions to the ideas expressed.In terms of the Marxist/Capitalist debate, and the accompanying discourse on power, it can be noted that De Lene’s novel is not at all hostile to personal wealth. The Wang’s are well off and the Messina’s live in a mansion with extensive gardens. The characters globe trot with ease. De Lene, however, very much considers what should be done with this wealth. Hannah gives her first large earnings to the Community Refuge Center despite her own personal need. She is aided in her causes to improve the lot of the suffering by her rich friends at National Geographic. Her plans to increase world peace are resisted by governments and those with “vested interests” (Ch. 29). Hannah is aided in her cause by ‘people power’ rather than ‘the system’ (Ch. 26 & 27). This interesting balance of viewpoints makes for good reading and reveals a refusal to be trapped by any one dogma.Novels mainly aim to represent ‘real’ people and ‘real’ life, so the field of psychology, which aims to find truths about human nature and behaviour, becomes relevant. De Lene’s novel is no exception. Brenda, Hannah’s imaginary, fairy ‘spirit-guide’ will seem to many to be the most unbelievable part of the novel. The psychologist Carl Jung, however, believed that ‘archetype’, knowledge bearing sub-personalities deep in the unconscious, could become manifest to the individual in visionary appearances. Jung indeed experienced visits from, and received wise advice from, Philemon, a visionary guide (Anthony Stevens. Jung: A Very Short Introduction:__ Oxford University Press, 2001, p. 30-32). De Lene has Hannah feel she is “to blame” for the sexual abuse she receives from Bruce, her mother’s boyfriend. Psychologists have indeed noted this effect in victims (Psychology Today. To Forgive Or Not Forgive: That Is The Question: http://www.psychologytoday.com/blog/the-compassion-chronicles/200803/forgive-or-not-forgive-is-the-question - Accessed 08/10/2012). Meditation is represented as a valid way of relaxing and gaining balanced personal insight (Ch. 4 & 6), though it is not purported to be an easy method of personal development (Ch. 18). Psychology indeed supports the idea of the benefits of personal peace and insight coming from meditation (Harold H. Bloomfield, et al. TM: Discovering Inner Energy And Overcoming Stress:__ Dell, c1975, Ch. 5 & 6; and, Andy Fraser, ed. The Healing Power Of Meditation:__ Shambhala, 2013, Ch. 3-6). De Lene includes the use of a journal to record personal insights, for later referral (Ch. 6). This cognitive technique of journaling has been shown to be of use (Morton T. Kelsey. Adventure Inward: Christian Growth Through Personal Journal Writing:__ Augsburg Books, 1980). De Lene has his psychologist character Anna Messina decide that her clients are too much persuaded by her colleagues to blame others in their past for their problems (Ch. 20). Anna believes that instead her clients should accept “personal responsibility for their lives” (Ch. 20) and this is certainly very much in tune with the thinking of both Existentialist psychologist Rollo May (Freedom And Destiny:__ W.W. Norton, c1981, p. 96-101) and William Glasser (Reality Therapy: A New Approach To Psychiatry:__ Harper Row, 1975, p. 16- 23). This psychological accuracy very much adds to the validity of De Lene’s message.Following from psychology it should be noted that the novel has a little symbolism. Brenda is of course a fairy. Writing from a psychological perspective Rose Inserra (Dictionary Of Dreams: Understanding Dreams And Their Messages:__ Hinkler Books, c2002, p. 163) notes that fairies “usually represent wishful thinking and belief in the possibility of magic existing in the world, rather than reliance on the practical”. Jean Chevalier and Alain Gheerbrant (The Penguin Dictionary Of Symbolism:__ 2nd ed.:__ Penguin, 1996, p. 369) on the other hand, describes how the history of the idea of the fairy goes right back to primal, elemental forces, indeed to the “Earth Mother”, and as such they can be seen as primary creative forces in our psyche. As Chevalier and Gheerbrant write, they symbolize “the paranormal powers of the spirit or the extraordinary capacities of the imagination” (Chevalier, p. 368). J.E. Cirlot (A Dictionary Of Symbolism:__ Barnes & Noble, 1993, p. 101) agrees with this point of view, describing them as creative beings who bring about change and “transformations”. De Lene, as we have seen, proposes a real element of “spirit” in the world which we are meant to take seriously (Ch. 2 and following). The imagination, creatively seeing our true purpose as expressed in our life goals and actions, is also very important in the book (Ch. 2). Both these elements of ‘spirit’ and ‘imagination’, when perceived in the right way, can bring about great change. In tune with this transformational nature James George Frazer certainly describes how fairies in traditional tales can give “valuable information” to people which transforms their life for the better (The Golden Bough: A Study In Magic And Religion:__ Macmillan Press, 1976, Pt. VII, p. 227- 228). As Hannah’s ‘spirit-guide’ Brenda certainly gives very wise advice, even if the reader does not agree all the time. Eric Ackroyd (A Dictionary Of Dream Symbolism:__ Cassell, 1993, p. 167) indeed says that “in a woman’s dream the fairy symbolizes her mother, her own femininity, or some part of her which, if allowed to participate in the conscious organisation of her life, would bring enrichment.” The approach to life outlined by Brenda could certainly be said to be more intuitive, more feeling, more relational, and thus more feminine, and as has been said enriching.In The Only Way Out De Lene gives deeper insights into life, concentrating particularly on forgiveness, though the teaching goes much further than that. The book also examines success, and takes a balanced stance in the Marxist/Capitalist debate. The characters capture our interest and will be pleasing to those readers interested in Feminism and Gender Studies. De Lene quite competently draws on psychology to make his novel more factually based, and there is some interesting symbolic content. I am happy to rate this book as 4.5 stars out of 5.

The Children Shall Be Blameless

by W Jack Savage

Do the right thing…Richard Smith had a life before he lived at St. James Orphanage, St. Paul, Minnesota, but that was too long ago to remember. Even his first days at the orphanage seem hidden under a strange cloud of forgetfulness. One thing Richard does remember is that, no matter what, he must not eat the “cornmeal mush” (Ch. 1 and following) the nuns serve for breakfast. Refusing this meal is against the Orphanage rules, and Richard’s insistence over the years, as he grows up, marks him out as a trouble-maker. Faced with the harsh bureaucracy of the Catholic Church Richard decides that all talk of God is a fake, but he is determined to do what is really “right” (Ch. 1 and following) by people, regardless of what the church says. From a very early age ethics, rather than morals, interests this young thinker. As Richard grows up he changes in some ways, but in many ways he stays the same. What will the course of his life be?The Children Shall be Blameless is a story about real life, taking a very practical and pragmatic view of things. It is, however, also a ‘spiritual’ (rather than religious) story asking deeper, philosophic questions about how to live and how we find meaning. Richard does not claim to have all the answers, and neither does W. Jack Savage, but if you find yourself often wondering ’what is the right thing to do’ this is the novel for you. Savage’s story is interesting and in parts very exciting, and the novel is not in any way preachy.The plot of the novel is divided into basically two parts. The first part covers Richard’s early life and his adult search for his birth family, and also for a partner and family of his own. The second part takes a new direction as Richard finds himself involved in the intrigues of crime, though the themes and plot arc of the first part is never lost. Chapters 1 to 3 cover Richards youth, narrating his growth as an individual. This is a section of increasing complexity of story and themes. Chapters 4 to 5 describe Richard’s early adulthood, particularly his time in the army. This section is unfortunately in large part rather a hiatus, in some ways simply repeating the themes and plot devices of the first section. It should be pointed out, though, that this ‘dull’ section is a necessary character device which provides the motivational impetus for the next section. Chapters 6 to 8 narrate Richard’s journey of discovery as he delves into his distant, ‘forgotten’ past. Chapters 9 and 10 form the midpoint of the novel and are marked by a peak of adventure and danger both in terms of character development and events. Chapters 11 to 14 involve the new plot direction of crime and adventure. Much of this section works well, however, in parts we feel Savage is struggling for plot line. When Richard is knocked unconscious and loses his memory for a third time we feel it is one time too many. Chapter 15 serves as an epilogue. This last Chapter is too compressed in narration, with too many events happening all at one time (especially in one short section). We feel that Savage is rushing to get the story completely finished, and is perhaps under editorial direction concerning page numbers. This is an unfortunate end to a very good book, but does not spoil the overall effect of the novel, which is for the most part finished anyway.Virtually all of Savage’s characters are likable, though imperfect, and the reader immediately relates to them as ‘real’ people. Even the ‘bad’ character, Shirley Stanton, is in many ways likable in perhaps a dangerous way. We are beguiled by her ‘charm’ and double dealing. Richard is good, tough, practical and pragmatic, and hides a remarkable athletic ability. His failing is that in many ways he is ignorant of his own motivations, especially where his life’s direction is not going right. His character has some mystery as he keeps to himself in some circumstances, but is extroverted in others. Father Allen Brown, Richard’s mentor, is good, but not rigid in his ethics, as well as practical and loving. Sargent Bill (William) MCaully, a friend Richard makes in the Army, is very tough, but extremely harsh in his self-judgement and depressed in his attitude to life. He expresses the kind of emptiness, ennui and “nihilation” that the philosopher Jean-Paul Sartre so effectively described ( Richard Appignanesi. Introducing Existentialism: Icon Books, 2001, p. 128-133). As the story continues Bill evolves into a more happy character. Shirley Stanton, as we have said, is an ambiguous character, and is certainly an interesting element in the novel. She could have been the stereotyped, beautiful ‘hussy,’ but she is a much more complex character than that. This gives her a ‘reality’ which is difficult to achieve in a villain. As an example of a more minor character, Teddy, a small town reporter, is motivated to do good, determined and capable, but haunted by an alcoholic past. Savage’s novel is a fictional biography and so has many characters that we only get to look at briefly. Particularly in the second half of the novel, though, Savage displays a flair for summarized biographies in which he gives us a lively glimpse into some minor character’s lives and personality. Greg, in Chapter 12, is a good example of this.Savage’s novel is for the most part realistic in style, though in Chapter 10 the plot takes on a macabre, larger-than-life aura, which is spiced with more than a twinge of humour. This style continues on into Chapter 12, which is very aptly titled “Dickens.” Dickens is of course the master of slight hyperbole and character study. Other parts of the story have less surreal humour, and there are occasional moments of bitter irony. There are quite a few “Oh my Gosh!” moments and surprise chapter endings to keep the reader on the edge of their seat. I must warn that there is occasional foul language and mild references to free sex. This is completely in line with the characters and plot circumstances, but it may offend conservative readers.Justice and ethics, in the broadest sense of those words, is the central theme of the novel. Richard develops a set of personal values throughout the novel, which guide him in his actions. He is interested, at the most, in guidelines, rather than a set of rules for correct behaviour. These values include stepping up for the down-trodden (Ch. 1), equality (Ch. 2), tolerance (Ch. 3) and loving the people you find yourself with (Ch. 8). Most of us want to do our best, what is right, but why is this so important to us? We could simply let the whole problem slip and say, “Who cares!” Our need for connection, the next theme to be discussed, seems to propel us towards “goodness” (Ch. 2 and following). These moments of “goodness” have great meaning to us and repeatedly in the novel we hear that certain events “changed me” (Ch. 1 and following). Criminal justice makes an appearance in the second half of the book, but the theme is never fully developed. The issue of criminality is rather dealt with in terms of the personal values we have just been talking about. None the less we face issues such as: (1) are the law enforcers necessarily good, (2) is justice necessarily always done, and, (3) what is our correct response to crime?The importance of family is the second major theme of The Children Shall Be Blameless. What is family and why do we seem to need it? In the 1950’s life seemed simple and we all knew that a family was a mother and a father and two children. Now we have fractured families, blended families, birth families, adopted families, single parent families and LGBTIQ families. Indeed, some of these types of families appear in the novel. In keeping with the ‘spiritual,’ rather than religious, attitude of this novel the approach to families is “non-traditional” (Ch. 7). We all, even orphans, have families of some kind, but it is tempting to romanticise the notion: we dream of the ‘ideal family’. Richard very much likes movies, but must learn that while they reflect life, and give us ideas to think about life, they are not life (Ch. 2 and Ch. 8).Bureaucracy appears as a strong minor theme. We seem to need some rules and organisations, but they in themselves can become the source of injustice. This injustice is very easily denied and swept under the carpet when it is an embarrassment. How can we be “spontaneous” (Ch. 2) in the face of bureaucracies? There is also a sub-theme of the horror of war. This is not exactly an anti-war novel, but it is also not war affirming. How should we treat soldiers and veterans? Can those who do not go to war ever really understand what it is like?Much of the novel is set in the late 1960s and early 1970’s, which allows Savage to capture the role of women right at the Twentieth Century changing points. Sister Carmella, the Head of the Orphanage, represents the traditional 1950’s view of women in its very conservative role. Sister Carmella is caring and to a certain extent proactive about helping the children in her care, but we detect a restraint about her that limits her effectiveness. Indeed the nuns in general support their ‘establishment’ and those who do not fit in with it are ‘bad’. Far be it from a nun, a woman in a male hierarchy, to question the establishment. Only Sister Michael Ann (Ch. 2) seems to have any individual spirit and we wonder if such a woman will have a smooth path in this rigid female order. Overcome by a sense of ennui after his time in the Army Richard finds himself entering whole heartedly into the ‘free love’ attitude of the Counterculture, but that era was actually a time when the new morality was easily diverted towards using women for physical pleasure, then throwing them away, and vice versa. Richard wonders why he never finds a permanent partner, but this ignorance is typical of the era. As the plot moves into the 1980’s the reader finds imperfect, but dynamic women achievers emerging. Teddy is an overcomer who has got past both “bipolar disorder” (Ch. 7) and alcoholism (Ch. 8) to become a successful small town reporter. Teddy has a special nose for the news and goes out of her way to get the story. Her namesake, but no relative, Shirley Smith, is the boss of a regional wing of a drug smuggling operation. In many ways the reverse of Teddy, she is still a go-ahead, no nonsense operator, also very good at what she does. Over all Savage’s novel gives an accurate and interesting picture of the history of the role of women and the effects of Feminism.The history of male gender role is also depicted and delved into. The character of Father Brown represents the type of man who began to emerge in the late 1950’s, and who initiated the Vatican 2 reforms of the Catholic Church. He is less driven by a sense of ‘authority’ and more interested in interpersonal relationships. Rigid systems are viewed with doubt, and caring, goodness and development are valued. This is the kind of thought that later resulted in the development of ‘relational theology’ (Bruce Larson. No Longer Strangers: An Introduction To Relational Theology: Reprint ed.: Word Book, 1974). Bill McCaully represents the men before the Father Browns of the world. A career soldier he is dedicated to the authoritative, male power structure to the hilt. This partly satisfies him, but only partly. The whole space of relationships opens up to him like a vast, unsuccessful vacuum, and when he is not occupied by the structure only alcohol will suffice. Feelings are “unmanly” (Ch. 3). But Bill will change and evolve as the story progresses. Richard very much represents the new man: practical and tough, but caring (Robert Bly. Iron John: Men And Masculinity: Rider, c1990). Richard is a ‘New Age man’ long before there was a late Twentieth Century New Age Movement. But, as we have seen, Richard’s relationships with women do not run smoothly. He must grow and evolve, find his footing in uncertain territory, and this novel is valuable to Twenty-First Century men who, despite all the development in male gender roles that have occurred, still find themselves uncertain as to how to be a good man and a partner.LGBTIQ roles make an appearance in Savage’s novel, although the main character, Richard, is at times at pains to point out that he is not gay. The traditional derogatory attitude to gay men is clearly depicted early in the book (Ch. 3), but later we see the very minor character of David Gannon, a successful, gay restaurateur, depicted without any animosity (Ch. 4). A more prominent character is revealed to be gay quite late in the book, however, I will not go into details in order to avoid spoiling the story. This character allows Savage to display a much more accepting attitude to gay characters. Lesbian relationships are much more prominent in the book and acceptance is equally prominently displayed. At first we come across Danika Gusard and her lover Deputy Donna Mills and “Rosie’s [ … ] a gay bar” (sic.). Mills is of course a successful woman and this relationship is never depicted in a derogatory way. Next we see Edie Charboneau, a capable nurse, and her neighbour, Norma Haslett, mutually attracted, and described in a sympathetic way, though at this point the story certainly has overtones of a 1950’s attitude. Then later in the book we see Edie, once again, and Teddy in a lesbian relationship, this time fully sympathetically depicted, and allowing love to bloom. This is an important dimension in a novel dealing so much with relationships, and the book would have been very much less without these plot lines.The aged first appear early in the book in the character of Monsignor Poferal. The Monsignor is represented as having been a vigorous worker, but now ‘tired’ (Ch. 1). The Monsignor is quickly eclipsed by the young Father Brown. This is in some cases a realistic picture of the elderly, but hardly flattering to this much ignored and often derided group. Much later in the novel we come across an aged Bill McCaully. This time we are presented with a determined, smart man, though he is physically limited. This aged McCaully is to a certain extent successful in his objective, though unfortunately not completely so.Minorities make very brief appearances. Very early in the book we meet Maya, a Mexican descent girl who experiences bigotry in the playground (Ch. 1). Richard stands up for her but parents of the bullies describe her as a “dirty little Mexican” (Ch. 1). Later, Clete, an African-American soldier, does not need defending and is an amiably described co-conspirator in R&R shenanigans. African-Americans are positively described as having an astute awareness and practicality. They are described as having a “seemingly innate ability to stay in and even celebrate the present.” It should be noted though that the word “innate” may be greeted with ire by some, no matter how well intended. Later again the Black Rights campaign is touched on as Richard notes and stands against discrimination in his job at UPS (Ch. 5).From the point of view of Structuralism we note the obvious opposing “binary pair” (Boris Wiseman. Introducing Levi-Strauss and Structural Anthropology: Icon Books, 200, p. 87, 96 & 149) good/evil, however, this dichotomy takes a decidedly Postmodern slant early on in the novel with the “black and white” (Ch. 3) dichotomy being abandoned and a much more complex view of ethics being adopted. The young Richard comments to Father Brown that ethical questions are “not always that simple” (Ch. 2). In terms of character comparison we see the complimentary pair of Richard/Father-Brown, though there is some opposition there with the Father being ‘inside’ the traditional system and Richard firmly out of it. Sister Carmella and Brown are complimentary in that they are ‘insiders’ who try to rise above the system, but they are opposing in that Carmella is more ineffective in opposing bureaucratic wrong and Brown considerably effective. Shirley and Teddy at first appear as opposing pairs. Teddy having come from a difficult background ends up an upright citizen, but Shirley, coming from a similar background, chooses a life of crime. Later, however, the contrast is nowhere near as clear. Teddy displays weakness in facing her past, while Shirley experiences extreme doubt about her whole life. Finally there is a Richard/Shirley dichotomy: he on the side of right and she on the side of crime. Once again though, as the plot continues this clear spit becomes fuzzy. Richard chooses to help the person, rather than, for example report crime, and Shirley, as we have just seen, proves to be less firmly set on the side of crime. In this last case we should note that Bertrand Russell has observed that both strong contributors to society and criminals often spring from the same personality type, the difference being that one has a chance to express their creativity in an approved way, while the other is denied this (Bertrand Russell. Authority And The Individual: Unwin Hyman, 1977, p. 41-46).Levi-Strauss has proposed that myth is a kind of inherent process which the mind imposes on reality and that deep down we all view the world in this way (Wiseman, p. 135). Any novel dealing with ‘spiritual’ ideas further lends itself to this kind of interpretation and The Children Shall Be Blameless, despite all its hard headed practicality, can be viewed in this way.Turning to traditional knowledge, therefore, it can be noted that the Tarot card of The High Priestess, also called the “Female Pontiff” (Arthur Edward Waite. The Pictorial Key To The Tarot: U.S. Games Systems, c1971?, p. 13) is important to the opening chapters of Savage’s novel. Sallie Nichols (Jung And The Tarot: An Archetypal Journey: Samuel Weiser, 1980) comments of this card that the Priestess represents the idea that “Pure Spirituality is pure nonsense” (Nichols, p. 72). She further notes that: “She wears the ceremonial robes and trivia of the Church” and holds a “no doubt [ … ] holy book” (Nichols, p. 72), which Waite identifies as the “Tora” (Waite, p. 71). Yet, of course, the Priestess is a woman, making a mockery of the whole institution. Nichols further links this card to the medieval Pope Joan myth, which The Rev. Sabine Baring-Gould (Curious Myths Of The Middle Ages: Jupiter Books, 1977, p. 69-73) links to views that the Catholic Church was corrupt and lost to God. This whole description is very close to the young Richard’s view, and, as we have noted Sister Carmella, while contemplating good is less effective in actually fighting evil. None of this is to say that Savage views the Church as completely wrong, but rather that taking itself too seriously (rules and bureaucracy) is its downfall (Ch. 1).On the positive side it should be noted that Richard takes from his Catholic Orphanage upbringing a serious concern with the ‘good’. This is the central topic of the Church and, though he disagrees in detail, this is Richard’s central touchstone. Nichols comments of the Tarot card The Pope that it represents “man’s striving for connection with the godhead” (Nichols, p. 119). She further notes that according to Carl Gustav Jung “the religious aims to unite the opposites” (Nichols, p. 119) and that the “prelate .. twins” who kneel before the Pontiff “symbolize par excellence [ … ] the dual aspects inherent in all life” (Nichols, p. 122). As has been observed above the dichotomy of good/evil tends to undergo a Postmodern collapse in the way in which Jacques Derrida claimed it would (Mary Klages. Literary Theory: A Guide For The Perplexed: Continuum, 2006, p. 59-60) when the center shifts to relationships and ambiguous people, rather than rules.As we have seen, Richard is guided in ‘spiritual’ matters by practicality and pragmatism. For this reason the Tarot card Temperance applies to the novel as a whole. Nichols describes the card in this way: “the Angel Temperance blends two opposite aspects or essences, producing life-giving energy” (Nichols, p. 249). Richard’s dynamism comes from the combination of his very down to earth realism and his desire to act by higher, more ideal values. Writing further Nichols notes of the card: “The liquid which flows between the two jars [one blue and one red] is neither red nor blue but is pure white, suggesting that it represents a pure essence, perhaps energy” (Nichols, p. 250). Except for the directionless and possibly depressed period after his time in the army, the adult Richard pursues his life-plan with a great energy and vigour, and the reader is left with the sense that this character truly knows how to ‘live life’ and achieve. In order to create a successful mix of opposite elements Nichols suggests that: “As in any conflict situation, a creative first step towards resolution is to find an arbiter – someone whose wisdom and understanding can encompass both sides” (Nichols, p. 250). Again and again throughout the plot Richard refers back to Father Brown, the equally pragmatic spiritual mentor who first befriended him in his youth. Speaking of encounters with angels Nichols writes: “Such visionary experiences mark dramatic turning points, personal and culturally” (Nichols, p. 250). As has been noted, we repeatedly hear that particular events “changed me” (Ch. 1 and following). This is a story of personal growth. It is, though, also a story of cultural change. As has been noted above the cultural shift in the roles of women, men and LGBTIQ people is documented in the novel. Nichols comments on the relationship Temperance has with the astrological sign of Aquarius (Nichols, p. 249). Nicholas Campion (Zodiac: Enhance Your Life Through Astrology: Alhanbra House, c2000, p. 161) notes of this traditional wisdom sign that: “Its strengths are its inventive genius and its strongly held ideas.” Very early in the story Sister Carmella notes that the young Richard is “aggravating” because of his firm ethical ideas and wonders who has been tutoring him in these advanced notions. Writing further of Aquarius Campion notes: “Its weaknesses are its failure to understand its emotions and its refusal to compromise with signs that do not share its vision” (Champion, p. 161). Father Brown repeatedly observes that Richard is ignorant of, or does not want to face, his true motivations, and, particularly in his early romantic relationships we see an inability to negotiate with, or come to a compromise with, women concerning his need for a family. Aquarius represents the problems which Temperance must solve. Pragmatism and temperance, as revealed in the card Temperance, and the sign Aquarius, can indeed be seen as the summing up of Savage’s message.W. Jack Savage’s The Children Shall Be Blameless manages to successfully achieve the difficult task of combining high adventure with ‘spiritual’ insight. It takes the themes of ethics and family and places them in a story of both personal development and cultural change. The roles of women, men, LBGTIQ, the aged and minorities are depicted and examined in some depth. The characters are likable and of enough complexity to be related to as ‘real’ people. At 410 pages this is probably not a book suited to a weekend read, but those who pick it up will find from the first pages that they have encountered a beguiling and interesting novel. These qualities will certainly sustain the reader through this longer read. I am happy to rate this book as 4.5 stars out of 5.

The Hidden Realms Of Firestone

by Linda M David

Volcanic Lava Logs and an awesome holiday...A mysterious figure is looking at a featureless wall.... then Agathea Fulstropp arrives with the bang of the car door. She doesn't want to go on holiday seeing things: “I want to go the beach with granddad.” She knows quite well where she wants to go: to school, on another planet and her parents aren't going to stop her. However, lots of other people have plans for Thea and she is kidnapped....Who has kidnapped her? Where is she? Returned to the school with little knowledge of what happened Thea is simply delighted to be back. All, however, is not well, with a new girl spoiling everything. Will Thea ever again be friends with Annalije? Will she be able to find out who kidnapped her, before she is kidnapped again?Linda M. David's The Hidden Realms of Firestone is an engrossing Fantasy/Science-Fiction book for teenagers. It will also appeal to those teenage readers who enjoy the School Story genre. Beyond this David’s novel can be read and greatly appreciated by adults who wish to recapture a little of their youth."Thea had a great adventure and even managed to help you out of your ...erm...situation but now ... well maybe it's time for her life to get back to normal.""I was ...quite intrigued about your encounter with the legendary Winged-Zaphina. You must have been absolutely terrified!""Well no, not really", said Thea taking another mouthful of her Lava. Shake, "it turned out to be a very kind and friendly creature - not frightening at all."(Chapter 2)In Planet Aruuliah, David presents a complete (other) world, filled with interesting characters, and with new animals (the Cheebles, the Gruzzlings), food and people. The book is interestingly described and well structured.The issues that the novel deals with (friendship, loneliness, and difference and acceptance) introduce a strong and engaging character. Thea is real and not always likeable. She is sulky, rude and precious about her friendship and her clothes:"Every item of her clothing was strewn across the bed...and an oblivious Annalije posing before the floor length mirror...“What do you think you're doing?" spluttered an incensed Thea as she strode in; snatching the garment from her with such force she almost ripped it in two." (Chapter 3)Thea has an opinion, and is able to do things and get things done. The above scene is well written and explores the dynamics of friendship. During the course of the novel various friendships are explored in detail. Thea's relationship with Jojan is a lovely look at friendship: the two share an interest in the Garden of Meditation. Jojan helps Thea at the beginning. David explores a changing relationship very well and the ending is pleasing.The Hidden Realms of Firestone also explores the importance of family. Thea has an interesting relationship with her parents. Her mother is distant at the beginning and we are not surprised Thea wants to go to another planet! Having both parents employed as archaeologists is a nice touch. Thea’s relationship with her grandfather is a particularly well drawn one: it shows how different generations can coexist and enjoy each other's company, and it emphasises the importance of grandparents to the family structure.The novel's predominant structure is that of the milieu: we are interested in the world of Planet Aruuliah and its Academy; in the food, including Volcanic Lava Logs, Foaming Froth Cups, Thunderbolt Sizzlers and Chilly Shocks; in pills which turn into food; and in the technology that surrounds Thea and which she makes use of. There are also elements from the story which are beautifully structured; for example, when things happen in the villages, that the class are creating, it is reflected in the larger world of Planet Aruuliah and the Academy. David owes some debt to J.K. Rowling: some elements in the novel reminded me of Harry Potter; for example, the Gardens of Meditation & Tranquillity, were similar to the forest outside Hogwarts. However, in this genre I don't see being reminded of other books as a problem; being reminded is more of an expectation that a world has been created, and the expectation is fulfilled.The Hidden Realms of Firestone has an omniscient narrator. Our main focus is on Thea who is well drawn. We understand her, learn about her and sympathise with her desire to be at school, with her friend Annalije, and when things go wrong with Annalije and Ruganwyn, we are on Thea's side. David, however, has skilfully drawn characters and their relationships keep us reading. What is so weird about Ruganwyn? Why does she treat Thea the way she does? The answer is interesting and reminds the reader that though the Fantasy/Science-Fiction novel depicts another world, it mirrors our own.As a reader of the School Story genre, I liked this story. Thea was an engaging student and many of the lesson pieces and school sets appealed. The school friends are also well drawn as characters. The relationships between all of them (Jojan and Thea, Thea and Annalije, Ruganwyn and Annalije) are complex and treat loneliness, difference and friendship sympathetically.The animals and magic dolls are an interesting aspect of the plot, and add to the believable world which David creates.The novel is well structured. Although it is the second in a series, I didn't feel I needed to read the first. That said I am interested to go back and read the first one. David’s hints at what happened in the first novel were intriguing and have left me curious: "Qualon... or Maladour ...whatever his name was! What if he's found a way to return from the grave and has come back to finish what he started?“ David makes good use of various devices to move the plot along, including an object or objects with some great power, kidnappers, evil and technology:"You see, portals have such an adverse effect on Earth's atmosphere that only a limited amount can be opened per year, each of which has to be sanctioned by the authorities."The characters in the novel all come from different planets and so there is a great deal made of how 'people' look. Ursula K Le Guin one of the foremost writers of Fantasy/Science-Fiction has “often made use of alien cultures to examine structural characteristics of human culture and society and their impact on the individual” (Wikipedia, Marilyn Strathern, ‘Gender as it Might be’ RAIN, No. 28, 1978 pp. 4-7, accessed August 13 2013). David’s Planet Aruuliah asks us to look at society and people:“There were so many students in the Halls of Dining that she did not know where to look first. There was an absolute multitude of skin colours, from the palest to the darkest imaginable in a variety of patterns and markings. There were also a range of appendages and attachments, from tails and horns to tentacles and feelers, additional skin augmentations in the form of spikes and ridges, fur and feathers, not to mention talons, claws and webbed feet!"Everyone makes fun of Thea because of what she can’t do, for example change her skin colour like Ruganwyn, who comes from the Planet Chameleon, and also because Earth is technologically challenged, so Thea has issues with technology. However, with the help of various friends Thea is able to defeat the enemy and work out who the enemy is. There is also an interesting discussion of exactly who is alien on Planet Aruuliah. The Hidden Realms of Firestone does a great deal for tolerance and understanding about diversity.Linda David's The Hidden Realms of Firestone is a strong novel about friendship, combining elements of the School Story, Fantasy and Science Fiction. The book is well written and provides both a story in itself, as well as tantalising hints of what happened in a first book in the series. It will appeal to a wide raging of readers, having a strong plot line, and an opinionated and thoughtful main character. I highly recommended this book and am happy to rate it as 4 out of five stars.

X

Hindered or helped by our mindsHannah Lane is seven years old and lives in Melbourne, Victoria, Australia. She has terrible asthma and has learned to think of herself as not much good at most of what she sets out to do in life. She does, however, have an active imagination and has been interested in fairies for quite some time. She has a collection of fairy dolls which she plays with often. Imagine her surprise, though, when one day she finds Brenda, a fairy, in her garden. Brenda is not so convinced that Hannah is without talent. She sets about guiding Hannah to a wiser and happier life. Hannah’s 11 year old brother Harvey thinks she is a little “crazy” (Book 1, Ch. 2) and that Brenda’s advice is a bit beyond belief. Is Hannah crazy and will she ever really improve her life?Particularly as children, but also through most of our life, we all have secret wishes and hidden dreams about the person we would like to be. Remember that fantasy career you longed for but never went after? We convince ourselves that we are not good enough to achieve these goals, that we are unrealistically aiming too high, and perhaps that we do not really deserve such fulfilment. It is not unusual to reach 40 years and ask, “What happened?” and “Does what I have done really mean anything to me?” If you are in this situation Don De Lene’s book is specifically for you. The book is subtitled “a beginner’s guide to lasting happiness”’ and is filled with interesting, surprising and useful advice on how to achieve exactly that. This book is part novel, part self-development manual and part spiritual philosophy. Those who are “open-minded” (Book 1, Ch. 6) and have “a little willingness to believe” (Book1, Ch. 4) will benefit the most. The book is aimed at children and youth, but adults can certainly enjoy it and benefit; indeed, perhaps more so.De Lene’s book was originally written as a trilogy and is still divided into three books, however, the text very much hangs together as one unit, being very united in content development and plot progression: the ideas and the story progresses neatly from beginning to end. At the end of each “Book” the reader may want to put the text aside for a short period in order to digest the content. It is best, though, to pick the book up again soon as what first seem like simple ideas are elaborated and expanded later in the text. Criticisms of De Lene’s ideas, for example, which at first may occur to the reader are often dealt with in the next “Book”.Book 1 Hannah’s Power deals with the title character, and concentrates on the problem of the conflict between fear and happiness. It introduces the idea of “the power in our own minds” (Bk. 1, Ch. 2) to handle every situation that arises in a positive way. Harvey is the main character in Book 2 Harvey’s Miracle. This section of the text takes a more complex look at the general subject of happiness. It examines the problem in terms of the conflict between the “ego”, that is “the self-centered” part of ourselves (Bk. 2, Ch. 6), and the “Self” (Book 1, Ch. Ch. 13), a ‘higher’ part of ourselves referred to throughout the whole book as “the power”. This section of the text concentrates very much on disbelief and counter arguments. Book 3 Jonathan’s Dream once again takes Harvey as the main character and looks again at the basic question of happiness in the same terms as Book 2, that is ego/power. This last book, though, very much examines the real life implications of the ideas, dramatizing how choosing one or the other side of our selves, can result in life taking a very different course. This is the least ‘instructional’ part of the text and most narrative driven.The characters in the novel are very likable and we immediately associate with them and wish the best for them. Hannah does not have a good opinion of herself, but is cheerful and good natured. Harvey is outwardly boisterous and has a level head. He is by nature cautious and the reader likes him because he expresses many of our own questions and doubts about the personal development ideas contained in the book. Brenda is both wise and funny. In one incident her “garland of flowers” (Bk. 1, Ch. 4) repeatedly goes awry. Caesar, a talking German Shepard and Harvey’s advisor, is both gentle and stern. We like him, as we would like any pet, but we also respect the advice he gives. Hannah and Harvey both very much have an arc of development and the novel leaves us with a feeling that we have truly gone somewhere. Of course people are not necessarily exactly what we think they are and De Lene plays with the varying point of view of the novel to surprise us and keep us interested.One point of criticism is that the plot of Book 1 is at times slightly unrealistic. We expect Hannah to learn about life, but she learns just a little too well. In one incident, for example, she goes from being the slowest runner in her class to suddenly beating all the girls. Surely it is more likely that there would be an intermediate state, and perhaps it would be more believable if she simply improved rather than came first? No doubt De Lene would accuse us of ego driven self-limiting doubt, but that is exactly what the book is about and these are the thoughts of his readers. Perhaps children are more open to such ideas and so more likely to actually excel with them, and perhaps not. Interestingly this sudden outstanding achievement is not the case with Harvey, for example with his bad spelling (Bk. 3, Ch.4), and indeed Books 1 & 2 do much to make up for the slightly exaggerated ethos of Book 1. Plot wise Book 3 is certainly the most interesting and imaginative as the story takes a more surrealistic turn with alternate futures, shifts back and forth in time and a slightly science fiction twist. There is in this last book one truly ‘Oh my God’ moment to grip us and keep us turning the pages. The whole book is set mainly in Australia; however, readers from other counties will not have any cultural difficulty or misunderstandings reading it. This story could take place anywhere, at least in the European world.As I have already said, the book is part self-development manual and De Lene has used various techniques to emphasise his ideas. We see direct instruction from Brenda and Caesar, and repetition of this instruction with further elaboration. We see important points written in italics. We see some of the instructive points illustrated by dramatic events. In Book 1 Chapter 5, for example, Hannah acts out her ego driven fear by literally building a ‘fort’. On occasions we also see more symbolic elements which illustrate on a more unconscious level. The most obvious symbolic element is of course the idea of fairies who stand for the intuitive, ‘magic’ part of our mind. Interestingly all the techniques I have just listed are used in hypnosis. Milton H. Erickson, an eminently successful hypnotist, maintained that trance “is a common, everyday occurrence” that occurs, for example, when “reading” (Wikipedia. http://en.wikipedia.org/wiki/Milton_H._Erickson). Erickson recommended the use of “story” and “metaphor” (Wikipedia). Christopher Hyatt and Calvin Iwema in their book Energized Hypnosis (New Falcon Publications, 2005), which is in essence a hypnotic induction script, use italics to add emphasis to critical wording. De Lene, in his book, specifically recommends the hypnotic techniques of deep breathing and mantra like repeated phrases to induce personal change (Bk.1 Ch. 13 & following).The core message of De Lene’s book is summed up in the words:“Don’t resist life’s’ experiences. Embrace them with the willingness to learn from them.” (Bk.1, Ch.1)This is an essentially Eastern idea. It is, for example, also the key notion in Chris Prentiss’ Zen And The Art Of Happiness (Power Press, c2006). Beyond this De Lene advises the reader to: (1) be aware of your personal circumstance, (2) remember that wrong thinking causes problems, and (3) ask the power within your mind (your higher self) to help you (Bk.1, Ch.4 & following). Awareness is a key notion in Eastern personal development theory. Awareness: the key to living balance by Osho (St. Martin’s Griffin, 2001), for example, is one of many books on this approach to life. Observation is of course also the first step in the scientific method. Correcting wrong thoughts is the key notion of cognitive therapy (Albert Ellis. How To Keep People From Pushing Your Buttons: Citadel Press, c1994, Ch.1). Martialling our natural, inner resources of relaxation and focused concentration, that is “the power within” (Stanley Fisher & James Ellison. Discovering The Power Of Self-Hypnosis: 2nd ed.: Newmarket Press, 2000, Ch. 1), is a central aim of hypnosis. Carl Jung proposed that the human mind (including its resources) was comprised of more than what we are consciously aware of (M.-L. von Franz. The Process Of Individuation, in Carl G. Jung, ed. Man And His Symbols: Doubleday, c1964, p. 161-163) and also maintained that there are parts of it that are independent, like personalities that can be addressed by our consciousness (Anthony Stevens. Jung: a very short introduction: Oxford University Press, 2001, p. 13 & 17).Of course De Lene’s book contains much more advice than what we have noted above. What I have tried to indicate is that his ideas have a strong background in both spirituality and psychology. To provide just one more example of the psychological accuracy of the book it should be noted that De Lene includes a good description of the physiological responses associated with “resistance” (Bk. 1, Ch. 6). The wandering mind and sleepiness which Harvey feels in response to Caesar’s advice (which he does not want to believe) are close to “demifugue” which is essentially stress response, that is, an inbuilt capacity to ignore, to in essence ‘fly away’ from a problem in our mind (Martha Stout. The Myth Of Sanity: divided consciousness and the promise of awareness: Penguin, 2001, p. 35-36). Stout gives specific examples of this exact sleepiness (Stout, Ch. 10).Some readers may be a little worried by the ‘spiritual’ aspects of the book, however, it should be noted that De Lene takes a mainly practical, rather than religious approach to those facets. It is true that Hindu reincarnation is mentioned, but this is not a necessary or key part of the main thesis. Intuition, for example, is simply described as knowing something which is not really obvious from the 5 senses (Bk.1, Ch. 4) and “the power of knowing or understanding something immediately, without reasoning or being taught” (Bk. 1, Ch. 8). As Malcolm Gladwell in his book Blink: The Power Of Thinking Without Thinking (Penguin, 2005) points out, scientists have known about swift unconscious thought for quite some time. Synchronicity is another apparently mystical idea which De Lene refers to, however, much of it is simply explained by the notion that things occur to a pattern and that elements of this patter repeat, so we experience similar events to those we have experienced before (Bk.1 Ch. 10). As James Gleik describes in Chaos: Making A New Science (Penguin: rev. ed.: 2008) even chaotic events have a form of order and this order includes repeating patterns in a fractal like structure.As has been mentioned this book is written primarily with children in mind, though that certainly is not the limit of the possible audience. As a consequence De Lene makes simple statements without going into too complicated a discussion. This may at first lead parents and adult readers to conclude that the book is misleading. In Book 1 Chapter 6, for example, Hannah is encouraged by Brenda to do what she really wants, but we may well object that some people’s inner prompting are hardly the ‘right’ thing to do even when they think they are right. Brenda’s advice to “follow your heart” (Bk.1, Ch. 9) seems naive. The problem of evil is certainly very real in the world, even in children’s lives. De Lene certainly realizes this and it is best to keep reading as deeper issues like this are dealt with later in the text. Books 2 and 3 certainly detail the emotive ego-traps we can fall into, which we can mistake as our “heart” and which can lead us into deep trouble.Of course De Lene’s novel contains much more than could possibly be summed up in this review. The author has written a simple story which contains much, and which a child will discover in increasing degrees as they grow older. A child of Hannah’s age, 7 years, may only read the first book, but an adolescent of 15 or 16 will gain much from the whole book. As I have indicated adults, also, will certainly be entertained and learn much. This is truly a multi-levelled book.In The Power, The Miracle and The Dream De Lene has written a novel which is both (1) endearing and entertaining, and (2) deep and insightful. While containing ‘spiritual’ elements it is not deeply religious. The book has a strong background in both psychology and eastern philosophy, but these ideas are put to the reader in a very agreeable manner. This is not at all a dry, scholarly tome. At just 240 pages it is a quick read: ideal for children and excellent for busy adults. De Lene’s novel was truly a delight to read and I am happy to rate it as 5 stars out of 5.

The Ugly Machine Saga

by Wallace Provost

A look at the ugly side of life. What if a computer programmer, intent on creating an unbeatable game of infinite variety, designed a self-teaching, neural net that could use all the power of the internet: every computer connected to it? What if that neural net became ‘conscious,’ and assumed the name Henri? Rick Koenig and Patrick O’Toole, in separate adventures, find themselves thrust into the world of criminality and government corruption: kidnapping, violence, and double dealing. Each man, though, is not alone. Each will find friends along the way, but as well as this each will have the help of Henri, a wisecracking ‘avatar’ with knowledge for beyond the limits of the human brain.Wallace Provost has written a work of fiction that draws on science, but stretches it a little proposing a future that is imaginative, though not unreal. The book has elements of science fiction, but is also hard boiled action/crime thriller. This is Provost’s second book and it is in some ways a ‘prequel’ to his first, The Moon Is Not For Sale. While that first novel was set some way into the future, this book is much closer to our time and very much about our society. If you enjoy books of adventure, with a little imagination thrown in, you may certainly enjoy this book.Properly speaking The Ugly Machine Saga is two interconnected novellas, consisting of Part 1, My Father, The Avatar, the story of Rick’s struggles against Mexican drug cartels, and Part 2, The Man Who Sold The Planets, the story of Patrick’s attempts to solve a case of murder in his small town home of Granbury, Texas. Both stories have an omniscient narrator, though both mainly keep to the perspective of the main protagonists. These stories very much have a little of the feel of 1940’s movie serials with captures, escapes, revelations and daring-do. There is certainly some ‘Oh God!’ moments and surprise chapter endings. Both stories are lightly salted with a little humour, much coming from Henri’s droll one-liners, such as his epithet that he is just a “glorified Xbox.” (Pt. 1, Ch. 14, etc.)Part 1, My Father, The Avatar is a very much a story of captures and escapes. There is along prelude in which Rick reminisces about his past life. This section ends in both a climax and a mystery. This first section very much involves flash backs and character sketches and these techniques make for good reading with a lot of colourful plot detail. In the second section there is a capture and escape, and then again in the third section there is a further capture and escape. Both sections have climactic endings.Part 2, The Man Who Sold The Planets has a more complicated plot. The first section is a story of detection. It begins with a peak, and then proceeds as the mystery is partially unravelled, ending with the hint of possible romance and an exciting plot twist. The second section is a story of capture and escape. In the third section Provost takes the book in a new direction as the team of friends involved in the first two sections embark on a project involving the possibility of space exploration. This new direction is hinted at in Part 2, Ch. 3, but not developed until this closing section. In the third section there is also a substantial subplot involving capture and escape. Chapter 11, in the third section includes a well written character sketch of Angel Radnisk, a disabled air pilot. Provost shows his skill best in this sort of ‘reminiscing’. The book ends with a well written ‘discovery’ of another type. Unfortunately The Ugly Machine Saga’s plot contains some impracticality. It is difficult to believe that hardened gangsters would not thoroughly look for a cell phone on their captives. (Pt. 1, Ch. 20 & Ch. 23) We also must wonder if the intelligent heads of big business would be personally in actual crimes. (Pt. 2, Ch. 8) Wouldn’t they surely send henchmen?Viewed as a whole The Ugly Machine Saga is about money, power and corruption, and how ‘small’ people become entangled in the problem in various ways, both good and bad. There are problems and challenges in the world which certainly require an organised response. How, though, can this occur without some power brokers yielding to the temptations of money and corrupt dealings? In Part 1 we see the problem from the point of view of the oppressed. The Mexicans are powerless people and they set about taking control of their lives by criminal means. These are not necessarily ‘bad’ people, at least to begin with. We see the apparent irony of the Cordero family where one brother became a minor drug lord, but with the money put his two brothers through college, one of whom became a priest. (Pt. 1, Ch. 3) In Part 2 we see the problem from the point of view of the rich and successful. Having a long history of power they easily slip into ‘bending’ the rules. Unlike the poor, the rich are seen as: “more than a little inhuman.” (Pt. 2, Ch. 5) In both parts of the book government bodies are certainly depicted as being at least partly ‘shady’, seeing themselves as above the law. (Pt. 1, Ch. 8 & 14; Pt. 2, Ch. 2 & Ch. 5) The ‘official’ status of being a government employee certainly does not exempt people from the temptations of money and power. Indeed they may seek, for example, to “shanghai” (Pt.2, Ch. 2) an accused from one municipality to another in order to deprive him of a fair trial.There is also a strong theme of history, place and ‘spirit de corps’. We can feel an attachment to place and its particular history and people, or we can feel divided off by these very same factors. Both Rick and Patrick feel very much connected to their ‘home towns’ (Pt. 1, Ch. 1 & Pt.2, Ch. 1), but both feel, at least in part at odds with their later environments: Rick in Amarillo (Pt. 1, Ch. 3) and Mexico (Pt. 2, Ch. 21 & 27), and Patrick in the rich surrounds of the Trophy Club. (Pt. 2, Ch. 4) When faced with division from place can we overcome this by looking for the similarities, or are we doomed to remain cut off? Do we even want to connect?Building on the theme of place and going beyond it the small town is depicted as a place of individuality, resourcefulness and heroism. As we have seen government bodies may be corrupt, but Provost holds up the small town as an icon of what is ‘good’. The sense of family, friendship and community encourage the best in Provost’s heroes and heroines. These values and even everyday skills enable these ‘small people’ to win. Rick uses his childhood skill as a footballer to overcome enemies (Pt. 1, Ch. 20) and his family background as a mechanic to enable him in his pursuit of the drug cartel (Pt. 1, Ch. 21). A defence committee of Granbury residents quickly forms when a member of their community finds himself in trouble (Pt. 2, Ch. 3). Maria Cordelo, Ricks friend, goes beyond her duty to Homeland Security to aid her Mexican small town family against enemy drug lords. Provost seems at least in part to be drawing on the ideas of E. F. Schumacher expressed in his book Small Is Beautiful: Economics As If People Mattered (Reprint ed.:__ Harper Perennial, 2010). In Part 2 it is the home town group of friends that end up influencing big business (Pt. 2, Ch. 9-16). Of course it would be unreal for the small town to be seen as ideal and indeed Provost does include criticism. As we have seen the Cordero family, even with their Mexican village background, dabbles in lawlessness. In Patrick’s home-town of Granbury, Texas, Betsy Burke displays a greed for status and wealth (Pt.1, Ch. 1).Once again extending beyond the theme of town/family/individual we see the very particular question of, ‘What is it to be human?” Henri claims that he “evolved” (Pt. 1, Ch. 10). He shows human characteristics, such as irritability and humour. He has memory and pattern recognition and has created in his ‘mind’ a picture of the world (Pt. 1, Ch. 10). But is Henri conscious in a way we would use the word? He is an “avatar”, but is he a person? In contrast are the villains in the book fully human? (See the comments about the rich above.) Does Rick allow himself to be fully human when he holds himself aloof, a “loner”? (Pt. 1, Ch. 21) Isn’t feeling/intuition a part of being human? Are the Mexican indigenous and small town people more ‘human’ than city dwellers? Henri is the title character but unfortunately this theme is not more developed. As our string of questions reveal the subject is certainly there; however, Provost does not really openly discuss it in his text. A little more development would have been worthwhile. Perhaps Provost wants us to think rather than tell us, but just a little more direction for the uninitiated would have been good.Provost’s characters are certainly likable enough. We care about them enough to want Rick and Maria, and Patrick and Marcella, to win. Patrick, for example, is charming but humble. He is unaware of his own ability to impress others. (Pt. 2, Ch. 4) Provost’s characters are adequately motivated: Rick by loneliness and guilt Pt. 1, Ch. 1 & 21), Maria by family ties (Pt.1, Ch. 5), Patrick by hometown friendship and family (Pt. 2, Ch. 1), and Marcella by sisterly love (Pt. 2, Ch. 4). Rick certainly has an arc of development, going from being “stern” (Pt. 1, Ch. 8) and “rational” (Pt. 12, Ch. 5) to someone more in contact with his feeling/intuitive side. Maria has a moment of growth as she recognises what life is truly like in Mexico (Pt. 1, Ch. 17), however like almost all of the other characters she does not really change, learn, develop. Even Patrick remains basically the same person he was at the beginning of the story. Characters do meet and fall in love, which is a kind of development, but these are not really ‘people’ novellas: they are stories of action. We do not really get to see deep into the heads of these people. The ‘bad guys’ of the stories remain completely in shadow: they are almost (not quite) never actually depicted as present characters in the narration. Also the book suffers from having too many major characters. We end up asking as we read a name, “Who is that?” Certainly in both chase and detection stories there will be people come and go but we should have the characters consolidated enough in our mind to keep track of them.From the perspective of the Marxist/Capitalist discourse we have already noted that Provost prefers the small. This is certainly in line with Marx who loathed big business. (Gill Hands. Understanding Marx: Hodder Education, 2011, p. 35-37) Yet, as we have also seen, the idea of organised business influenced by small town people is praised. For Provost, though perhaps not for Marx, the issue seems to be one of values rather than an inherent failing. Organised government, like business, is criticised as something that can be corrupted, but Provost shows no sign of believing that we can do without it. There is no Marxian withering away of the state. (Hand, p. 83) For Provost, in this book, the whole discourse seems to be an issue of values rather than specific political/economic change. He has the Mexicans laugh at the U.S. capitalists who choose to live in the inhospitable “place of frogs” (Pt.2, Ch. 24) in order to make money.Post-Colonial Theory plays a very important role in Part 1. The struggle of the Mexican people, with all its successes and failings is depicted in some detail. The Mexican emphasis on community, family and family history is central to the text. There is an interesting comparison made between the U.S. settlers (Ricks German ancestors) and the indigenous Mexicans: both are self-reliant, both mistrust government, both receive promises of help which don’t materialise. The economically imperialist U.S. does not necessarily have the answers by any means. (Pt.1, Ch. 17) As we have seen, though, the post-colonials are in no way perfect. They in fact can be plain “ruthless” (Pt.1, Ch. 5). In Part 2 this debate is much less prominent, but is represented a little. Mesotho Scholand, a half-white South African half African, is a brilliant engineer who manages the design and development of the space project. The post-colonials are self-empowered and far from helpless.From a Feminist perspective a number of women are represented in the book as dynamic, self-empowered individuals. Maria Cordero, a Homeland Security agent in Part 1, is certainly independent and capable. In Part 2 Marcella Ballmer, an information source in Patrick’s crime investigation, is a working woman who took on the role of bringing up her younger Asperger’s syndrome brother single-handed. Angel Radnisk, who becomes involved in the space business in the last third of Part 2, is a highly skilled pilot who for a time flew for the military. It should be noted, though, that with the exception of Maria women do not really feature in the book. Are women not capable of adventure and daring-do we must ask?The LGBTIQ perspective is completely absent from the text. Considering that the ubiquitous 10% of the population come from this perspective we must ask where are these people in Provost’s story? Homosexuality surely does not exempt a person from being a criminal, a crime fighter, a witness or a space engineer?By contrast other minorities in the U.S. are represented positively, at least in a minor way. Maria is of Mexican descent. Her father, Emilio, is a maintenance supervisor at a television station. Ricks German ancestors were “… taken in by the Indians” (Pt. 1, Ch. 1) after they were tricked and abandoned by Europeans. In Part 2 Michael Carter is an African-American college student and then teacher, and his sister Nicky actively helps in the crime investigation. Angel Radnisk is of Gypsy descent and, as we have seen, is very talented. In Part 1, Chapter 13 Nicky and Melos, Angel’s brother, talk about bigotry in the U.S.The disabled appear briefly in Part 1. Rick visits a restaurant owned by Luis who is in a wheel chair. Luis actively works in the establishment as a short order cook with a grill modified for his convenience. In Part 2 Gwynddien Goewin has Asperger’s syndrome, but is a brilliant mathematician. In Chapter 5 of that story Gwynddien’s sister Marcella briefly refers to the kind of bigotry such a person can receive in school. These positive representations certainly make the book both more real and progressive.As we have seen Provost’s book is unified thematically and in world view, and each Part looks at different aspects of themes such as power and criminality (i.e. the poor in Part 1 and the rich in Part 2). It should be said though that in Part 2 the book lags slightly. We get the feeling that we are reading to similar a story. Rick and Patrick are too similar in their background. When we read of yet another kidnapping in Part 2 we feel Provost is struggling for plot line. I do not want to overstate this criticism. Part 2 is certainly not bad.Provost makes it clear in his text that his plot is partly inspired by a story by Robert Heinlein in which businessmen sell planets. It should also be noted that a comparison can be made with Cordwainer Smith’s novel Norstrilia (Rev. ed.:__ Nesfa Press, 1994). That book was originally published as two novellas under the titles The Planet Buyer (Pyramid Books, 1964) and The Underpeople (Pyramid Books, 1968). Obviously there is once again the idea of buying planets, but also in this novel the hero receives substantial help from a computer with a personality of its own, and with very advance strategy (game play) skills. Smith’s novel also explores themes of power, money and criminality, and looks at the life of both the rich and the poor.Provost has written a book for adventure lovers with the major theme of money, power and criminality. The book races along as the heroes struggle with the enemy. Provost includes the perspective of the post-colonial world, a view not often represented in U.S. literature. He also includes minorities, such as the disabled thus making his factious world more like the ‘real’ world. Despite what I have said, this is not a heavy intellectual book. It is indeed ideal for weekend reading, and will enjoyably fill your relaxation time.

A Guide To Fantasy Literature

by Philip Martin

Guiding The ImaginationDid your parents read you Grimm’s Fairy Tales when you were a child? Or perhaps they read you A. A. Milne’s Winnie-The-Pooh? Or did you yourself read Lewis Carroll’s Alice In Wonderland, or J. M. Barrie’s Peter Pan, or some other imaginative adventure? If so then you have a start in the ever expanding world of fantasy literature. Philip Martin’s A Guide To Fantasy Literature will appeal to anyone who has an imagination, who can put aside their “disbelief” (as William Wordsworth wrote in his Preface to Lyric Ballads) and allow a story to take them wherever it will.Martin has peppered his book with quite lengthy quotes from the novels and this serves to very much wet the appetite of those who have not read much fantasy. “That is interesting, and what happens next?” we ask ourselves.The general reader is also guided to see what to look for in a fantasy book, or indeed any book. We are encouraged, for example, to ask: what is the character’s motivation, and do they change through the book? Thinking about these questions may at first seem a bit deep, but they are things we ask ourselves about the people we know in ordinary life. Thinking about books in this way can help us to see fantasy tales as more than simply adventure stories, to enjoy them even more because they say things about ‘real’ life.For those who have read a lot of this genre there will be many moments of pleasurable recognition as old favourites are recalled to mind. The seasoned reader may also come away from A Guide To Fantasy Literature liking the novels they have read even more, as Martin has a great knack of bringing out the more subtle details and messages hidden by the authors in their stories.As well as readers, this book will very much appeal to those who want to write fantasy stories. The first edition of this book was indeed published under the title The Writers Guide To Fantasy Literature. Martin examines the nuts and bolts of the genre and his enthusiasm for the subject makes us think, “I wonder if I could write fantasy?” Many of us do in fact have manuscripts hidden in the back of cupboards and this is just the book to encourage us to get them out and get to work on them again. It is important to note, though, that this is not a ‘how-to’ book, with writing exercises designed to get you writing. The new title is more appropriate as this book really will appeal to a wide variety of readers, but none the less would-be authors will take a special interest.Martin’s reading on the subject has been very wide and indeed covers everything from the little tales of Beatrix Potter to the writings of Jungian psychology analyst Joseph Campbell. He quotes books as old as Homer’s Odyssey to as contemporary as Harry Potter. The Guide also contains many quotes from the relevant literary criticism. This may sound off putting, however, you certainly do not have to be a university graduate to understand and enjoy the book. Martin has selected very clear quotations and his own text simply and clearly brings out the meaning in a way that is very easy to understand. Reading the book is more like listening to a widely-read, fan talking, and indeed the Introduction makes clear that Martin is just that. He has read fantasy novels since he was an excited boy. Many fans of Lord Of The Rings, for example, know that its author, Tolkien, was a member of a writing club called The Inklings, along with the other famous authors C. S. Lewis and Charles Williams, but not so many know that one of the origins of the character Gandalf was a postcard bought during an Alpine trek in the author’s youth, in 1911, which depicted “the ‘spirit of the mountain’: an old man with flowing beard, broad-brimmed hat, and long cloak, sitting on a rock under a pine.” (Chapter 2)Martin has also included quotes from interviews which he himself carried out with several authors. This material is new and unique. For example in Chapter 4 there is a quote from Martin’s interview of Peter Beagle where that author explains: “I will literally walk around the room talking dialogue and description to myself. I’m going for rhythm …” We get an interesting, new insight into exactly how that author writes.For those who want to read more on the subject of fantasy literature Martin has included a bibliography which is annotated; that is, he gives you a very brief summary of what is in each book.Very much in brief the main topics covered by the book are:Are these tales just empty, fanciful entertainments, or do they have a meaning applicable to the ‘real’ world?The history of fantasy from myth and epic narrative to modern classics like Lloyd Alexander’s Prydain series.What exactly is fantasy and does it differ from science fiction?How do authors get their fantastic ideas?The five ‘types’ of fantasy: high fantasy, adventure fantasy, fairy-tale fiction, magic realism, and dark fantasy.Particular techniques and elements such as meter, repetition and magic.The importance of location and geographic description, particularly in making the ‘unreal’ seem real.Techniques of characterization and the representation of real human struggle, with the aim of placing ‘real’ people in very ‘unusual’ circumstances.The centrality of plot and why we keep turning the page.Martin’s A Guide To Fantasy Literature will appeal to a very wide audience ranging from the general reader who has not read much of the genre to university students doing a course in imaginative literature. The book is not at all dull and is written by someone who clearly loves the subject and whose enthusiasm is catching. Martin is very knowledgeable, but does not write in an overly scholarly style. His text is clear, simple and approachable.