A review of the Archbishop of Canterbury’s Lent Book for 2017, “Dethroning Mammon”

The Archbishop of Canterbury’s Lent Book for 2017, “Dethroning Mammon,” is a rich (no pun intended) and thought provoking read on spiritually opposed value bases on wealth.  On the one hand we have Mammon, “the love of money” which the Bible tells us is at the root of evil (not just “money” as some suppose).  That is when, in our hearts, we believe that everything is a resource for our own enrichment (we may build in an ethical get out clause on “trickle down” economics), then we will see, value, and interpret everything in that light.  Christ will be a threat, as he was in his day, to those holding that value.  Chapter 1 of the Archbishop’s book explores this, with reference to Matthew 13 (the Pearl of Great Price) and John 11 (the death of Lazarus), on the different ways we can value what we see.
Moving on from this, there’s a danger that we will see everything as a finite resource to be assessed and measured accordingly, driven by ethics of scarcity, i.e. we have to acquire and pile up wealth as otherwise someone else will.  And we will aggressively defend and acquire accordingly.  We are put into an adversarial position with the rest of creation.  The opposite to this are the economics of Grace.  We have a generous God who gives abundantly and outrageously.  No one deserves or earns Grace.  With Grace at the centre  the Archbishop begins to draw out how else we might understand wealth, in the light of having no fear, and faith in an infinitely abundant and generous God.  It posits a very different approach to the world around us, and how we find and use our resources.  The key texts here is John 12, with Mary anointing Jesus with very expensive perfume, apparently wasteful but in fact an act of Grace and love that is not motivated by the scarcity of the resource or the need to frantically hold onto it.
Chapter 4 expands on this, looking at the relationship between money and power, and how Jesus’s servant-leadership subverts this, especially in the key act of the washing of the disciples feet (John 13).
Chapter 5 further looks at how apparent motiveless and wasteful generosity can in fact be Grace in action.  Something as apparently of no benefit to people or the world as acquiring and anointing for burial the body of Jesus (John 19), are in fact Kingdom actions, actions that show that real wealth as decisions to give money and time based on no hope of reward, but as service to God, actions that can ultimately transform the world, as they move away from fear, to faith, to generous and transformative action.
Chapter 6 moves to Revelations, the end of all things, with the ultimate dethroning of Mammon (Babylon) by the eternal and redeemed creation of the City of God.  This moves into an action plan as to how we can start to live this message now, through listening, repentance and action.This book is intelligent, wise, and written with a clear integrity.  There are points of reflection throughout the book, questions to help individuals and groups preparing for Lent share and understand the material.
Much recommended then as a Lent book, or to be read at any time.  You’ll find it’s messages live on in your mind and heart after reading.

A review of Brian Lumley’s “The Burrowers Beneath”

A continuation of the H P Lovecraft’s “Cthulhu” cycle of the stories set in 1990’s Britain, the eponymous Occult scientist Titus Crowe and his Watsonian sidekick Henri Laurent de Marigny face off against eldritch horrors burrowing beneath the Earth.
It has the tone of Victorian gothic melodrama, being told in an epistalatory  fashion, with heroes who have a curiously old fashioned vibe of daring do about them.  And although its set in the 90’s, there are very little by way of cultural signifiers that would place the story there, apart from the odd mention of oil rigs, phones and cars.  Taken together with the above mentioned style, for the first quarter of the narrative I genuinely thought I was in pre-war Britain.
And for the most part it works, adding to the feeling of fog shrouded streets and tentatcled, timeless horrors in the shadows.  It gets off to a good start, with a series of letters about the discovery of mysterious spheres in inexplicably carved tunnels underground.  We soon learn of other underground scientific expeditions that have ended in horror, madness and disaster, and of a race of terrifying burrowing tentacled monsters and their place in a pantheon of alien horrors that have existed before our world began.  They are not interested in a planet share…
There are some great set pieces; the destruction of an oil rig; battles between telepathic fighters, explosive harpoons and giant creatures; a renevant creature with a body of slime holding a human brain, and more.
The narrative as a whole, though, is a little too reliant on massive info dumps and chunks of exposition, as our heroes consult and reference various occult sources to explain the nature and history of this threat.  There are also a lot of passages that are there purely to set up future stories in the Titus Crowe series.  And it has a very open, cliff hanger of a conclusion.  As a result this reads more of an account of a skirmish in a bigger war, rather than a stand alone story.
That said it does not require any previous reading or knowledge of Lovecraft’s works, and could be a good jumping on point for a very rich tradition in horror fiction.  I listened to the audio book of this novel, and it’s read by Simon Vance, whose cool, civilised tones suit the tale perfectly.  And kudos to him for his seemingly effortless pronunciation of the tongue twisting, syllable crashing Cthulian chants and alien names.

A review of Stephen Donaldson’s The Augur’s Gambit

This is a companion novella to Stephen Donaldson’s “The King’s Justice” reviewed on this blog here.
It’s a very different beast to that book.  Whereas that book had the pace and tone of a horror thriller, this has a more deliberate pace and is a tale of courtly intrigue in a fantasy realm, with the chief supernatural element being the predominance of alchemy and augury (the practice of ‘scrying’ through examining the entrails of freshly killed animals) in the land.
In an fortress island, Indemnie,  comprised of ruling Baronies and ruled over by a Monarchy (currently Queen Inimical Phlegathon deVry IV), her Chief Hieronymer (practitioner of Augury),Mayhew Gordian, is at his wit’s end.   A trusted confidant and often summoned to secretly observe his Queen’s audiences with her Barons, he is observing an apparently destructive and catastrophic course of action by his Queen.  As she promises to wed each Baron in turn, turning them against each other and against her, surely the only outcome can be war?  And Mayhew’s scrying has revealed a series of dooms for Indemnie with no scenarios of hope.  His Queen says he must look deeper, and this means sacrificing a child, something Mayhew refuses to do, risking his Monarch’s wrath.  In the meantime his deepening regard for Princess Excrucia, his confidant and friend, makes him more than ever determined that the key to his Monarch’s behaviour, and possible salvations for Indemnie, must be found.
This is a book that demands a bit of patience, even with its short length.  It’s a compact piece of world building, and for the most part this is what the narrative focuses on, that and the intrigue between barons and barons and Monarch.  However it builds in it’s last act to a gripping and dramatic siege by cannon armed pirate vessel.  Mayhew acts as Parley for each but he has a last desperate gamble to play, one that involves the hazard of all, and the deepest secrets of augury and alchemy.  This novella amply rewards your patience.
The characters are skilfully drawn, their dielemmas believable and compelling.  Those who knows Dnonaldson’s writing will be aware of his wordsmith talents, his Scrabble defeating vocabulary that sings from the page.

A review of Michael J Sullivan’s “Theft of Swords.”

Theft of Swords is a compilation volume of Michael J Sullivan’s first two novels in the “Ryria” series, ‘The Crown Tower,’ and ‘Avempartha.’
Our heroes belong to the “Rogue” class in the fantasy kingdom;’ they are Hadrian and Royce, two thieves for hire, mercenaries who use skills of stealth and combat to earn a buck and make their way in the world.  At the start of Book 1 that is life for them, they are on no heroic quest, they bear no allegiance, and whilst there is an underlining honour among thieves morality, they aren’t particularly interested in writing wrongs.  Book 1 sees them tricked into being the patsies in a Royal assassination   They unfold a huge conspiracy, involving the Church, and those pushing for a Republican Empire.  Along the way they will rescue a Wizard of dubious allegiance, who may yet hold the key to the whole adventure.  And they just might find that the need to do the right thing is not as disposable as they thought.
Book 2 begins an adventure of a different tone, but still continuing the tightly knit story arc.  The conspiracy continues, this time involving a mystical beast laying siege to a farming community.  Only a rare relic imprisoned in an Elvish tower can stop it, and our thieves are the men for the job.
What stands out in these books for me is the character development.  Hadrian and Royce are compelling characters you will grow to love.  Royce is the hooded, laconic stranger, a master of stealth who in a previous life was a top assasin.  Royce is a warrior, double sworded, tough as Hell and an excellent fighter.  He is talkative, affable, and quicker to take up a chivalrous quest, to recognise moral duty than his partner.   As they go through their adventure they witness and are part of horrors, they rescue the weak and vulnerable and find themselves unwitting champions of justice.  Sullivan’s skill is in writing these character arcs believably and subtly.  As with these other characters, the King, developing from a precocious young Prince to a care worn statesman is another journey that is satisfying and has integrity.  Minor characters, such as a grieving father / farmer in the second book also journey from bitterness to self realisation and hope in a nuanced and shaded way that is far from contrived.
Then there is the skill of the world building.  Whilst the narrative delivers well paced, action packed questing and adventuring, behind this is a believable, epic world, created with familiar archetypes,  but in a way that balances real-world politicking  with elves, wizards and monsters, but avoids the oppressive cynicism of Game of Thrones.  There’s an underlying humour, lightness of touch and cracking dialogue.  But it does not slip into by now overly familiar fantasy satire.  These are stories of real heft and dramatic consequence.
I listened to the audio-book version of this, read by Tim Gerard Reynolds.  He is well suited to these tales, and moves through an impressive dramatic range of voices, from Hadrian’s cheerful banter, Royce’s laconic and abrupt manner, and an array of hissing villains, elder wizards, feisty Princesses and more.

A review of Bruno Vincent’s “Five Go On a Strategy Away Day

I thought I would flag this because here is a rare thing:  a book that will be found on the crowded table at your local bookseller reserved for humorous stocking fillers that is actually very funny.

It follows the “Ladybird Book of…” series that revisits childhood favourites in a format similar to the original publishing templates, including fonts and images taken from the originals.

Here The Famous Five get a makeover, given contemporary first world problems and put in a lot of situations of current relevance, such as Brexit, modern parenting dilemmas, and here a work strategy away day.

The humour is well observed and works perfectly.  Anyone who has been on such an away day will cringe with recognition.  It undercuts all the pretension perfectly, as it does the stereotypes of the original, e.g the bossy leader of the gang, the Tomboy, and so on.  There’s a rivalry with Secret Seven going on which I presume runs through the other books.  The use of line drawings from the originals but relabelled with a line from the new story is also very funny.

Recommended.

A review of Robert Jordan’s “Lord of Chaos: Book 6 of ‘The Wheel of Time’.”

My history with Robert Jordan’s huge 14 book saga started just over 20 years ago when I first cracked open  the “Wheel of Time. ”  Here I was introduced to Lews Therin and the madness through ‘channelling’ the ‘one power’ that would destroy him and kill his wife, and crumble his castle.  I remember key events in the book.  I remember working my way through the series, I think it was Book 5 that accompanied me to my honeymoon.  And it was Book 6, this one, Lord of Chaos, that finally defeated me a quarter of the way through.  Other than a few abortive attempts to pick up where I left off, I laid the series to rest for 20 years.  Then, I decided to download the audio-book and defeat it this way.
Why did I initially leave the series?  This was down to both what some variously describe as the series greatest strength, and also its greatest flaw; the detail, the sheer, remorseless detail, the piling of chapter upon chapter from a  multitude of locations and perspectives.  It’s a flaw because it is at times ill disciplined.  Each book will leave a number of plot strands dangling and I am sure they are picked up in later instalments, but it makes that particular novel more unsatisfying. Then there is the minutiae of the descriptive prose, a lot which a charitable editor would have moved their red pen swiftly through.   The good side of this is that, if you surrender yourself to it, a bit like the characters in the series surrender themselves to the Source or the Power, chances are you’ll be thoroughly immersed in this fantasy world, and it will haunt your thoughts and dreams.
The series describes of a band of young people who are “Taveren” i.e. focal points of destiny, and how they form around a farm-boy called Rand-Al-Thor who has mysterious parentage and is in fact a prophesied Messianic figure who will destroy the Dark Lord of the series called, unsurprisingly, the Dark One.  This is in fact an epic cycle that must link and repeat through the ages, the titular Wheel of Time.
The Dark One has an army of monstrous figures assisting him; the Forsaken, a bickering, competing group of figures who step in and out of history and cause chaos, Half men, like Tolkien’s Wraiths, Trollocs, human-animal hybrids reminiscent of Tolkien’s Ors, and more.  There are figures who surpass evil itself like the monstrous Padan Fain, a former Tinker who has gone beyond life and death.  There are also ‘dark-friends,’ human allies to the evil power.
There is a wizard caste in the series, Aes Sadai, but here it’s wholly female, because the one power, think ‘the Force’ in Star Wars, can be channelled safely only by women.The female half is called Saidar.  If a male channels the male half of the power, Saidan, it will drive them mad with spectacularly destructive results.  Hence the Aes Sadai see it as part of their mission to ‘gentle’ ie neuter from the one power any man who can channel.  This causes Rand a few difficulties.
Lord of Chaos, then, takes up the story with Rand consolidating his grip on a number of cities and provinces, whilst laying stratagems against the Forsaken, with the focus of his plans at this point being a dude called Sammael who is at that point marshalling his forces against Rand.   Meanwhile, the Aes Sedai have been fractured into two camps; an aggressive clan (the ‘official’ Aes Sedai) who want to gentle Rand and eliminate any male channelling the One Power (they seized power in a bloody coup in a previous book) and a renegade group, where most of our Aes Sedai heroines  (including heroines we have known from the first book) are, including Elayne (also ‘Daughter heir of Andor), Nynavae and Egwene. This group are more holistic in their approach.  Some of our heroines in this group get involved in hunting down powerful artefacts, ‘Ter’Angreal,’  that they have come across  whilst dream-walking in the Land of Dreams, ‘Tel Ar Anrihod’ (these spellings are from memory so please bear with me) whilst others work out how they may help Rand (not all the good Aes Sedai believe they should).
Meanwhile two of the other Taveren (see above), Matt and Perrin, move with their armies to assist Rand.  Matt is roguish gambler with a talent for luck, and Perrin has wolf like abilities, he can link with wolves to experience the world through them and call to them, and he can see and hear like a Wolf.  He’s your fantasy novel character with the big axe.
So a lot of these main themes are unresolved in the book, its greatest frustration.   The last few chapters pages or so instead deal with a threat to Rand that whilst not wholly unexpected, was not the one we expected to close the book.   I won’t spoil it further, but these last chapters do generate some threat and tension.
As mentioned above, there is a lot of detail in this book that will at time have you shaking your head either in befuddled resignation, or just sighing and going with it.  There are lots of descriptions of clothes.  The politicking of the Aes Sedai and the sheer profusion of characters is head spinning at times.  The bad guys aren’t in it enough, when they are it does get a lot more interesting.  The gender politics of the book (and of Jordan’s works as a whole) is straight off a heavy metal album covers of the 70’s, women hardly dressed in various submissive poses, whilst being towered over by aggressive muscle clad male figures (or monsters). There may be a chain collar on the woman (optional).  Yes there are elements in Jordan’s writings that seem to refute this (the Aes Sedai clan are the most powerful in this world and the dominant power, strong women are as prevalent if not more so than male counterparts) but it all seems a bit disingenuous when you have scenes such as in this book, where a key Aes Sedai ritual involves all women showing their breasts and stating “I am a woman.”
In the final analysis though, the books remain great fun and will keep you company for ages.  And when you look at Jordan’s CV (highly decorated Vietnam Vet, physics  arts and games enthusiast) you can see the life experience and intelligence that informs his writings.  Start from Book One, and if you can, keep going.
The audio-book is a good and clear presentation read by Michael Kramer whose reads with a good measured pace, just the right amount of gravitas and nuanced for the different roles, and Kate Reading, who also does a splendid job coping with wide range of female voices.