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Sunday, June 17th, 2012
He grinned at them particularly because he knew that in a few minutes, he would be giving them one hell of a quote.
I have to wonder if any readers have commented on the similarities between Zaphod's theft of the Heart of Gold, and Bilbo Baggins's eleventyfirst birthday party.
I had totally forgotten this: every time I say or write "This is obviously some strange new use of the word (whatever the word is) that I was previously unfamiliar with" (which happens with nonzero frequency), I am making a reference to Arthur Dent and to the Hitchhiker's Guide. Don't know if Adams was the inventor of the construction but this is certainly the first place I ever saw it.
posted evening of June 17th, 2012: Respond
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Monday, May 28th, 2012
 In his 7th chapter, "The Dethronement of Cronus" (full text of the book is here), Graves slips in a fun quick reference to Epimenides' paradox:
Some say that Poseidon was neither eaten nor disgorged, but that Rhea gave Cronus a foal to eat in his stead, and hid him among the horseherds. And the Cretans, who are liars, relate that Zeus is born every year in the same cave with flashing fire and a stream of blood; and that every year he dies and is reburied.
posted afternoon of May 28th, 2012: Respond
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Me and Sylvia spent the afternoon in Maplewood yesterday, we went down to [words] bookstore looking to add to her collection of Tintin books (she picked up The Seven Crystal Balls and, hence, will be back soon for Prisoners of the Sun) and came away with some unexpected but promising finds; and went over to the pizzeria to eat some ices and read. I found two books that just demanded for me to own them based on their mere existence -- it seems like there is no way for me to coexist in a world which contains the book The Adventures of Hergé without owning a copy of it; and similarly for the new Penguin edition of Graves' Greek Myths, with an introduction by Rick Riordan. (The bookshop has unaccountably categorized the latter as a "Graphic Novel" -- this worked out well as that was the section I was browsing in.)
We spent some time this morning reading Graves' take on The Gods of the Underworld, comparing the details to the stories she knows from Riordan's novels...
posted morning of May 28th, 2012: Respond
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Tuesday, February 15th, 2011
With that proverb in mind, Kirill Yuryevitch Yeskov set out to relate an alternate history of Tolkein's Middle Earth from the point of view of the losing side: Yeskov tells the story of the War of the Ring as seen by the forces of  Mordor. Fascinating! Yeskov published his book ПоÑледний кольценоÑец in 1999; it does not look like a commercial translation in English will be forthcoming any time soon because the estate of J.R.R. Tolkien does not cotton to infringement on its intellectual property... But fandom to the rescue! Blogger Yisroel Markov has made available his translation of The Last Ring-Bearer (done over the course of "a few dozen lunch hours," and vetted and corrected by Eskov) for free download. Far out. Thanks, Mr. Markov! (and thanks for letting me know about this, Gabe!)
 (Readers of Russian can peruse the original at lib.ru.) ...And more: an essay by Yeskov at Salon.
posted evening of February 15th, 2011: Respond
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Saturday, February 5th, 2011
Here are three pictures I took while Sylvia and I were looking at the Egyptian exhibit at the Met this afternoon.
This is from the beginning of a long scroll, it stretched across a full wall. I am in general not careful about reading labels in museums, so cannot tell you much about the scroll.*
Ibis-headed Thoth, facing himself in the center column, is the god credited with the invention of language and writing -- an appropriate frontspiece for the document.Three small Thoths** are grouped together here:
In addition to an ibis' head the god may be depicted with a baboon's head. The ibis in the middle, watching over his likeness, must be related. I felt lucky to spot this relief on the way out of the museum: 
Just breathtaking. I had not been to see this exhibit in quite a while; indeed this may be the first time I ever really gave it any of the attention it deserves. Very happy about Sylvia's newly blossoming interest in mythology and ancient cultures.
 *(added) Aha! But they have much of the metadata online. I think it was likely a papyrus belonging to the Priest of Horus, Imhotep. **These are: Striding Thoth, Thoth as Ibis, and Figure of a Cynocæphalus Ape.
posted evening of February 5th, 2011: Respond
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 Rereading "La escritura del dios" last week, I was inspired to do some searching for background material, to find out who is Qaholom, the god who has written his sacred scripture in the markings of the jaguar for Tzinacán to read. I found out about the Popol Vuh, a transcription of the K'iche' creation story -- written down in the 1500's by a Jesuit missionary in Quiché, Guatemala based on the reading of a (no longer extant) hieroglyphic document, translated into Spanish and annotated by Adrián Recinos.
According to Recinos, Qaholom is "the paternal god, the god who sires children, from qahol, 'a father's son', qaholoj, 'engender'." Recinos also notes that Gucumatz (one third of the trinity which is called Heart of the Heavens, and I think possibly another name for Qaholom? -- I haven't quite got the pantheon straight yet) is a "serpent covered with green feathers, from from guc, in Maya, kuk, 'green feathers', Quetzal via antonomasia, and cumatz, 'serpent'; he is the K'iche' version of Kukulkán, the Mayan name for Quetzalcoatl, the Toltec king, conqueror, bringer of civilization, god in Yucatán during the epoch of the Post-classical Mayan Empire."
posted morning of February 5th, 2011: Respond
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Sunday, February 28th, 2010
Sylvia and I spent some time this weekend reading stories from a college book of mine, Rhoda Hendricks' 1972 edition Classical Gods and Heroes: Myths as told by the ancient authors -- a good resource although I don't love her translations. Looks like we should find some good translations of Hesiod's Theogony and Works and Days to learn more about the early Greek myths. It will probably be a lot more difficult to learn anything about the early Roman myths, since all the Roman writing about mythology seems to come from well after the Hellenization process was underway. I would like to pick up a good translation of Metamorphoses though, Ovid seems to be a good story-teller. Anyone who is interested in this stuff and has not read the comments to the previous post should do so -- Randolph reposted a great writeup there from Bryon Boyce.
posted afternoon of February 28th, 2010: Respond
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Saturday, April 25th, 2009
I've been having mixed feelings about Book V of LOTR -- I mean the whole trilogy has been fairly warlike, with men who thrive in battle and women who are mostly absent; but the sadistic, drawn-out glamour of the battle for Minas Tirith is freaking me out a bit. Also the timeline of the Riders of Rohan arriving at Minas Tirith and Aragorn arriving leading an army of the dead. (And why no mention is made of their being dead, after he initially hooks up with them in Dunharrow.*) OTOH some of the imagery is just breathtaking, and I like how some of the characters are drawn. Legolas and Gimli are growing on me in a way they have not thus far. Take a look at this passage in Chapter 9, after the two have told Imrahil he is needed at Aragorn's tent:
"That is a fair lord and a great captain of men," said Legolas. "If Gondor has such men still in these days of fading, great must have been its glory in the days of its rising.""And doubtless the good stone-work was wrought in the first building," said Gimli. "It is ever so with the things that Men begin: there is a frost in Spring, or a blight in Summer, and they fail of their promise."
"Yet seldom do they fail of their seed," said Legolas. "And that will lie in the dust and rot to spring up again in times and places unlooked-for. The deeds of Men will outlast us, Gimli." "And yet come to naught in the end but might-have-beens, I guess," said the Dwarf. "To that the Elves do not know the answer," said Legolas.
 * Ah ok, not too many pages later it becomes clear that Aragorn was no longer leading an army of the dead, when he arrived at Minas Tirith. This makes the course of events make much more sense.
posted afternoon of April 25th, 2009: Respond
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Saturday, April 18th, 2009
I am finding book IV of The Lord of the Rings, the story (so far) of Frodo, Sam and Sméagol journeying towards Mordor, to be the most compelling reading of the first two volumes. I'm really tuned in to each of the three characters and sensitive to what's happening with them. In most of the rest of the book I have been liking it more as a visual experience -- a painting of words -- than as a story. I am very much in awe of Tolkien's ability to create a world, even if the story is not always making it for me -- this is making me feel good about the idea of reading the Silmarillion next, which I understand to be mostly world-creation rather than story. I found this dialogue between Frodo and Faramir (at the end of Chapter 6) very moving -- suddenly this style of writing dialogue, which has been seeming very stilted to me, is making sense:
‘...Do not approach their citadel. ...It is a place of sleepless malice, full of lidless eyes. Do not go that way!’
"But where else will you direct me?" said Frodo. "You cannot yourself, you say, guide me to the mountains, nor over them. But over the mountains I am bound, by solemn undertaking to the Council to find a way or perish in the seeking. And if I turn back, refusing the road in its bitter end, where then shall I go among Elves or Men? Would you have me come to Gondor with this Thing, the Thing that drove your brother mad with desire? What spell would it work in Minas Tirith? Shall there be two cities of Minas Morgul, grinning at each other across a dead land filled with rottenness?" "I would not have it so," said Faramir. "Then what would you have me do?" "I know not. Only I would not have you go to death or to torment. And I do not think that Mithrandir would have chosen this way." "Yet since he is gone, I must take such paths as I can find. And there is no time for long searching."
Some bits of the language in the book are coming back to me from my previous reading of it. I seem to remember that when I read Chapter 9 of book III, "Flotsam and Jetsam", that was the first time I had ever seen those terms, and I looked them up in the dictionary and endeavored to throw them into conversation for the next little while. (If memory serves the distinction is that flotsam is wreckage floating away from the wrecked ship, where jetsam is wreckage that was jettisoned from the ship prior to its sinking.) I remember the name "Morgul" but thought somehow it was the name of an evil character or species, not part of an evil city's name... Either way it is certainly a bad-sounding handle.
posted evening of April 18th, 2009: 1 response
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Wednesday, April 8th, 2009
Michael Bérubé has a long post today about His Dark Materials and a few other things (thanks for pointing it out, Levi) -- it is a bit dense but as near as I can tell, he means to defend The Amber Spyglass against critics who think it is the weakest book in the series because it is too preachy, and simultaneously to point out a weakness in the series -- that it is written on too grand a scale -- and to talk about some other fantasy series, like LOTR and C.S. Lewis' science fiction books, in this context. I'm grateful to Dr. Bérubé for what he says about the world of the dead scene in The Amber Spyglass -- I had been having some cognitive dissonance over the last few weeks from failing to acknowledge the lameness of the Lyra's-hair bomb plot device. I had gotten up on a horse about the great beauty of the descent into the world of the dead, but was having trouble riding it. That said I don't think the idea that the harpies want to hear true stories of the world of the living is as bad as Bérubé does; I kind of like it, and I didn't attach a huge amount of importance to its role in the plot as I was reading. I'm tentatively working on a response to people who complain about the preachiness of His Dark Materials, and which I think would also work as a response to Bérubé's complaint about Tolkien's stilted language -- making the argument against the church seems to be a huge part of Pullman's goal in writing these books. I did not (generally) find that the pedantry detracted from the story; but he is not only telling a story. Saying that the pedantry detracts from the story is like, well, like saying that Tolkien's archæic usages detract from his story -- I think Tolkien is at least as interested in creating a world where these usages will work, as he is in telling a story about a hobbit's quest. But this needs a fair amount of work before it will actually be an argument of any sort.
Some great discussion in the comments thread over there as well -- particularly from Kathleen, Alan Jacobs, Rich Puchalsky. I'm reluctant to enter into it myself because I like the books so much -- the tone of the comment thread seems to be focusing on the faults of the books, if I join the discussion mooning about how great the trilogy is, I am just going to look silly and thoughtless -- and yet I find my response to the criticisms is mostly just along the lines of "yeah that's true, but still it is a wonderful read..."
posted evening of April 8th, 2009: Respond
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