Blackfoot Physics [52 Books #6]

Blackfoot Physics was written by a quantum physicist. I expected this book to be more like The Dancing Wu Li Masters, which integrated thoughts on quantum mechanics with eastern principles. Peat instead views the world through the eyes of native american beliefs and attempts to show us the shortcomings in our culture. I felt misled.

Peat raises many valid points about western society's loss of touch with nature; even when we go to 'touch nature' it often by going on a day-long hike or a camping trip, or a walk in a field. A whole books about such thoughts is a worthwhile read. But Peat tries to prove the west's need for a return to nature by invoking the similarity between western science and indigenous sciences of the Blackfoot, Iroquois, Lakota, and other native tribes, painting, well, interesting contrasts of their use of the scientific method. In short, western scientists conduct an experiment to ask nature questions and the data from the experiment is the answer. Indigenous science sit down and speak to nature directly, waiting for the answer to be spoken to them. Peat also decries the conflict-driven, adversarial ways western science reaches a consensus, using the infamous cold fusion announcement as an example. The flaw in his reasoning is he never explains why conflict is bad – we are left to assume that hundreds of scientists arguing over a new theory is by nature less correct than the same people sitting down and discussing it long into the night.

I don't have any objecton to reading about alternative views of the world, from the magic of Casteneda to the beliefs of religious doctrine to self-help meditation guides. What David Peat did annoyed me. He tries to correspond two different belief systems, calling both equally valid science, to demonstrate the inherent superiority of native american lifestyles. I wish he'd simply wrote a book showing how peaceful, empathic and grounded the lifestyle can be. That book would rise on its own merits. He doesn't need to attempt scientific justification of native values.

The Blade Itself [52 Books #5]

Love the simple painting of the characters in The Blade Itself. There's not too many, enough to keep the story going, and each is given depth where necessary, and no more. There's some nice sketching by the author to fill in these people and it feels just right. We first meet a warrior losing a fight and barely surviving, then a interrogator, then a infantry leader, then the warrior's companions. And that's all the viewpoint characters, leaving less than a dozen other significants. Abercrombie paints a whole fantasy world with just these few lines, and I'd like to see more of it.

The overall plot, summarized, is so typical it's a joke. Old empire if faced with an uppity neighbor while some ancient evil is lurking in the background. Like Orson Scott Card said in his SF&F guide, it doesn't matter if the story's been used before, it's your writing and it's what you do with it that counts. Abercrombie does good work in this initial novel of this trilogy. The world is there, the cultures are there, the characters rarely bore, and although it takes a while to start cranking, it gets the motor purring by the end.

I've already ordered the sequel, Before They Are Hanged, and unless I'm quite dssapointed I'll be picking up the finale sometime this year.

The Tough Guide to Fantasyland [52 Books #4]

Now this is a fun travel guide. It's arranged more like an encyclopedia of the common fantasy terms. It's damn funny. Some entries are wonderfully snarky, and the book slashes, not pokes, fun at all the tired fantasy cliches. Every bar exists to have fights and give employment to nubile young barmaids, every ancient castle has a dungeon full of monsters except the ones the doddering old king and the big bad evil guy live in. It's also a great tool to look inside and ask yourself, “Am I writing these cliches?”

Halting State [52 Books #3]

Well, I was explaining to my father a few weeks before that books are written in perspectives. First person perspective is 'through the eyes' and immediate. Third person is remote, over-the-shoulder and provides greater view. I explained you really will never find a book written in Second person, and lo, here comes the new book by Chalie Stross.

Halting State gave me a rough read. I started, stopped, started, stopped again, then when I was faced with another book boring me too much to continue I returned to Halting State. I tripped heavily over the use of Second person perspective, even knowing – I assumed – why the author used it. I was close, but ultimately wrong. While first person (“I ducked to the right as his fist went over my head – God he was fast. I needed to get out of here now!”) and third person (“Arleen stood on the ivy-covered wall, looking at the house across the overgrown yard, lost in thought of what she had to do”) are commonly used in writing, second person perspective (“You step into the room, a dozen business-suited employees looking up at you. Their eyes glance over and pause at the badge on your chest. They grow colder, and you know it's going to be a long meeting.”) is almost unheard of outside online chatrooms, and MMOs. But Stross uses it to good effect in Halting State, and I eventually, by the halfway point of the book, came to read it naturally.

The concept of the novel: within a decade a bank is robbed. It's a bank of a fantasy kingdom inside an MMO, and the theft may be of imaginary items but the damage to the company's reputation could be near a hundred million euros when their stock collapses. 'You' the first is a Scottish police office investigating the robbery, coping with the fact you don't have a clue what the techies are saying, dealing with the fact a horde of orcs made off with nothing but binding pointers. Another 'you' is a financial accountant called in to audit the company, the third 'you' is a programmer hired by the accountant to cover her lack of technical skills. It's confusing at first, yes, but each chapter is clear and you can get into the groove; if you've liked Charlie Stross's other works about the upcoming future and the tech industry don't let the style stop you from enjoying this one.

It's a well-written mystery-drama, dealing with issues we can barely see on the horizon today, as Stross does so well. The initial theft is the tip of a significant iceberg, and the end feels much like his earlier works, 'The Atrocity Archive' and 'The Jennifer Morgue', minus the supernatural elements of those novels. In other words it's got some great tech and great spywork.

Soon I Will Be Invincible [52 Books #2]

I grew up flirting with comics. My mother would buy my Archie and Richie Rich (her favorite, as if by sympathetic magic of buying his comic, she could become Richie Rich and have his wealth). After a few years I found the comics I loved – Godzilla and Shogun Warriors. Yeah, most kids liked Batman. I was a purveyor of Japanese culture even back in middle school. Blame Star Blazers. By high school and college I'd found X-Men, Batman, Electric Warrior and Spiderman. I still pick up the occasional comic book to keep in touch.

Liking the comic book universe, and being an online addict, I found City of Heroes and played out every hero and villain type I wanted. It's a fun game, but after 3 years I'm getting a bit tired.

So here we are, with a novel about a super villain and his new plot to take over the world. Soon I will Be Invincible has two viewpoint characters, the incarcerated Doctor Impossible (breaking out of jail due to being underestimated) and the cybernetic Fatale (newly joining a legendary team of heroes). The chapters alternate between each and the staging device works well to show the world Grossman crafted.

Doctor Impossible gives us a view on world-threatening, ultra-threat level super villains never seen in comics; he's stuck in prison garb, on the run, stealing from a laundromat, hiding in a motel room, shopping at Radio Shack for parts to his new weapon. It's deliciously mundane and pragmatic. Fatale, however, is the new girl in the biggest team in the world, and comes in in awe and sees the petty wickedness of her heroes as they argue, fumble of their unresolved feelings, stumble over difficulties with family and constantly play dominance games with each other to establish the hierarchy. Both the heroes and villains worlds are far less pure than we can imagine; this is the reality show of superhumans.

The plot's not overly complex. What story about a comic book world needs to be the Brothers Karamazov? The world's biggest hero, Doctor Impossibles greatest enemy Core Fire, goes missing. Everyone's quick to assume Impossible killed him from his jail cell, somehow. This leads, naturally, to giving Impossible a chance to escape from prison and begin a new plan to conquer the world – but first, since the heroes are after him, he needs to become invincible, as he has a bad habit of getting stopped at the last minute of his plan and pummeled to an inch of his life. He lays out the plan in steps and proceeds methodically, with occasional stops at villainous watering holes and such to show he's still the most dangerous man in the world. Thus, he hides in bushes and changes into his costume. Cops are looking for him, after all.

Fatale has no initial direction to her story beyond a desire to join the superteam. Mostly she shows the cost of being a hero – she had an accident and now has replacement limbs, and her story is echoed in all the other heroes. Each has lost something along the path to power. Family, the world they loved, their friends, their lovers, each paid dearly for what they can do. And most don't seem too happy about the cost.

The story advances, Impossible outwitting the heroes like the supreme genius he is, and yes, he does become invincible. Yes, he is stopped eventually, but it feels like Grossman deliberately didn't have the heroes earn it. Doctor Impossible is struck from the side in a contrivance wonderfully typical of comic books, and yes, the author did set it up well and paid for it slowly through the story, so it doesn't feel cheap. It feels more like Grossman slapped the entire concept of a team of heroes saving the world upside the head.

One flaw I found in the book is one I've seen in a few other places. Everybody knows everybody, everything is connected. Sharp eyes through the story and appendix reveal who made who, who must be connected to who, who is really who, where the magic doohickey came from, and so on. Examples – a young Doctor Impossible accidently created his nemesis, Corefire. A queen of a fantasy land describes a weapon she lost track of decades ago and which is relevant to the world-conquering plot Impossible is constructing. Corefire's girlfriend and perpetual hostage becomes a factor in the story later. A villain who 'came out of nowhere' has a deep origin if you look closely. Impossible's mentor created one of the heroes on the team, and so on. I grew tired of this while playing World of Darkness. Let's not have all events in a neat bundle wrapped up in the author's worldcraft. Instead try to have the chains and connections between characters be a little seperate. I'm not sure if Grossman wanted to have all things tied together deliberately or if it was just a worldbuilding shortcut. I'd like to see this structure twisted into two webs of causality, each competing... but maybe I'll try that ina book someday.

Soon I will be Invincible is only available now in hardcover, but I don't regret paying the full price. It was a fun read of a realistic version of the unreal. I'll read it again in a few years, and would check out more of Grossman's writing. He's not a writer that makes me giddy, but he has good ideas.

I am America and So Can You [52 Books #1]

I received this as a Christmas present from someone who knew I watch the Colbert Report every day. It's a good fun book for a few chapters, better organized than Jon Stewart's similar book. But like Stewart's book the humor seemed to fall away after a few chapters, becoming a haze of similar jokes repeated and recycled for new topics. Colbert's over-the-top ultra-right persona screams aggrandizement and significance on every page, and I worry some people won't get it's a joke. Ah, well. It's pretty funny but I'd like it at half the size and half the price.

52 Books in 52 Weeks

Over at the Quater to Three forums the idea of a reading challenge was presented. I'm a little late to the party but I think I can backdate the books I've already read and come in close to the challenge, so I'll just assume I'm in the running.

Here's the plan: take enough books to challenge your reading speed and finish them all in 2008: the '52 books' is only a title, so don't panic. If you can read 50 books a year, stretch yourself and go for 60. If you read 5, try for 10, and so one. Also, stretch your boundaries and try some genres you've never touched before.

I normally read about a book a week when I'm on a roll, so I'm going to try to maintain that pace for the whole year. I have a pretty big stack of books sitting bedside so when i finish one I'll just grab another from the pile according to my mood and keep going. So far I have the following books bedside or on order from Amazon:

I am America, And So can You by Stephen Colbert et. al.

Soon I Will Be Invincible by Austin Grossman

Halting State by Charles Stross

The Tough Guide to Fantasyland by Diana Wynne Jones

The Blade Itself by Joe Abercrombie

Blackfoot Physics by F. David Peat

The Lies of Locke Lamora by Scott Lynch

The New Topping Book by Dossie Easton and Janet W. Hardy

Lamb, or the Gospel According to Biff, Christ's Childhood Pal by Christopher Moore

How to Write Science Fiction and Fantasy by Orson Scott Card

The New Bottoming Book by Dossie Easton and Janet W. Hardy

I Am Legend by Richard Matheson

Old Man's War by John Scalzi

Declare by Tim Power

The Scar by China Mieville

Anansi Boys by Neil Gaiman

Virtual Light by William Gibson

Creating Unforgettable Characters by Linda Seiger

Before They Are Hanged by Joe Abercrombie

Sex, Time and Power by Leonard Shlain

Actions Speak Louder by Eric Lichtenfield

Characters & Viewpoint by Orson Scott Card

Herotica ed, by Susie Bright

The Hero With a Thousand Faces by Joeseph Campbell

Guns, Germs and Steel by Jared Diamond

The DC Comics Guide to Writing Comics by Dennis O'Neil

The Idiots Guide to Self-Esteem by Mark J. Warner, Ed.D.

The War of The Flowers by Tad Williams

Shaman's Crossing by Robin Hobb

Arslan by M. J. Engh

Humanism: An Introduction by Jim Herrick

Finding Your Religion: When the Faith you Grew Up With Has Lost Its Meaning by Scotty McLennan

Become What You Are by Alan W. Watts

Black Swan: The Impact of the Highly Improbable by Nassim Nicholas Taleb

Matter by Ian M. Banks

The Lucifer Effect: Understanding How Good People Turn Evil by Philip Zimbardo

This all started at Quarter to Three