Bill Masen wakes in a hospital to find that he is the only sighted man in a city of the blind. During the next few hours, he walks the streets of London to find out exactly what has caused this catastrophe. That is the disorientating start to this wonderful novel, which hinges on those lucky few whose sight has survived. The cause of this mass blindness appears to have been a meteor shower the previous evening. All who witnessed it became victims.
Yet, Masen suspects that there is another force at work, the plant life that he helped bring into existence in Britain known as 'Triffids'. They are highly intellegent plants that are capable of movement. Perhaps most suspiciously of all, they are man-made, rumoured to have been stolen from a laboratory in the USSR. Governments in Western Europe allowed them to pollenate due to their oil being valuable.
Masen became a cultivator of sorts for this oil. This knowledge of the plants is an advantage that may yet help him survive. We bear close witness to his discomfort with this awareness. Wyndham is one of the first of many 20th Century storytellers to confront humanity's hubris when a technology gets out of control. The triffids stalk the streets as a constant menace, yet they are not the only hazard that Masen encounters.
He eventually locates another person who is still sighted. She has been tied and bound by one of the many wanderers that haunt the streets. Masen releases her and manages to find a colony that avoided the meteor shower. His companion, Josella, takes him to this compound and we are reassured that there may yet be a civilised future for those who are left. However, they are both captured and become prey for the gangs who are by now stalking the streets.
The most horrendous aspects of human nature are on display as sighted despots lead legions of the blind into the most deplorable acts in search of food. Wyndham confronts this collapse with a great deal of calm, he is not prone to sentiment when describing the end of society. Bill and Josella escape seperately yet in truth their trials have just begun.
Away from London, life is hardly a rural idyll. As the human population dwindles, Triffids begin to take control of the open land. Masen follows a clue to try and find Josella but he has no success and briefly becomes an unwilling member of a fundamentalist sect. He leaves with his new companion Wilfred Coker, who is just as sceptical about the value of religion after such an event. However, Masen quickly realises that they have no hope on their own.
During all this, Masen's one objective is to find Josella but he can only recall one possible place that she may be living. He leaves Coker to look after other survivors so that he can find the woman he loves. In such an aggressive world, where the protagonists are required to destroy repeatedly to survive, it is refreshing to note that a source of hope still exists. It is a harsh, desperate life that they lead together but it is perhaps the best they can manage.
There are no melancholic reflections by any of the main characters, just a simple need to adapt and survive. Wyndham is reflecting the era in which he is writing, published in 1951, this toughness perhaps reveals the difficulties of living through a major war. Masen and Josella are decent people who give purpose to each other, they rarely lapse into self-pity. Yet, as their world collapses, they have to work hard to move forward.
At times, the dialogue in the novel feels a little strained. Even by fifties standards, it seems overly formal yet there are no such questions about the narrative. Wyndham has created an excellent book that attempts to answer why we as a species deserve to survive. It is a credit to him that the answer is never in doubt.
Saturday, 28 August 2010
Wednesday, 18 August 2010
'Inception' dir. Christopher Nolan
It was something of a shock to be confronted by something so intellegent and gripping. Given that recent releases include a surfeit of Hollywood staples (re-makes, teen horror, more teen horror), Nolan's film certainly distinguishes itself by being different. It mixes high-octane action sequences with a script that stops to question the motives of its characters.
The result is a film that crosses genres, it could easily be classified as a sci-fi, mystery or thriller and it has a good case for being all three. The action mainly centres around Leo Di Caprio's character Justin Cobb as he prepares a heist to steal corporate secrets. However, it is quickly revealed that this is no ordinary crime thriller. Cobb is a criminal who works exclusively in dreams.
Their target is the heir to a large corporation, a man called Robert Fischer who is brilliantly played by Cillian Murphy. The gang force Fischer in his sub-concious state to confront his difficult relationship with his father. Their theory is that a created thought, or 'inception' will force him to disinherit his company. As they burrow more deeply into his sub-concious it becomes clear that this is no ordinary task.
Cobb is made to confront his own demons, namely in the shape of his wife Mal, who haunts his every thought. His ability to do his job is hamstrung by his inability to let go of her and it quickly becomes clear that this may cost him his life. This secret has only been revealed to Ariadne, a student who joins them to work at creating Fischer's thought.
Mal is played with shocking clarity by Marion Cotillard, who portrays someone who indulges her own anger to the detriment of any other emotion. The film reveals precisely why it is justified but never loses the sense that she always had that element within her. At certain points, Cobb and Mal dominate the film to such an extent that it does slow down but that is only for a brief moment in the second act.
There is no question that taken as a whole, Inception makes a strong impression. In fact, it does to such an extent that it would be difficult to find many that rank alongside it. Nolan would be doing well to better it but given past form, no one could put it past him.
The result is a film that crosses genres, it could easily be classified as a sci-fi, mystery or thriller and it has a good case for being all three. The action mainly centres around Leo Di Caprio's character Justin Cobb as he prepares a heist to steal corporate secrets. However, it is quickly revealed that this is no ordinary crime thriller. Cobb is a criminal who works exclusively in dreams.
Their target is the heir to a large corporation, a man called Robert Fischer who is brilliantly played by Cillian Murphy. The gang force Fischer in his sub-concious state to confront his difficult relationship with his father. Their theory is that a created thought, or 'inception' will force him to disinherit his company. As they burrow more deeply into his sub-concious it becomes clear that this is no ordinary task.
Cobb is made to confront his own demons, namely in the shape of his wife Mal, who haunts his every thought. His ability to do his job is hamstrung by his inability to let go of her and it quickly becomes clear that this may cost him his life. This secret has only been revealed to Ariadne, a student who joins them to work at creating Fischer's thought.
Mal is played with shocking clarity by Marion Cotillard, who portrays someone who indulges her own anger to the detriment of any other emotion. The film reveals precisely why it is justified but never loses the sense that she always had that element within her. At certain points, Cobb and Mal dominate the film to such an extent that it does slow down but that is only for a brief moment in the second act.
There is no question that taken as a whole, Inception makes a strong impression. In fact, it does to such an extent that it would be difficult to find many that rank alongside it. Nolan would be doing well to better it but given past form, no one could put it past him.
Sunday, 15 August 2010
'A History of Britain (Vol I) - At the edge of The World? 3000BC-AD1603' by Simon Schama
As the title suggests, this book takes something of a broad perspective on early British history. Not that this is necessarily to its detriment, it reads more like a novel than a typical historical work. That is a credit to Schama who livens up a subject which often drives people away with dry prose and even drier analysis.
It moves quickly through the neolithic and Roman periods and onto medieval history. It seems that this is the real highlight for Schama, his enthusiasm for his work is most notable when he writing about instability. His superb deconstruction of Richard II during the peasants revolt is a prime example of this. However, he is sensible enough to avoid the mistake of dividing British history into 'good' and 'bad' monarchs.
Case studies are provided to act as background to the narrative. Eyewitness accounts of Thomas Becket's various disputes with Henry II being particularly impressive. Another example is the dark humour of the portrait of the 'Three living and three dead', an especially poignant work about the black death. Schama's background as an art historian undoubtedly influenced the images selected for the book.
There are several moments where it seems that there will be a shift towards a more conventional telling, especially during the section on Edward I. Nonetheless, he is quick to address this with acknowledgements that both sides committed atrocities during that conflict. He does well to shy away from the Braveheart perspective on William Wallace, who was in fact just as coldly ruthless as Edward.
Understandably, he treads carefully as we reach the Tudor period. Perhaps the most well-known of all parts of British history, Schama sticks closely to fact and is not given to romanticising Henry VIII in particular. Many recent depictions of the Tudors have played on the idea that it was an era of frivolous courtly love spoilt by the odd religious schism. That view is given short shrift as we are quickly introduced to the ruthlessness of Henry, Edward VI and Mary. The harrowing section on the death of Anne Boleyn being a particular highlight.
Fortunately he is also not given to glorifying Elizabeth I. He recognises her immense contribution towards religious healing in Britain but also sees that she was often maddeningly indecisive, especially when dealing with the many threats on her life. He recognises that when 'Gloriana' was at the peak of her powers, she was indeed a formidable monarch but that, as she went into decline, she was used by those closest to her.
There is no doubt that this reflects the balanced nature of the first volume of this work. Though there are many ways in which it is a conventional telling of early British history it does not shy away from occasional revisionism. Schama makes the point very early on that it is a personal history, not meant as definitive and it certainly does not feel at any point as if the reader is being dictated to. He is often condemned for being middle-brow but the length of the bibliography at the back should put paid to those assumptions.
Not only a fine academic work but a brilliant read. That is not a sentence I write very often.
It moves quickly through the neolithic and Roman periods and onto medieval history. It seems that this is the real highlight for Schama, his enthusiasm for his work is most notable when he writing about instability. His superb deconstruction of Richard II during the peasants revolt is a prime example of this. However, he is sensible enough to avoid the mistake of dividing British history into 'good' and 'bad' monarchs.
Case studies are provided to act as background to the narrative. Eyewitness accounts of Thomas Becket's various disputes with Henry II being particularly impressive. Another example is the dark humour of the portrait of the 'Three living and three dead', an especially poignant work about the black death. Schama's background as an art historian undoubtedly influenced the images selected for the book.
There are several moments where it seems that there will be a shift towards a more conventional telling, especially during the section on Edward I. Nonetheless, he is quick to address this with acknowledgements that both sides committed atrocities during that conflict. He does well to shy away from the Braveheart perspective on William Wallace, who was in fact just as coldly ruthless as Edward.
Understandably, he treads carefully as we reach the Tudor period. Perhaps the most well-known of all parts of British history, Schama sticks closely to fact and is not given to romanticising Henry VIII in particular. Many recent depictions of the Tudors have played on the idea that it was an era of frivolous courtly love spoilt by the odd religious schism. That view is given short shrift as we are quickly introduced to the ruthlessness of Henry, Edward VI and Mary. The harrowing section on the death of Anne Boleyn being a particular highlight.
Fortunately he is also not given to glorifying Elizabeth I. He recognises her immense contribution towards religious healing in Britain but also sees that she was often maddeningly indecisive, especially when dealing with the many threats on her life. He recognises that when 'Gloriana' was at the peak of her powers, she was indeed a formidable monarch but that, as she went into decline, she was used by those closest to her.
There is no doubt that this reflects the balanced nature of the first volume of this work. Though there are many ways in which it is a conventional telling of early British history it does not shy away from occasional revisionism. Schama makes the point very early on that it is a personal history, not meant as definitive and it certainly does not feel at any point as if the reader is being dictated to. He is often condemned for being middle-brow but the length of the bibliography at the back should put paid to those assumptions.
Not only a fine academic work but a brilliant read. That is not a sentence I write very often.
Tuesday, 10 August 2010
'Dune' by Frank Herbert
This novel is an epic in both scale and length. At times, the imagination required to picture such an alien landscape is difficult to comprehend. Just as difficult, in fact, as wading through some of the over-extended sentences that Herbert is prone to using on occasion. Open any page in Dune and both will be present in large doses.
That is not to say that it is not an enjoyable read, it certainly is, but it is by no means a fast one. At first, we are introduced to the House Atreides, of which the main character Paul is a member. His father, Duke Leto, has been maneuvered into taking over the governorship of a barren desert world known as Arrakis.
Their stay on Arrakis quickly descends into violence as it gradually becomes clear that the Duke is being used. His great rival, the Baron Harkonnen is behind this plot. Harkonnen is a fantastic literary creation, full of the contradictions and bloodlust of a man obsessed with power. The contempt with which he treats even his own family is something to behold.
Amongst the chaos following the Baron's plot, we pick up the story with Paul, who is cast out amongst the natives of Arrakis. Paul's tale is one that is often difficult to follow, largely due to the sheer number of names that Herbert insists on calling him, for example: Paul, Muad'Dib, Kwaitz-Haderach and Usul to mention but a few. Nonetheless, the harsh beauty of the landscape is conveyed throughout and the characterisation of the natives is very well executed.
Following a series of violent encounters, Paul finds himself as the leader of the natives. He is pushed forward following a prophecy given to them and as a result finds himself as the leader of not just an army, but a religious movement. It is a role that he resists but nonetheless has to accept. As a result, by the close of the book, he has become assured in his decisions, perhaps to his detriment.
His mother Jessica, who accompanies him throughout, attempts to keep him on a mortal plane but she struggles with the task. She gives birth to Paul's sister, who may yet hold the key to his grand plans. The climax of the book leaves as many questions as it does answers but it can be assured that both of them have an important role to play in the remaining books of the trilogy.
Overall, 'Dune' is a fine work of Science Fiction that is perhaps not worthy of the title 'greatest ever' with which it is often burdened. It is a book filled with tremendous landscapes, yet, sometimes the similies seem just as extended. Despite that reservation, I would recommend it to anyone with even a passing interest in sci-fi.
That is not to say that it is not an enjoyable read, it certainly is, but it is by no means a fast one. At first, we are introduced to the House Atreides, of which the main character Paul is a member. His father, Duke Leto, has been maneuvered into taking over the governorship of a barren desert world known as Arrakis.
Their stay on Arrakis quickly descends into violence as it gradually becomes clear that the Duke is being used. His great rival, the Baron Harkonnen is behind this plot. Harkonnen is a fantastic literary creation, full of the contradictions and bloodlust of a man obsessed with power. The contempt with which he treats even his own family is something to behold.
Amongst the chaos following the Baron's plot, we pick up the story with Paul, who is cast out amongst the natives of Arrakis. Paul's tale is one that is often difficult to follow, largely due to the sheer number of names that Herbert insists on calling him, for example: Paul, Muad'Dib, Kwaitz-Haderach and Usul to mention but a few. Nonetheless, the harsh beauty of the landscape is conveyed throughout and the characterisation of the natives is very well executed.
Following a series of violent encounters, Paul finds himself as the leader of the natives. He is pushed forward following a prophecy given to them and as a result finds himself as the leader of not just an army, but a religious movement. It is a role that he resists but nonetheless has to accept. As a result, by the close of the book, he has become assured in his decisions, perhaps to his detriment.
His mother Jessica, who accompanies him throughout, attempts to keep him on a mortal plane but she struggles with the task. She gives birth to Paul's sister, who may yet hold the key to his grand plans. The climax of the book leaves as many questions as it does answers but it can be assured that both of them have an important role to play in the remaining books of the trilogy.
Overall, 'Dune' is a fine work of Science Fiction that is perhaps not worthy of the title 'greatest ever' with which it is often burdened. It is a book filled with tremendous landscapes, yet, sometimes the similies seem just as extended. Despite that reservation, I would recommend it to anyone with even a passing interest in sci-fi.
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