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Author: don delillo book title: libra for a few years, this book was everywhere-if by everywhere one means used bookstore shelves and remainder tables-a very visible reminder of what happens when the publishing industry misjudges a print run. i bought three or four copies of the book, not because i didn't remember buying it but because every six months the price would be even lower. the copy i read was a two dollar paperback, but i'm sure there's the dollar hardcover Still on My shelves, probably right next to where the three dollar and four dollar hardcovers used to sit. stupidly, i assumed that this meant libra was a bad book, an assumption My seven dollar copy of infinite jest should have disproved. but even after reading and enjoying white noise, i didn't think of reading libra. only recently, scrambling around on My shelves for prose that would actually inspire me, did i pick it up. i'm ashamed to admit i was desperate, yet the shame is mitigated by the rewards i received. libra is proof that the best authors can do anything they want. a book about lee harvey oswald, libra manages to get into oswald's head and yet leave him a mystery because delillo knows the degree to which some men are enigmas even to themselves. a book about the history of event, and the john f. kennedy assassination, libra is also a study of the men who shape history, and the men who record history. and best of all, a book about society and the forces sweeping through it, libra feels like a personal statement, an honest challenge to measure oneself, an expression of intimacy in recounting an event in which so many have lost themselves by creating paranoid spirals that are both joyous and dreadful celebrations of the helplessness of the self. delillo accomplishes this by doing what i believe is a fairly radical act: daring to empathize with lee harvey oswald (i can't help but think this is what led george will to denounce libra as "an act of literary vandalism and bad citizenship"). i barely know anything about delillo, and yet even to me, the very first section, in the bronx, a section that opens with an anonymous "he" riding the subway to the ends of the city ("there was so much iron in the sound of those curves he could almost taste it, like a toy you put in your mouth when you are little."), seems an acknowledgment of equivalency-delillo grew up in the bronx, and generously gives young oswald, who is living there at the book's opening, the keenly observed details only a longtime resident or a talented artist might notice. from this, delillo measures oswald's meandering grasping life in terms with which any struggling artist, feeling adrift and alone in the grip of a desire to accomplish something great, could identify. (until finally, after the shooting of kennedy, oswald making his way through the poor section of dallas avoiding police, there is this: "a dozen old hair-drying machines stood along the curbside. a mattress on a lawn. he wanted to write short stories about contemporary american life.") by the end, delillo gives us oswald as someone almost like kafka's hunger artist ("he is commenting on the documentary footage even as it is being shot. then he himself is shot, and shot, and shot, and the look becomes another kind of knowledge. but he has made us part of his dying."), revealing the horror of art and its motivations when they cannot escape into art's abstract realm. libra also considers the men who might have been involved in the plot to kill a president, moving inside the heads of george de mohrenschildt, crime lord carmine latta, jack ruby, agency spook t.j. mackey and most stunningly david ferrie, the odd hairless man somehow always at the center of everything. ferrie was a man who might have been famously eccentric on his own, what with his rare disease that rendered him completely hairless, and resultant crazy wigs and glued on eyebrows, and pilot's uniforms, and open homosexuality, and links to crime figures, gunrunners, and other figures not normally given to mingling with openly gay wig-wearing hairless men. he feels fully like a literary creation, endlessly chattering on about death, about cancer, about fear, about esp and hypnotism and astrology, but david ferrie was a very real figure-one whom delillo manages to recreate so completely it feels like an act of utter invention. and so, mirroring delillo, there's win everett, a cia man disgraced by his role in the bay of pigs disaster, who hatches the kennedy assassination plot and similarly finds himself creating a man who already exists. (everett creates forged documents and fake items to cast oswald's life in a strangely ambiguous light, so that investigators will continue to follow all the twisting paths to the truths everett wishes them to discover. but he finds that oswald, independently of everett, is creating such a life already, following everett's plans without actually knowing them.) in the shadow of retirement, everett plans to refire his countrymen's passion for a democratic cuba by using a failed assassination attempt on kennedy; an attempt that, in the following investigation, will also throw light on the cia's role (and his own) in the overthrow of cuba. everett is the artist at another extreme, safely installed in american culture (Married, with a young daughter, teaching at texas women's university), and yet also plotting to change the way americans see america, with a plan that, like the best literature, mixes the deeply personal with the sweepingly resonant. it is everett that observes: "plots carry their own logic. there is a tendency of plots to move toward death. he believed that the nature of death is woven into the nature of every plot. a narrative plot no less than a conspiracy of armed men." it is, of course, the observation of a writer. everett's twin is nicholas branch, a present-day senior analyst of the cia, hired by them on contract to write the secret history of the assassination of president kennedy. branch is thus both a writer and literary critic of historic event: "let's devote our lives to understanding this moment, separating the elements of each crowded second. we will build theories that gleam like jade idols, intriguing systems of assumption, four-faced, grateful." throughout most of the book, a section on branch usually immediately follows or precedes a section on everett, joining them in the reader's mind, and it is branch who gets the lines kennedy conspiracy theorists (of which i could consider myself, if there is a weight division below "piker") will find the richest, such as referring to the warren report as "the megaton novel james joyce would have written if he'd moved to iowa city and lived to be a hundred" and commenting on how different oswald looks from one photo to the next. (i laughed out loud at the description of a famous photo of oswald as a marine, with a group of fellow marines on a rattan mat under palm trees: "four or five men face the camera. they all look like oswald. branch thinks they look more like oswald than the figure in profile, officially identified as him." this was doubly funny to me having just seen the photo on the web, the day before i read that section, and, without registering it, having thought the same thing.) (of course, now, just a few days later, i can't find that photo online anymore.) and it is through branch, i think, that delillo writes the lines emphasizing how the creation of event and the creation of fiction are conjoined. referring to branch's paper-laden workroom, there is this: "this is the room of dreams, the room where it has taken him all these years to learn that his subject is not politics or violent crimes but men in small rooms." the men in libra, including lee harvey oswald, are such men, as are all writers. but libra is all too aware of how such men, like branch himself (in his small room seeing his subject as men in small rooms), and perhaps like all men, are ultimately only capable of writing on the vast skein of reality not what they do know, but merely tacit admissions of everything they don't know-about themselves and about the world, and about the strange vector where the two unknown variables meet, creating the ambiguous equations of history..
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Author: gabriel marquez book title: memories of My melancholy whores amazon.com review "the year i turned ninety, i wanted to give myself the gift of a night of wild love with an adolescent virgin." so begins memories of My melancholy whores, and it becomes even more unlikely as the novel unfolds. this slim volume contains the story of the sad life of an unnamed, only slightly talented colombian journalist and teacher, never Married, never in love, living in the crumbling family manse. he calls rosa cabarcas, madame of the city's most successful brothel, to seek her assistance. rosa tells him his wish is impossible-and then calls right back to say that she has found the perfect girl. the protagonist says of himself: "i have never gone to bed with a woman i didn't pay… by the time i was fifty there were 514 women with whom i had been at least once… My public life, on the other hand, was lacking in interest: both parents dead, a bachelor without a future, a mediocre journalist… and a favorite of caricaturists because of My exemplary ugliness." the girl is 14 and works all day in a factory attaching buttons in order to provide for her family. rosa gives her a combination of bromide and valerian to drink to calm her nerves, and when the prospective lover arrives, she is sound asleep. now the story really begins. the nonagenarian is not a sex-starved adventurer; he is a tender voyeur. throughout his 90th year, he continues to meet the girl and watch her sleep. he says, "this was something new for me. i was ignorant of the arts of seduction and had always chosen My brides for a night at random, more for their price than their charms, and we had made love without love, half-dressed most of the time and always in the dark, so we could imagine ourselves as better than we were… that night i discovered the improbably pleasure of contemplating the body of a sleeping woman without the urgencies of desire or the obstacles of modesty." márquez's style never falters throughout this recounting of his life and his exploration of love, found at an unexpected time and place. the erstwhile lover is Still capable of being surprised-and fulfilled. after an absence of ten years, it is a treat to have another parable from the master. from publishers weekly garcía márquez's slim, reflective contribution to the romance of the brothel, his first book-length fiction in a decade, is narrated by perhaps the greatest connoisseur ever of girls for hire. after a lifetime spent in the arms of prostitutes (514 when he loses count at age 50), the unnamed journalist protagonist decides that his gift to himself on his 90th birthday will be a night with an adolescent virgin. but age, followed by the unexpected blossoming of love, disrupts his plans, and he finds himself wooing the allotted 14-year-old in silence for a year, sitting beside her as she sleeps and contemplating a life idly spent. flashes of garcía márquez's brilliant imagery-the sleeping girl is "drenched in phosphorescent perspiration"-illuminate the novella, and there are striking insights into the euphoria that is the flip side of the fear of death. the narrator's wit and charm, however, are not enough to counterbalance the monotony of his aimlessness. though enough grace notes are struck to produce echoes of eloquence, this flatness keeps the memories as melancholy as the women themselves. 250,000 first printing..
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Author: sergei lukyanenko book title: labyrinth of reflections about the author: sergey lukjanenko, 30, is one of the today's most popular russian sci-fi writers. his first works were published in 1988. currently his bibliography includes more than 40 titles of novels and short stories. the author defines his genre as the «hard action science fiction», but all his works also have a very well defined philosophical aspect. the novel offered to your attention was written in 1997 and became the real 'cult book' of the russian internet. sergey is Married, he lives in moscow. email: sl@amc.ru homepage: http://www.rusf.ru/lukian/ (in russian) the novel «labyrinth of reflections» is copyrighted by sergey lukjanenko, all rights are reserved by the author. any commercial use of the novel's text is strictly prohibited. copyright sergey lukjanenko "labyrinth of reflections" homepage: http://www.rusf.ru/lukian/ (in russian) copyright translation by yuri kalmykov aka mohatu , 1998 http://www.lionking.org/~mohatu/translations.htm * yuri kalmykov. translator's notes * several notes for the reader: 1). My english sucks. so it was obviously way too presumptuous of me to try to make a translation like this. it was My love to this book only that made me to venture into this adventure. ;-) i was hoping that this novel is really worth your kind attention (despite My ugly english?). 2). some opinions expressed in this book by the main or other characters, as well as some words/terms used, might be considered offensive to some western readers. in fact, one such situation was even showed closer to the end of the novel itself. the concept of "pc" (aka 'political correctness') does not really exist in russia which fact imho makes the life much easier and slightly reduces the amount of stupidity that inevitably presents in this life. despite that, i definitely had to use the 'softened' terms in My translation in order not to outrage the people (not too much at least). but of course, something might have Still leaked out. please consider yourselves warned. 3). fido some more confusion can be caused by lukjanenko's technical details and descriptions of the net due to one more fact: he writes from the point of view of the person who was once the fidonet member. also it seems that sergey himself was mostly affiliated with fido at the time of this book's writing. the principles of fido's system organization differ from the ones of the internet. i never was fido member, so i know very little. in general, it's free, amateurs' network that allows its members to exchange emails and files. fido uses its own proprietary protocol. special gateways are used to exchange emails with the internet. look at www.fidonet.org for more details… but be prepared to get back not the homepage, but some html code. { g } the guys have forgot to put the { html } tag into the code of their main page… oops. 4). the names. the same name in russian usually can have several forms, reflecting the attitude of the one who pronounces the name to the one named. the number of these forms is as far as i can judge, much bigger than in english. that's why in My translation i preferred to retain the original rules of forming such names and to provide this note. another important reason is that the russian name changed according to the rules of doing so in english would sound ridiculous (maybe for me only, as i'm russian… ;-) ), not mentioning that it's not always possible to do this with russian names at all. example: john – johnny. now try to do the same with, say, My name: yuri. yup… My point exactly. below is the example of how the first name of the main character can be 'bent'. the same often happens to other names in the book. for inexperienced reader it might be confusing, so i apologize… russia *is* confusing by definition, so bear with it. :-) leonid – the complete name. lenia (should be read roughly as lyo-nee-aa; don't pronounce 'double lettered' sounds as too long ones though) – this is slightly diminutive, friendly form used by relatives and friends. lenechka (lyo-nee-chka) – a "pet-name" form, sometimes also used with sarcasm, depending on the context. len'chik – "pet-name"/unceremonious address. len'ka ( here ' means softening of the previous sound, 'n' in this name sounds like 'n' in the word 'change') – unceremonious address, a bit slighting. often used by close friends without any offensive context. … and so on. no more forms are used in the book, so i'd better not confuse you any more. another trick is how the names are formed n general. in particular, the concept of the middle name in russia. it is not 'given', but rather is the father's name. to be used as a middle name, special endings are attached: -ovich, -evich for man's middle name (yeah, they are gender specific!), -ovna, evna for female's middle name. examples: petrovich alekseevich – men's petrovna alekseevna – women's. also, the last names of the russian origin are gender specific too. to women's form the ending -a is usually attached: kalmykov for me becomes kalmykova for My mother, as opposed to her maiden name which is cellarius – not originally russian one and as such not gender specific. there's much more about russian 'naming system', but i think it's enough said here in order to a). totally confuse an unaccustomed western reader, and b). to explain the names in the novel for those who managed to overcome the confusion. { g } and the last thing: 5). any feedback will be greatly appreciated! any questions/opinions are welcome to mohatu@ameritech.net. hate mail/flames will be ignored. thank you! yuri kalmykov aka mohatu, waukegan, il, february-november 1998. http://www.lionking.org/~mohatu/translations.htm.
Lukyanenko - Labyrinth of reflections.fb2

Author: andrew taylor book title: bleeding heart square andrew taylor has written over 25 crime novels, and won many awards for his books. his best selling historical crime novel the american boy was selected by richard and judy's book club. this new story is set in bleeding heart square in the 1930s. in case you were wondering, there is no 'bleeding heart square' in london, but there is a 'bleeding heart yard'. it is apparently named after elizabeth hatton, a 17th century society beauty who was murdered one night in 1626 after a ball, and her body found in the yard torn limb from limb and with her heart Still bleeding on the cobblestones, a story that is used in this book to describe the origins of bleeding heart square. at the start of the book, lydia has a violent argument with her husband, marcus. she decides to leave him and her life of privilege to take refuge with her father in his rooms at 7 bleeding heart square, to live in much reduced circumstances. she does not know her father well, as her mother divorced him when she was young. but she is determined to stay with him, and not to give in to her mother (re-Married and now lady cassington) and return to live with marcus, to keep up appearances. the current owner of the house is a shady character called serridge. narton, a policeman, suspects serridge of murdering the previous owner, phillipa penhow, about four years ago. ms penhow, a rich spinster, had become smitten with serridge. he persuaded her to buy a remote farmhouse in essex, and to move there to live with him, until she disappeared shortly afterwards. when questioned, serridge claimed that she met an old boyfriend and moved away to america with him, but no-one has heard from her since. narton recruits rory, a young man he sees hanging about the square, to help him find evidence that serridge is to blame. rory wants to find out what happened to ms penhow, because she is the aunt of his girlfriend fenella. it also turns out that lydia's father is somehow connected to serridge, not only through their time together in the army during the first world war, but also because he used to own the farm in essex that serridge persuaded ms penhow to buy. the main mystery to be solved in the book is whether serridge murdered ms penhow for her money, or whether she really did move to america. however, in true dickensian fashion, there is a whole host of characters, and many subplots that contribute to the main story. ms penhow's infatuation with serridge, and the consequences of that, are gradually revealed through excerpts from her diary, read by an unknown person, who has somehow acquired the diary. these convey her initial optimism and subsequent slide into despair, and raise the hope that perhaps she did just run away after all. meanwhile, with the help of narton, rory starts to find out what really happened to ms penhow, while gradually realising that fenella no longer wants to marry him, and struggling to find himself a job as a journalist. a third subplot describes how lydia starts to make a new life for herself, her growing friendship with rory after he also moves into 7 bleeding heart square, and her own part in discovering what happened to ms penhow. the book evokes the period partly through its descriptions of the british fascist movement, and marcus's involvement in it, and through the stark differences between the lives of the wealthy and those of the poor. it is a hugely enjoyable book, in which the many different threads, and rich detail, are skilfully woven together. it was an exciting read, and i had to restrain myself from turning to the ending to find out what happened before finishing the book. but, i'm afraid when i finally did get there, i was a bit underwhelmed by the final unveiling of the fate of ms penhow, and i don't think this was just because i hadn't been paying enough attention to the clues dotted through the story. despite this, and because the story of ms penhow is in some ways almost incidental, mostly serving as a means to throw the various characters together, one can just about forgive the ending, and simply enjoy the rest of the book. one to recommend, but i don't think it's going to make My top five of the year..
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Year: 2004 artist: tiger lou comment: tiger lou a.k.a. rasmus kellerman is 23 years old, Married, likes dogs and movies. the debut album "is My head Still on?" is released on march 10th, 2004. rasmus has another alter ego - araki under which he creates dreamy electronic epics - so far restricted to having been released in germany. before he signed with startracks/v2, rasmus had released two 7" as tiger lou on label small independent "black foundation/malm�" and already toured germany as many times..
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