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Thu Jan 21 2021, 03:22 AM
Sultan Shahin
Mohammad Yunus
Naseer Ahmad
Ghulam Ghaus
Arshad Alam
New Age Islam TV
Islam and Politics ( 30 Oct 2017, NewAgeIslam.Com)
Contesting the Political Islamist Theology: Untenable Theological Justifications For The Corruption, Purge And Religious Persecution In Turkey
By Ghulam Rasool Dehlvi, New Age Islam
"Muslim political theology developed over centuries under conditions of empire but elements of it continue to resonate to this very day", writes Prof. Ebrahim Moosa, noted scholar of Islamic thought, law, and theology. He has elucidated in his paper as to what political theology is. It is in the words of Jan Assmann, "the ever-changing relationships between political community and religious order, in short, between power [authority] and salvation", he writes in his remarkable essay on Muslim political theology (1).
The pro-government political theologians in Muslim countries have propounded a complete political theology—an exclusivist and totalitarian theology which undermines the democratic, moderate and progressive thoughts flourishing in the liberal Muslim minds. Regrettably, many religionists in those countries are falling prey to this unceasing ideology endangering their lives and stigmatising the religion in general. Unless this retrogressive theology of political hue is contested, there will be no way forward to progressive thinking in Islam in the 21st century. It actually poses a direct ideological threat to the rich spiritual traditions—unity of existence, pluralism and multiculturalism—that Muslims have inherited in various countries.
Most deplorably for the gullible Muslims the world over, political theologians in their countries have often legitimised the acts of sadism and persecution perpetrated by the Islamist regime or extremist outfits.
Let's begin with the topmost Islamist theologian of today, Shaikh Yusuf Al Qaradawi—the chairman of the International Union of Muslim Scholars. He has his theological underpinnings behind his call to kill Syria's armed forces, civilians, religious clerics and even the common citizens which he calls 'ignorants' and "illiterates". He blatantly states that it is permitted [in religion] to target "anyone who supports the Syrian regime" (2).
Notably, al-Qaradawi, who is also the contemporary ideologue of the Egyptian extremist outfit, Ikhwan-ul-Muslimin (Muslim Brotherhood), is the chief Islamist jurist who secures fatwas and religious decrees in favour of the Qatar government's policies and practices. He is the first contemporary Islamist jurist to have justified suicide bombing as a war tactic in 'certain circumstances'. He gave this fatwa in his worldwide exposure via Al-Jazeera television through his weekly program "Sharia and Life" (al-Shari'awal-Hayat). Al-Qaradawi's fatwas justifying the violent jihad and suicide bombing provided theological legitimacy to those fighting the Kuffar (infidels) and Murtaddin (apostates). His fatwas also promoted and legitimized martyrdom operations referring to them as "a higher form of jihad for the sake of Allah", as Al Arabiya reported (3).
Interestingly, Al-Qardawi also stated that "he was not alone in believing suicide bombings as legitimate form of self-defence for people who have no aircraft or tanks". "Hundreds of other Islamic scholars are of the same opinion", he said.
Certainly, Al-Qardawi is not alone in promulgating the takfirist political theology. There are many equivalents of Al-Qardawi in today's Muslim world. In Turkey, Sheikh Hayrettin Karaman is the Islamic legal expert who can be better known as 'Erdoğan's chief fatwa-supporter'. He has approved of the torture, abuse and the mass purge of the innocent civilians in Turkey. Karaman has issued several religious edicts (fatwas) endorsing the wrongdoings of the Turkish President and absolving his responsibilities. He wrote several articles in the Erdoğanist newspaper, Yeni Şafak declaring the purge and persecution of the Turkish civilians as "lesser crimes".
The Turkish President Recep Tyyip Erdogan has successfully secured the edicts (fatwas) of the pro-government Islamist jurists and legal experts (muftis) in order to satisfy his religious electorate. Several Turkish ulema and muftis have endorsed his regime's brutalities in the recent the mass purge of the Turkish civilians. But Sheikh Hayrettin Karaman has emerged as the chief Islamist theologian in Turkey and pro-Erdogan fatwa-issuer. In his recent theological writings and columns, he has endorsed the grave human rights violations under Erdogan's autocratic regime. Karaman has passed as bizarre fatwa as this: "Those who do not cast votes in favour of the ruling party—Justice and Development Party (AKP)—are opponents of Islam." In his regular column published in what is known as the Erdoganist mouthpiece Yeni Şafak, a Turkish newspaper, Karaman states that all people in the "no camp" [no voters]—supporters of the main opposition Republican People's Party (CHP), pro-Kurdish Peoples' Democratic Party (HDP), white Turks and Kemalists—are "opponents of Islam". He writes: "Most of them are notably from the CHP and HDP, white Turks, Kemalists — opponents of Islam, fans of the West who are estranged from their own values, those who don't want Turkey to be strong, those who don't want the Islamic world to be united, those who don't want Turkey and the East to leave the orbit designed by the West. That is the main reason behind 'no'".
More staggeringly, the political theologians and fatwa-issuers in Turkey like Karaman have propounded an untenable theological justification for the rampant corruption and persecution in the country. They aver that Turkey still falls under the category of 'Dar al-Harb' (non-Islamic land) and, therefore, the government's Islamist forces who are doing 'jihad' in the country in order to convert it into the 'Dar al-Islam' (abode of Islam) are well-intentioned and 'infallible'. For them, winning the elections is winning an Islamic expedition or 'ghazwa'. Thus, the winners are entitled to maal-e-ghanimah (war booty). They can bend Islamic rules, as per the needs, and also break the country's official law. Karaman also decreed in his fatwa that religious individuals and groups can be sacrificed for the sake of the state. He cited the example of Muhsin Yazycyoy-lu, a Turkish civilian who was killed in a dubious helicopter accident. This is precisely how the political theologians of Islam produce fatwas favouring Erdogan's regime in Turkey and legitimizing his government's corruption and unlawful practices of his Islamist politicians.
Lamenting this sorry state of affairs, noted Turkish academician, Ehsan Yilmaz, a frequent contributor to Today's Zaman, an independent media outlet, which the government has now shut down, writes:
"The elected Islamist politicians can get bribes in the form of 10 to 20 percent commission on public tenders worth billions of dollars from building contractors. Erdogan had to actually defend this corrupt practice after his ministers were caught red-handed by prosecutors with concrete evidence. He reportedly said that since it was not stolen from the treasury but given by the businessmen, it was not corruption. Nevertheless, until the Dec. 17, 2013 corruption investigations, so few people knew this. After the December 17 investigation, Erdogan's chief fatwa-giver Hayrettin Karaman started writing openly about these issues. I think, he was trying to convince Erdogan's religious voters that: "Yes, Erdogan did corrupt things, but it was for the dawah, jihad and the Islamist cause, not for himself."
It is interesting to note that Sheikh Karaman wrote two entire columns in the pro-government Turkish newspaper—Yeni Safak—against the writings of Yhsan Yilmaz, accusing him of committing 'irtidad' (apostasy)—the gravest sin in Islam. "After this fatwa and Erdogan's proclamation at a public gathering that I was a traitor, I have been receiving death threats. Since there is no independent judiciary, I cannot even complain about these through appropriate legal channels", wrote Yilmaz (4).
One of the fanatic fatwas of Sheikh Karaman that looms large in the Turkish Muslim society is against the participation in interfaith dialogue. He decried it as 'un-Islamic' in a bid to curb the peace activism and dialogue efforts of the faith-based moderate Turkish community inspired by the Sufi-oriented scholar, M. Fethullah Gülen. This fatwa has emboldened Gulen's arch rival, Tyyep Erdogan to categorically state in a speech during his visit to Pakistan on Nov.17, 2016 that, "interfaith-dialogue between Islam and Christianity is impossible" and that the "dialogue with Vatican is ruled out". Tellingly, Gulen has inspired the global movement of Hizmet (service) with a worldwide network of volunteers actively engaged in interfaith dialogue and peace activism with a broader spectrum of cultures and faith traditions. But with the fatwa of the leading political pro-government theologian in Turkey, Erdogan has launched a strike against the Hizmet's core belief in interfaith dialogue, religious pluralism and peaceful coexistence of Muslims and non-Muslims. No wonder then, Sheikh Karaman, in his fatwas against the Hizment, also known as the Gulen movement, has ruled that the movement is working against the state interests and creating 'fitnah' (tribulation), thereby, it can legitimately be destroyed by the state.
The Turkish President and his Justice and Development Party (AKP) have come under strong criticisms in the last several years for reintroducing torture, abuse and ill-treatment in detention centres and prisons. But very few analysts and observers have contested the political theology providing the stimulus behind this spade of torture and mass persecution.
(1) academia.edu/2556320/Muslim_Political_Theology
(2) www.youtube.com/watch?v=O-06GMB8Fbs
(3)english.alarabiya.net/en/News/middle-east/2017/06/09/The-reasons-Qaradawi-on-the-top-of-Egypt-s-most-wanted-list.html
(4) https://www.thefreelibrary.com/Erdoy-an+regime%27s+chief+fatwa-giver%3A+Hayrettin+Karaman-a0419537036
A New Age Islam columnist, Ghulam Rasool Dehlvi is well-versed in Islamic Studies and comparative religion. He can be reached at grdehlavi@gmail.com
URL: http://newageislam.com/islam-and-politics/ghulam-rasool-dehlvi,-new-age-islam/contesting-the-political-islamist-theology--untenable-theological-justifications-for-the-corruption,-purge-and-religious-persecution-in-turkey/d/113085
Sultan Shahin, E-22, Indra Prastha Apts., 114, I. P. Extension, New Delhi – 110092
editor@NewAgeIslam.comsultan.shahin@gmail.com
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Copyright © 2008 - 2021. NewAgeIslam All Rights Reserved.


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Ван Фэн (; 14 ноября 1985, Яань) — китайская гребчиха-байдарочница, выступала за сборную КНР во второй половине 2000-х годов. Участница летних Олимпийских игр в Пекине, двукратная чемпионка Азиатских игр, серебряная и бронзовая призёрша чемпионатов мира, трёхкратная чемпионка Азии, победительница многих регат национального и международного значения.

Биография
Ван Фэн родилась 14 ноября 1985 года в городском округе Яань провинции Сычуань.

Первого серьёзного успеха на взрослом международном уровне добилась в 2006 году, когда попала в основной состав китайской национальной сборной и побывала на чемпионате мира в венгерском Сегеде, откуда привезла награду бронзового достоинства, выигранную в зачёте четырёхместных байдарок на дистанции 1000 метров. Год спустя на чемпионате Азии в корейском Хвачхоне трижды поднималась на пьедестал почёта, одержав победу во всех трёх дисциплинах, в которых принимала участие: в четвёрках на дистанциях 200, 500 и 1000 метров. Кроме того, в этом сезоне среди байдарок-четвёрок стала серебряной призёршей на мировом первенстве в немецком Дуйсбурге, уступив в решающем заезде только экипажу из Венгрии.

Благодаря череде удачных выступлений Ван удостоилась права защищать честь страны на домашних летних Олимпийских играх 2008 года в Пекине — стартовала здесь в двойках на пятистах метрах вместе с напарницей Сюй Линьбэй, выбыла из борьбы за медали уже первом раунде, где финишировала восьмой.

После пекинской Олимпиады Ван Фэн осталась в основном составе гребной команды КНР и продолжила принимать участие в крупнейших международных регатах. Так, в сезоне 2010 года она выступила на домашних Азиатских играх в Гуанчжоу, где стала чемпионкой на пятистах метрах среди двоек и четвёрок. Вскоре по окончании этих соревнований приняла решение завершить карьеру профессиональной спортсменки, уступив место в сборной молодым китайским гребчихам.

Ссылки

 Ван Фэн  — медали на крупнейших международных соревнованиях
 Списки чемпионов и призёров по гребле на байдарках и каноэ (1936—2007)

Гребцы на байдарках и каноэ Китая
Гребцы на байдарках и каноэ на летних Олимпийских играх 2008 года

redpajama_set_name: RedPajamaWikipedia


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Sanya Richards-Ross wants revenge in 2015, history in 2016
By Nick ZaccardiFeb 13, 2015, 11:15 AM EST
NEW YORK — Sanya Richards-Ross at last won the Olympic 400m in her third try in 2012. Then she required two right big toe surgeries and filmed a reality TV show.
So amid all that in summer 2013, the married woman considered retiring to start a family.
"For one second," Richards-Ross said at a Midtown Manhattan hotel Thursday, two days before she competes in the Millrose Games (NBCSN and NBC Sports Live Extra, 6 p.m. ET). "I accomplished my greatest goals in the sport, and I'm happy. And the injury was tough. There were days where, literally, the pain was so intense I wasn't sure I was ever going to be able to run on my foot.
"But I think there's something inside of athletes, this burning desire to always see how much better you can be. I don't think I'm done yet. I still love it. I still feel like my best is yet to come."
Richards-Ross, who turns 30 in two weeks, points to the history of her event. Michael Johnson ran his fastest time at age 31. Marie-Jose Perec and Cathy Freeman won Olympic golds in their late 20s.
The motivation is evident when Richards-Ross utters "revenge" in anticipating this summer's World Championships in Beijing. Not for the 2013 World Championships, which she failed to qualify for due in large part to that toe, but for the 2008 Olympics in the Chinese capital. The favorite, she led off the final turn and fell behind Great Britain's Christine Ohuruogu and Jamaica's Shericka Williams in the final 50 meters.
"I want to conquer that track," Richards-Ross said of the Bird's Nest.
Richards-Ross returned in 2014 following two straight years cut short by surgeries for hallux rigidus, two bones in her big toe rubbing against each other. She couldn't run in spikes at the 2013 U.S. Championships final due to the big toe pain.
"I think I have the sneakers record," she joked of a sixth-place finish, 51.92 seconds.
The second surgery that summer inserted a screw and elevated the big toe permanently — "a little deformity," Richards-Ross said.
Now, there's less pressure when Richards-Ross pushes out of the blocks. Though one could argue that's been the case since she finally won that individual Olympic gold in London.
Richards-Ross was back in form by late June last year, when she ran 49.66 in the U.S. Championships final in Sacramento.
She finished second to Francena McCorory, whose 49.48 was the fastest time from an American woman since Richards-Ross at the 2012 Olympic Trials.
"To be honest, 49.4 is actually a time I've run quite a few times, it's not very threatening to me," Richards-Ross said. "I think when I'm at my best, I know I can run that time and better, so what I look forward to is for me and Francena continuing to push each other."
Richards-Ross and McCorory were the only women in the world to break 50 seconds last year and combined for seven of the eight fastest times overall. McCorory has been on Richards-Ross' radar since 2006, when she broke Richards-Ross' national high school indoor 400m record on a flat track.
At the London Olympics, McCorory handed the baton to anchor Richards-Ross in the 4x400m relay final.
"I know Francena wants to run sub-49," Richards-Ross said. "My hope is that I'm in such great shape that we're battling at 49 low, 48 seconds."
Richards-Ross also ran the 200m at the London Olympics, finishing fifth. She says it's "not worth it" to race the 200m anymore because of the pressure and force put on her toe blasting out of the blocks.
That will limit her races against Olympic 200m champion Allyson Felix, though Felix has said she's more open to making the 400m her complementary event heading toward Rio. Felix (and McCorory) outran Richards-Ross at the 2011 World Championships before dropping the 400m for the 100m for London 2012.
"I welcome the best challengers," Richards-Ross said, cracking a smile. "If Allyson wants to focus on the four, come get some."
Richards-Ross will be older in 2016 than any woman who owns an Olympic 400m medal, according to sports-reference.com. One woman has won back-to-back Olympic 400m golds — Perec in 1992 and 1996.
"I can see this being my last Olympics," Richards-Ross said, "but then there are some times where I'm like, I want to have a kid and come back. I think the closer you get to possibly retiring is the more you want to push that further away, because you love what you do."
More Track and Field: Lauryn Williams retires from bobsled | Usain Bolt ready after 'off' season, meeting Michael Jordan | Galen Rupp on Mo Farah, marathons, truck stop drug test

redpajama_set_name: RedPajamaCommonCrawl


About Swarovski - SWAROVSKI OPTIK, headquartered in Absam, Tyrol, is part of the Swarovski group of companies. Founded in 1949, the Austrian company specializes in the development and manufacturing of long-range optical instruments of the highest precision in the premium segment of the market. The binoculars, spotting scopes, rifle scopes, and optronic instruments are products of choice for demanding users. The company's success is based on its innovative strength, the quality and intrinsic value of its products and their functional and esthetic design. The appreciation of nature is an essential part of its company philosophy and is reflected commendably in its environment-friendly production and its long-term commitment to selected nature conservation projects.


text:
fit museum news and archive
In Pictures Exhibitionism; 50 years of the Museum at FIT
FIT is celebrating its anniversary with a greatest hits from its archive. Covering half a century of thought-provoking and educational presentations, the retrospective entitled "Exhibitionism" brings together garments from 33 of its most talked about shows: From among the earliest, 1976's "Paul Poiret, The King of Fashion" through to the...
Culture REVIEW
Exhibitionism: FIT Museum opens its vault for 50th year
To celebrate its 50th anniversary, the Museum at FIT has plumbed its archives which contains more than 50,000 garments and accessories, and pulled pieces from 33 of its most influential exhibits for a comprehensive retrospective entitled "Exhibitionism." The museum, which organizes four annual shows and aims to frame fashion within the context...
Costume designer Adrian Greenberg honored at FIT Museum
New York - The Museum at the Fashion Institute of Technology (FIT) is honoring a costume designer this spring. Highlighting Adrian Greenberg, the exhibition entitled "Adrian: Hollywood and Beyond" will open March 7. Adrian, known most commonly by just his first name, gained a reputable standing as a costume designer for his gowns and vivacious...


text:
import ses = require('../CallSession');
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export var RecordingFormat = {
    wma: 'wma',
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    mp3: 'mp3'
};

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    unknown: 'unknown',
    initialSilenceTimeout: 'initialSilenceTimeout',
    maxRecordingTimeout: 'maxRecordingTimeout',
    completedSilenceDetected: 'completedSilenceDetected',
    completedStopToneDetected: 'completedStopToneDetected',
    callTerminated: 'callTerminated',
    temporarySystemFailure: 'temporarySystemFailure'
};

export interface IRecording {
    recordedAudio: Buffer;
    lengthOfRecordingInSecs: number;
}

export class RecordAction implements IIsAction {
    private data: IRecordAction;

    constructor(private session?: ses.CallSession) {
        this.data = session ? utils.clone(session.recordDefaults || {}) : {};
        this.data.action = 'record';
        this.data.operationId = uuid.v4();
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    public playPrompt(action: IAction|IIsAction): this {
        if (action) {
            this.data.playPrompt = (<IIsAction>action).toAction ? (<IIsAction>action).toAction() : <any>action;
        }
        return this;
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    public maxDurationInSeconds(time: number): this {
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        return this;
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    public initialSilenceTimeoutInSeconds(time: number): this {
        if (time) {
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        return this;
    }

    public maxSilenceTimeoutInSeconds(time: number): this {
        if (time) {
            this.data.maxSilenceTimeoutInSeconds = time;
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        return this;
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    public recordingFormat(fmt: string): this {
        if (fmt) {
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        return this;
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    public playBeep(flag: boolean): this {
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    public stopTones(dtmf: string[]): this {
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        return this;
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redpajama_set_name: RedPajamaGithub


When should I use bone meal on my flower beds? In the fall or spring? After flowers stop blooming?
This would be best applied in spring, as when the plants go dormant, they are not taking up nutrients as well as they would during the active growing season. It is very important to note that you should test your soil prior to application to ensure that the pH is below 7, as bone meal will not work at higher soil pH. You can lower this, most effectively with iron sulfate.


Australia representative and premiership winning coach Steve Folkes has been appointed head coach for the Australian women's national Rugby League team, the Jillaroos.
Folkes's first appointment will be to prepare the team for the Womens Test Match against New Zealand, as part of the Four Nations End of Season competition in November.
Talking about his appointment Steve Folkes said he was looking forward to the upcoming test campaign.
"I am excited about accepting this position, "said Folkes.
Australia's Jillaroos are the current World Champions after breaking New Zealand's 13 year reign winning the 2013 Rugby League World Cup at Headingly Stadium, UK.
"Folkes is a highly skilled and recognised coach and we are delighted that he has accepted the appointment," NRL Head of Football Todd Greenberg said.
The representative squad will be announced in coming weeks selected by Folkes, NSW Coach Matt Head and QLD Coach Brad Donald.


text:
Cortinarius cagei (Jacques Melot, 1987), sinonim (biologie) Cortinarius bicolor (Mordecai Cubitt Cooke, 1887), din încrengătura Basidiomycota, în familia Cortinariaceae și de genul Cortinarius este o specie nu prea răspândită de ciuperci necomestibile care coabitează, fiind un simbiont micoriza (formează micorize pe rădăcinile arborilor). O denumire populară nu este cunoscută. În România, Basarabia și Bucovina de Nord trăiește în grupuri preponderent pe sol acru în păduri de conifere și în cele mixte sub rășinoase, unde pământul este acoperit de mușchiul de turbă Sphagnum, dar s-a găsit și în păduri de foioase pe sol bogat. Apare de la câmpie la munte destul de târziu din (septembrie) octombrie până în (noiembrie) decembrie.

Taxonomie

Această specie a fost descrisă pentru prima dată de cunoscutul savant englez Mordecai Cubitt Cooke  sub numele Cortinarius bicolor în volumul 16 al jurnalului micologic Grevillea din 1887 și completată printr-o ilustrație în volumul VI al marii sale opere Illustrations of British Fungi (Hymenomycetes) din 1888,<ref>Mordecai Cubitt Cooke: Illustrations of British Fungi (Hymenomycetes) to serve as an atlas to the Handbook of British Fungi", vol. VI, Editura Williams and Norgate, Londra 1888, tab. 871</ref> fiind și numele binomial până în 1990.

Apoi, în 1990, micologul francez Jacques Melot a dovedit că taxonul lui Cooke este un homonim și a schimbat numele în cel actual valabil, anume Cortinarius cagei (descris ca cageii), de verificat în articolul său în volumul 20 al jurnalului micologic Documents Mycologiques din 1990.

Denumirea Cortinarius bicolor a fost clasificată , datorită faptului că denumirea lui Samuel Frederick Gray din 1821 (pe baza descrierii lui Christian Hendrik Persoon, 1801) este mai veche, referindu-se la o specie astăzi aproape necunoscută.

Totuși, cum se poate observa pe internet și în cărți micologice destul de actuale, denumirea lui Cooke este bine cunoscută și folosită frecvent până în prezent (2022). De aceea taxonul este relevat în acest articol. Toate celelalte încercări de redenumire nu sunt folosite și astfel neglijabile.

Epitetul specific a fost creat de sus numitul Jacques Melot în onoarea compozitorului american John Milton Cage Jr. care s-a ocupat și mult cu micologia.

 Descriere

 Pălăria: higrofană, destul de cărnoasă și fermă cu un diametru de 3-7 (9) cm este la început emisferic-campanulată cu marginea răsucită pentru mult timp spre interior, apoi convex-aplatizată cu o cocoașă contondentă, de obicei distinctă și adesea despicată în formă de umbrelă. Cuticula destul de groasă și în întregime separabilă este netedă, glabră și lucios-mătăsoasă, marginea fiind la început acoperită de un văl albicios. Coloritul brun-roșcat cald până brun-violet se schimbă datorită higrofanității la ariditate rapid dinspre centru spre bej-gălbui deschis până la alb-violet.
 Lamelele: destul de groase și distanțate între ele, intercalate cu lameluțe de lungime diferită, bombat atașate la picior, sunt învăluite la început de o cortină albă nu foarte abundentă și repede trecătoare, formată din fibre foarte fine ca păienjeniș, resturi ale vălului parțial. Coloritul inițial liliachiu deschis devine cu timpul brun-ocraceu până brun-portocaliu și la bătrânețe brun de scorțișoară. Muchiile sterile și ferestruite sunt ceva mai palide, aproape albicioase.
 Piciorul: adesea mai lung decât diametrul pălăriei și înrădăcinând cu o înălțime de 4-10 cm și o grosime de 0,5-1,3 (1,7) cm este uscat și strălucitor pe exterior, flexuos, fibrinos, cilindric, uneori îndoit, plin, la bătrânețe gol tubular pe dinăuntru. Coloritul cojii în întregime violet-liliachiu deschis și pătat alb-gălbui la vârf, se estompează cu timpul, devenind albicios. Nu prezintă un inel.
 Carnea: destul de cărnoasa și fermă, în picior fibroasă, este de colorit brun-ocru apos sau crem-maroniu în pălărie și albicioasă în picior cu excepția șuterului inferior și a cortexului, unde are nuanțe brun-liliachii. Nu se decolorează după tăiere. Mirosul este mai mult sau mai puțin pământos cu nuanțe de ridiche, iar gustul blând și slab dulcișor.
 Caracteristici microscopice: are spori gălbui, dextrinoizi, elipsoidali până ovoidali, oarecum în formă de migdale cu o ornamentație mediană formată din veruci dense, mai mult sau mai puțin anastomozate, măsurând 7-9,4 x 5-6,2 microni. Pulberea lor este brună de tutun. Basidiile hialine clavate cu anse bazale anastomozate și 4 sterigme fiecare au o dimensiune de 30-35 x 7-9 microni. Celulele cuticulei (pileipellis) de tip xerocutis (o ixocutis uscată) sunt duble. Epicutis subțire este formată din hife de 3-6 μm grosime, slab dispuse, cu câteva terminații cilindrice, libere între ele, pigmentul intracelular fiind ocru gălbui și cel parietal ușor incrustant. Hipocutis (care se află sub epicutis) este slab dezvoltată și compusă din hife de 10-20 μm grosime, dens împletite, cu numeroase septuri transversale care delimitează porțiuni mai mult sau mai puțin dreptunghiulare, pigmentate parietal galben-ocraceu. Cistidele (elemente sterile situate în stratul himenial sau printre celulele din pielița pălăriei și a piciorului, probabil cu rol de excreție): creasta himenoforului este eterogenă, prezentând numeroase elemente sterile hialine slab diferențiate, cilindrice sau clavate cu o mărime de 15-30 x 7-9 microni.
 Reacții chimice: carnea pălăriei se decolorează cu Hidroxid de potasiu de 40% brun-măsliniu palid și cea a tulpinii în zonele originar brun-liliachii mai intens albastru-violet.

 Confuzii Cortinarius cagei poate fi confundat de exemplu cu Cortinarius armeniacus (necomestibil), Cortinarius callisteus (otrăvitor), Cortinarius cinnabarinus (otrăvitor), Cortinarius cinnamomeus (otrăvitor)  Cortinarius croceus (otrăvitor), Cortinarius duracinus (necomestibil) + imagini, Cortinarius hinnuleus (necomestibil), Cortinarius illuminus (necomestibil), Cortinarius laniger (necomestibil), Cortinarius malicorius (otrăvitor), Cortinarius orellanus (mortal), Cortinarius rigens (necomestibil), Cortinarius semisanguineus (otrăvitor), Cortinarius torvus (necomestibil) sau Cortinarius uliginosus'' (otrăvitor).

Specii asemănătoare în imagini

Valorificare
Specia nu este otrăvitoare, dar necomestibilă din cauza mirosului neplăcut precum a consistenței fibroase a cărnii.

Bibliografie
 Bruno Cetto: "I funghi dal vero", vol. 1-7, Editura Arte Grafiche Saturnia, Trento 1976-1993 (pentru cercetarea în total)
 Marcel Bon: "Pareys Buch der Pilze", Editura Kosmos, Halberstadt 2012, ISBN 978-3-440-13447-4
 Josef Breitenbach, Fred Kränzlin: "Pilze der Schweiz", vol. 5, partea a 2-a "Blätterpilze", Editura Mykologia, Lucerna 1995 ISBN 3-85604-050-1
 Rose Marie Dähncke: "1200 Pilze in Farbfotos", Editura AT Verlag, Aarau 2004, ISBN 3-8289-1619-8
 Bruce Ing: "The Fungi of North East Wales: A Mycota for Vice-Counties 50 (Denbighshire) and 51 (Flintshire)", Editura  University of Chester Press, Chester 2020, ISBN: 978-1910-48142-4
 Edmund Gardweidner: "Gros plan sur les champignons", Editura Nathan, Paris 2017, ISBN: 978-20927-8876-9
 Marcel Locquin: "Petite flore des champignons de France: Agarics, bolets, clavaires", Editura Presses universitaires de France, Paris 1956
 German Josef Krieglsteiner (ed.), Andreas Gminder: "Verbreitungsatlas der Großpilze Deutschlands (West)", Editura Ulmer, Stuttgart 1991, ISBN 3-8001-3536-1
 Jakob Emanuel Lange: "Flora Agaricina Danica", vol. 1, Editura Recato AS, Copenhaga 1935
 Meinhard Michael Moser în Helmut Gams: "Röhrlinge und Blätterpilze - Kleine Kryptogamenflora Mitteleuropas", ediția a 5-ea, vol. 2, Editura Gustav Fischer, Stuttgart 1983
 Carleton Rea: "British Basidiomycetae: A handbook to the larger British fungi", Editura Cambridge University Press, Cambridge 1922
 Karl Soop: "Cortinarius in Sweden", Editura autorului, Stockholm 2008, ISBN: 978-9197-48037-6

Note

Bibliografie
 Bruno Cetto: "I funghi dal vero", vol. 1-7, Editura Arte Grafiche Saturnia, Trento 1976-1993 (pentru cercetarea în total)
 Reinhard Agerer: "Zur Ökologie der Mykorrhizapilze", Editura J. Cramer, Braunschweig 1985, ISBN: 978-37682-1423-0
 Stefan Buczacki, David Attenborough: "New generation guide to the fungi of Britain and Europe", Editura University of Texas Press, Austin 1989, ISBN: 978-0292-75536-9
 Rose Marie Dähncke: "1200 Pilze in Farbfotos", Editura AT Verlag, Aarau 2004, p. 809, ISBN 3-8289-1619-8
 Andreas Gminder: "Handbuch für Pilzsammler - 340 Arten Mitteleuropas sicher bestimmen", ediția a 2-a, Editura Franckh Kosmos Verlag, Stuttgart 2014, ISBN 978-3-440-14364-3
 Andreas Gminder, Tanja Böhning: "Welcher Pilz ist das?", Editura Kosmos Naturführer, Halberstadt 2020, ISBN 3-4401-6452-7
 German Josef Krieglsteiner (ed.), Andreas Gminder: "Verbreitungsatlas der Großpilze Deutschlands (West)", Editura Ulmer, Stuttgart 1991, ISBN 3-8001-3536-1
 J. E. și M. Lange: "BLV Bestimmungsbuch - Pilze", Editura BLV Verlagsgesellschaft, München, Berna Viena 1977, ISBN 3-405-11568-2
 Meinhard Michael Moser în Helmut Gams: "Röhrlinge und Blätterpilze - Kleine Kryptogamenflora Mitteleuropas", ediția a 5-ea, vol. 2, Editura Gustav Fischer, Stuttgart 1983
 Roger Phillips: "Mushrooms: A comprehensive guide to mushroom identification", Editura Macmillan, Londra și Oxford 2013, ISBN: 978-0-330-44237-4
 Yves-François Pouchus: "Guide de poche de mycologie officinale", Editura Lavoisier, Paris 2012, ISBN: 978-2743014742
 Maurice Thibault, Russell J. Tweddell: "Champignons - Molécules bioactives d'intérêt médical et pharmacologique", Editura Éditions MultiMondes, Quebec 2016, ISBN: 978-2-89773-012-3

Legături externe

 Cortinarius cagei, mai multe imagini
 Cortinarius cagei, mai multe imagini + aspecte microscopice]
 Cortinarius cagei, aspecte microscopice

Cortinarius
Micoriză
Ciuperci necomestibile
1887 în știință


Sit back and soak up the sun while you enjoy our amazing coastal cruise. Discover the Algarve and all it's hidden wonders. During your cruise out with us you will have chance to experience a bit of everything.Marvel in awe at the grandeur of the ancient rock formations as we take you closer you'll spot some amazing caves explore further on an exhilarating dinghy ride. After so much emotion maybe it's time to have a stop on the beach. The Algarve is a playground for Dolphins, so keep your eyes peeled!


text:
from brubeck.personnel.models import Staffer, Position, Tenure
from django.contrib import admin

class TenureInline(admin.TabularInline):
    model = Tenure

class StafferAdmin(admin.ModelAdmin):
    fieldsets = (
        (None, {
            'fields': ('first_name', 'middle_name', 'last_name')
        }),
        ("Extra information", {
            'fields': ('is_active', 'email', 'mugshot', 'user')
        }),
        ("Don't touch unless you know what you're doing", {
            'classes': ('collapse',),
            'fields': ('slug',)
        })
    )
    inlines = (TenureInline,)
    list_display = ('last_name', 'first_name', 'middle_name', 'email')
    prepopulated_fields = {'slug': ('first_name', 'last_name')}
admin.site.register(Staffer, StafferAdmin)

admin.site.register(Position)


text:
HomeBooksAdultBusiness & EconomicsThe Human Element: Overcoming the Resistance That Awaits New Ideas 1st Edition by Loran Nordgren
The Human Element: Overcoming the Resistance That Awaits New Ideas 1st Edition by Loran Nordgren
Adult> Books> Business & Economics SKU: 1119765048
Author: Nordgren Loran
Package Dimensions: 22x236x440
The Human Element is for anyone who wants to introduce a new idea or innovation into the world. Most marketers, innovators, executives, activists, or anyone else in the business of creating change, operate on a deep assumption. It is the belief that the best(and perhaps only) way to convince people to embrace a new idea is to heighten the appeal of the idea itself. We instinctively believe that if we add enough value, people will eventually say "yes." This reflex leads us down a path of adding features and benefits to our ideas or increasing the sizzle of our messaging – all in the hope of getting others on board. We call this instinct the "Fuel-based mindset." The Fuel-based mindset explains so much of what we do, from adding countless trivial features to software, to bolting a sixth blade onto a shaving razor.
By focusing on Fuel, innovators neglect the other half of the equation – the psychological Frictions
that oppose change. Frictions create drag on innovation. And though they are rarely considered, overcoming these Frictions is essential for bringing new ideas into the world.
The Human Element highlights the four Frictions that operate against innovation. Readers will discover:
Why their best ideas get rejected – despite their undeniable value.
How to disarm the forces of resistance that act against change.
How to transform the very Frictions that hold us back into catalysts for change.
Perfect for business leaders, product managers, educators, and anyone else who seeks to bring new and exciting ideas to life,
The Human Element is an indispensable resource to help people overcome the powerful forces of human nature that instinctively resist change.
"An engrossing read on what it takes to open other people's minds. A leading psychologist and a crackerjack entrepreneur team up to demystify the science and practice of convincing people to let go of the status quo. If you've ever been frustrated by people rejecting an innovative idea or refusing a constructive change, this book might just be what you need."–Adam Grant, #1 New York Times bestselling author of Think Again and host of the TED podcast WorkLife"The Human Element pulls back the curtain on the psychological forces that stop people from embracing new ideas and adopting new products. Whether you're a creator looking to execute or an executive looking to create, this book is a timely read."–Daniel H. Pink, Author of When, Drive, and To Sell Is Human"Why is it that customers looking at new products or services that would dramatically change their lives or business for the better find it so hard to embrace and adopt them? The Human Element cracks the code. It describes the four forces that act against innovation and provides entrepreneurs the insights and tools on how to overcome them. This book is essential reading for any entrepreneur or innovator looking to accelerate adoption of disruptive innovation."–Steve Blank, Eight-time entrepreneur-turned-educator and originator of the Lean Startup movement
"Too often marketers rely on features, benefits and promotion as the way to get customers to adopt a new product or service. But as it turns out, this is only half of the marketing formula. The Human Element makes a critical contribution to the world of marketing by identifying the four primary Frictions that inhibit consumers' desires to adopt new offers. This book shows readers not only how to forecast these Frictions, but more importantly, how to overcome them. The Human Element is a must read for anyone attempting to launch something new."–Philip Kotler, "The Father of Modern Marketing", Author of over 80 books and Professor Emeritus at the Kellogg School of Management
"Adoption of your products and services is key to innovation success. Let this book be your guide."–Alex Osterwalder, Innovation Thought Leader, Best-selling author of Business Model Generation and originator of the Business Model Canvas
"What invisible fo
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Again: Surviving Cancer Twice with Love and Lists by Christine Shields Corrigan
The New Sotheby's Wine Encyclopedia by Tom Stevenson
The Searcher by Tana French
Modern Comfort Food: A Barefoot Contessa Cookbook by Ina Garten
Healthy at Last: A Plant-Based Approach to Preventing and Reversing Diabetes and Other Chronic Illnesses by Eric Adams (Author), Kim Allan WILLIAMS SR. M.D. (Foreword)


text:
types of biofuels
Each year, Brazil produces an average of 5 billion gallons (18 billion liters) of ethanol. One alternative involves the use of highly diverse mixtures of species, with the North American tallgrass prairie as a specific example. It can be difficult to collect, since it's spread around the world, in homes, restaurants, and other locations where humans prepare food. For example, emphasis on ethanol derived from corn is shifting grasslands and brushlands to corn monocultures, and emphasis on biodiesel is bringing down ancient tropical forests to make way for oil palm plantations. It uses an anaerobic conversion method to produce biogas. from fossil fuels, More toxic and less energy dense than The use of regular feedstock, such as corn and soybeans, as a primary component of first-generation biofuels sparked the "food versus fuel" debate. The other conversion method is fermentation. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. The Earth Project is committed to being a positive force for the future of our environment, through education, research, and helping fund sustainable projects. So the conversion method industrial waste uses is anaerobic digestion. They are burnt to produce heat, and this heat is in turn use to run turbines that produce electricity. Biodiesel, on the other hand, is produced from natural oils such as vegetable oils, fats, or greases. Types of biofuels can be: Same like fossil fuels biofuels come in different forms. Workers at the biofuels testing centre at the National Renewable Energy Laboratory (NREL) in Golden, Colo., 2009. The class of biofuels is subdivided into two generations, each of which contains a number of different fuels that will be explored in this article. In the United States the Energy Independence and Security Act of 2007 mandated the use of 136 billion litres (36 billion gallons) of biofuels annually by 2022, more than a sixfold increase over 2006 production levels. As an energy source, it's comparatively less clean than solar or wind power. It doesn't produce significant sulfur emissions. they require more energy to grow than the energy they produce). Some long-exploited biofuels, such as wood, can be used directly as a raw material that is burned to produce heat. This is due to a large amount of milking cow manure and because dairy operations have an automated manure collection process. direct effect of methane, which is 23X more effective as a GHG than CO, This category includes a very wide The main attraction to the use of biofuels is that the raw materials are cheaply available and economical. fuels, Everything from wood and sawdust to Scientists used gene technology to increase the production of oil and biodiesel content from algae. The transportation of these raw materials and the final product is cheaper. Types of Biofuels: Top five Biofuels used in the world- 1. Developments in renewable energy, Paper Recycling - a solution for deforestation, Types of home wind turbines, how to select the size, maintenance etc, Most Vigorous Wild Fires / Forest Fires in the world, Most dangerous floods that affected the world, Effects of production of Geothermal Energy, Few facts about Wind energy, turbines & farms. The fuel shares some similarities with fossil fuels in that it can exist in three states; solid, liquid and gas. Solid waste includes peelings and leftover fruits and vegetables, food that is unable to meet quality standards, filer sludge and fiber from sugar extractions. It uses conversion methods like combustion and gasification. Omissions? Our editors will review what you've submitted and determine whether to revise the article. It produces the highest amount of carbon dioxide when burned than fuels like methane. 6- Protect and respect animals, their natural habitats and biodiversity, endangered species and communities. Forest waste is converted into energy by burning and heating. On top of which, 'unused' forests and vegetation are often burned down to produce crop fields, where the technology used to process the crops such as tractors, water for irrigation, and toxic fertilizers adds to environmental concerns. At present, biofuel is taking the place of fossil fuel, especially when it comes to the production of electricity. Wood is an essential type of biomass energy source. In terms of the uses of biofuels, the situation may seem simple at first glance: in theory, fuels derived from biomass can be used for the same purposes as fossil fuels. Corn-based biofuels can replace about 25% of the gasoline consumed in the U.S. When you draw the line, VWO is one of the best biodiesel sources in the world—especially because using it as such doesn't require any complex processing. So in this way, each country will become self sufficient in building up of biofuels. Sewage and municipal solid residue form another different type of biomass fuel. They can also be prepared from waste glycerol that is produced during the production of biodiesel. The proper way to grow biofuels to serve all needs simultaneously will continue to be a matter of much experimentation and debate, but the fast growth in biofuel production will likely continue. There are two main types of biofuels – ethanol and biodiesel. above, as well as jet fuel, More expensive, but may yield 10-100X Economically, any country can also lessen its dependence on fossil fuels and foreign oil by creating jobs with their own biofuel industry. It is an anaerobic method which involves heating wood to high temperature at low oxygen. The net energy output of soybean crops is negative (i.e. reaction that makes hydrocarbon from carbon monoxide and hydrogen, 2.74 (does not take into account the It is a renewable source of energy, which means it never depleted and can be productive again and again. Let's take a look at some of the most frequently used crops for first generation biofuels: Most of the ethanol produced at global level comes from corn in general and U.S. corn crops specifically. At that time, wood was the biofuel, which they used to burn and produce heat. The alkyl esters are used for biodiesel fuel, while glycerin is used for everyday products such as soap. Perhaps the best example in this sense is waste vegetable oil (WVO), which, in contrast with virgin vegetable oil, is only turned into biofuel once it is no longer fit for human consumption. Million tons of waste is produced each year as a household waste, which is mostly disposed of in the open fields. This technology, which was first developed for fossil fuels, has since been adapted to suit biomass. Biofuels are the organic matter commonly called biomass. The class of biofuels is subdivided into two generations, each of which contains a number of different fuels that will be explored in this article. vegetable oils, nut oils, hemp, and algae, Made from hydrocracking oil and fat While biofuel can reduce the effects of pollution, the input-output of energy in its production is a major drawback. As gasoline prices continues to soar, the need for a cheaper and mire reliable source of alternative energy is growing rapidly.
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M&M's Neapolitan-flavored chocolate candies don't exactly taste like ice cream ... but they are pretty sweet.
We've seen a lot of wacky flavored M&M's over the years but the latest limited-edition offering might just be prettiest.
The taste, however, left candy fans divided.
Neapolitan ice cream-flavored M&M's, previously only available in Australia, have made their way to the U.S., just as the weather starts to warm up.
The new chocolates, which are now available exclusively at Target, sport the traditional Neapolitan flavors and colors: chocolate (brown), vanilla (cream) and strawberry (pink). Though the bag contains three different colors, each candy is supposed to taste like all three ice creams swirled together, plus the shell is super crunchy and the interior is creamier than a traditional M&M. The layers of flavor result in larger-than-average candy pieces, too.
Most TODAY staffers who tried the new candies agreed that this new version definitely tastes like its ice cream inspiration but many found the candy to be too sweet to enjoy more than a few at a time.
"Mars definitely nailed the Neapolitan flavor with these M&M's," said one TODAY taster. "The strawberry taste was the strongest, but there were definitely subtle hits of chocolate and vanilla. Plus, I loved the bright color of the pink M&M."
"They are intensely sweet," said another staffer. "I was surprised by how pronounced the strawberry was."
However, others felt that they couldn't taste the strawberry at all and reported feeling like it would have been better if each candy reflected just one Neapolitan flavor.
And on social media, more tasters were similarly divided.
Hi. Neapolitan M&Ms are my new favorite thing.
They are now making "Neapolitan" M&Ms. They taste very odd.
Of course, since M&M's are pretty universally beloved, it's going to be hard for Mars to top the original.
"I would not choose these over the regular M&Ms," said another TODAY staffer.
KLG, Hoda try new caramel M&Ms: They're unbelievable!
Of course, these multi-colored candies are just the latest in a line of creatively-flavored M&M's.
Last year, Mars came out with caramel-filled M&M's (which TODAY's Hoda Kotb loved!), cookies and cream-flavored M&M's, and even a white chocolate pumpkin pie flavor.


To create this enchanting necklace, Thai designer Nareerat knots gemstones by hand on silken cords. The gossamer web holds creamy white pearls and amethysts. It fastens with a sterling silver plated clasp and extender chain.
You can find cultured pearl and amethyst beaded necklace 'Afternoon Lilac' by Nareerat in jewelry categories such as Birthstone Necklaces, Pearl Necklaces, PEARL Cultured Necklaces, Amethyst Necklaces, Brass Necklaces, Silver Plated Necklaces, Silk Necklaces and Beaded Necklaces. Enjoy exploring these sections for other Novica treasures.


The mitre is handcrafted to order by the workshops of the monastery.
The mitre can be made in any liturgical color and with a bishop's cross. Simply indicate all your preferences in the comment section when placing the order and we will provide you with all the information regarding fabric, production timeframes and price of the final order.


text:
Review: WHETSTONE #2
I will readily admit that WHETSTONE magazine got me started on the path to CLIFFHANGER. In my career as both a reader and a writer, I have always followed a fictional path that wove in between the realms of Adventure, and Cosmic horror. Where those two tenuously related trails often cross, I tend to label "Sword and Sorcery". Like Adventure (and Cosmic Horror), SnS has roots firmly placed in Pulp. So too does the genre come with trappings that waiver between eye-roll inducing to outright disgust when viewed through a modern lens. As the release of CLIFFHAGER draws nearer, I have begun to realize just how out of favor the Adventure genre has fallen. Mired in memories of Exoticism, Colonialism, and Conquest, many a modern reader seems to have turned away from these kinds of tales. Sword and Sorcery, on the other hand, is currently riding a wave of renaissance in many ways. I admit to grand delusions of such wave-making in Adventure. Ha!
While I believe that SnS still struggles with archaic descriptors that harken back to fur-diapers and chainmail bikinis, I can honestly say that WHETSTONE is something of a harbinger of modern Sword and Sorcery fiction. That is not to say you can't see the Pulp. It is definitely there, though much more Clark Aston Smith than Robert E. Howard (sometimes to my personal dismay). The first issue of WHETSTONE was a delight that offered a number of short fiction stories that seemed fresh and new to me, drawing from numerous inspirations that are rarely encountered in a literary world rife with buff Viking dudes.
The second issue came out today.
Drum roll, please.
This issue opens with a brief note from the Editor, Mr. Jason Ray Carney. It is brief and to the point, and lets the reader dive straight into the action. This note gives a great rundown of the resurgence seen in Sword and Sorcery fiction, highlighting the numerous outlets that provide genre related material. If this is something new to you, you would do well to follow Mr. Carney's suggestions and look in the various books, publications, and podcasts he points out.
This issue opens up with The City of Tombs by George Jacobs. WHETSTONE labels itself as the "Amateur magazine of Sword and Sorcery", and to test that title I did a cursory search for each author just to see how "Amateur" they are. In this case, I couldn't find any other stories that I could attribute to the same Mr. Jacobs. I apologize if I missed some. This was a tale tailor made for me. The author evokes a mysterious and alien version of Ancient Egypt through the use of names evocative of that culture and time period. It was easy to picture the world and what it looked like through the careful use of language and naming-conventions. This story presents us with desert thieves, treasure hunters, sorcerers, traps-a-la-Dr. Jones, and a cosmic horror flavored climax. If this had been actually set in Ancient Egypt, I would be printing it in CLIFFHANGER for sure.
The next story, and to some extent the one after that, are heavier on the Weirdness than I typically seek out. This is the Clark Ashton Smith influence I think. An Unforgivable Interruption by D.M. Ritzlin especially invokes that kind of atmosphere, especially in his use of language and names. I could easily see his world of Nilzitiria alongside Hyperborea, Zothique, or Averoigne. It is admittedly not my favorite of the SnS styles, but there is no denying that Mr. Ritzlin is a master of it. This is reflected in his rather prolific library or self-published material and anthology works.
I think the most surprising of the stories for me, was Dark Meditations by J. Thomas Howard. This is his first published story, and a very worthy story indeed. This reminds me of so many things. In part it reminds me of Robert E. Howard's James Allison stories, where a sickly man recalls his past lives as ancient heroes. It also reminds me a little of the film Mandy starring Nicholas cage, though in a much more intangible way. It also deals with mental illness in a similar way to the indie throwback FPS Nightmare Reaper, about a woman in a mental hospital coping with trauma through her imagination. It's very well done, and surprisingly deep story that is wholly unique when placed against the other stories in this anthology.
I think the story that most gets my own blood pumping is Houds by Chuck Clark. This is a WHETSTONE alum, and so is his returning character Turkael. In the first story, you could clearly see the inspiration of the late, great, Charles Saunders of Imaro fame. I am not sure what the inspiration here is, but the namesake Hounds are both fascinating and chilling. The main protagonist is at once innocuous and indescribably evil. The setting of a barren, twisting maze of desert rock and stone is claustrophobic and lends itself to a real CLIFFHANGER. See what I did there?I think this story reads most like a Conan story, which is the style of SnS that I most enjoy. It has aspects of the classic Adventure tale The Most Dangerous Game. I will admit that my personal tastes wish to see Turkael relish in a moment of heroic triumph. Perhaps another story.
The final entry in this collection is a poem in a seemingly ancient style title Rolf's Ride, written by Frank Coffman. Having recently began re-playing Elder Scrolls V: Skyrim, this poem gave me a nice little smile as it reminded me of warm hearths, frothy meade, and singing bards regaling weary adventurers with tales of ancient heroes. I can only assume that is what Mr. Coffman was going for, and he succeeded. There is definite mythic quality to it that pulls at the spirits of my ancestral Welshmen. I have to note that even though it might not sound like it, this is high praise from the likes of me because I don't really like poetry, and I lost interest in the world of European-esque fantasy a long time ago. For this work to engage me as it did, speaks volumes.
As with my last review, I didn't want to talk about every story, but that isn't to say the stories are bad. If you are a connoisseur of Sword and Sorcery fiction, you will find a lot to like in this volume. The adventurer in me wishes he would see more of that "earthier" kind of fantasy that can be found in Conan the Cimmerian, as opposed to the trippy, metaphysical side, but he also understands the allure.
I can't end this without mentioning the friggin' awesome cover artwork by Rick McCollum. It's like Conan meets John Carpenter's The Thing. Creepy. Cool. Beautifully detailed. Kudos!
Check out WHETSTONE for FREE here: https://whetstonemag.blogspot.com/2020/12/whetstone-issue-2-now-available.html?fbclid=IwAR3YBX6D1BfCqBZ8OfOXVgsSbs5tZ5RtggItaXUuSoEdnQeFMftZ5sl8ZLE
at December 04, 2020 No comments:
Labels: BookReview, Conan, Fantasy, fiction, SwordandSorcery
Indie spotlight review: Shark Eater by K.D. McNiven
If I were forced to describe this book in one word, it would be "Nice". Nice people doing nice things in a nice way, all told in a voice like that of a kindly grandmother telling her grandchildren a story. The small stakes make this a refreshing read, as you are allowed a reprieve from international incidents and global catastrophe that so often show up in adventure thrillers.
The action is extremely well thought out and precise, even if, as a reader, I never felt the characters were really in danger of being killed. In fact, the only principal character death happens off-screen and in a remote way. Far from hurting the narrative, it allowed other characters to have to wrestle with the feelings left in the wake of tragedy, though it would have been nice to explore those feelings just a tiny bit longer. Everyone in this book was so friendly and expressive toward one another it was almost too nice, and the dialogue suffered from "Nobody talks like that" syndrome. But, the book clipped along so smartly, with TONS of good action sequences. It was a total shame to have to step away from this world and it's characters. I would definitely recommend this to younger readers who could possibly get bored by the heavy amounts of research and talking heads present in other books of this genre. Also, younger female readers will have plenty here to look up to in the form of the several wonderful lady adventurers Ms. McNiven populates her story with. It's got a lightning quick pace, an intimate setting, lots of fun maritime stuff, and a lack of the more smarmy or unsavory bits that make it into some of these adventure books. Great fun.
-Z.S. Reynolds
Note: Shark Eater the sequel to The Monkey Idol also by K. D. McNiven. It is followed by The Bermuda Conspiracy and Sheba's Treasure. She is also the author of the prehistoric thriller Bone Quarry and the crime thriller Blood Alley.
You can follow K. D. McNiven on Twitter at: @kady54033
Here is K. D.'s Amazon page: https://www.amazon.com/K-D-McNiven/e/B07F3XQ7NV?ref=sr_ntt_srch_lnk_1&qid=1601494569&sr=8-1
Labels: Adventure, BookReview, Thriller
Film Retrospective: As Above, So Below
I sit here in my quote/unquote office, looking out my window, and can clearly see the leaves of nearby cottonwood trees beginning to change from emerald to yellow. October is a mere five days away, but my mind has already turned to full Autumn. I have been drinking hot tea, smiling in the chill morning air, and have already prepped my copy of Manly Wade Wellman's Who Fears the Devil? for its annual read. I wish I could place a finger on just what it is that makes Fall the season for all things "spooky". It isn't just that Halloween happens there, it isn't just the pumpkin spice, or costume stores resurrecting dead outlet malls like some kind of consumer driven zombies. Maybe its the process of the world dying all round me, or the waning light that allows nighttime to encroach further and further into day, or maybe it's the harvest, or the myriad forgotten pagan rites that were once held in the light of ancient fires and the shadows of stone monoliths. Whatever it is that makes this season a time for ghosts and scary stories told in the dark, it is a season I genuinely look forward to all year.
Can teacher's get Autumn off instead?
My first real love in the world of fiction was horror. In an age where my friends had just wrapped their hands about first edition prints of Harry Potter and the Sorcerer's Stone, I was reading H. P. Lovecraft. Specifically, I had a collection called Waking Up Screaming, that I absolutely adored. I can still remember the cover; black, as you might expect, with an eerie green skull staring out at you. The story that really got me hooked on Lovecraft wasn't Call of Cthulhu or At the Mountains of Madness, but one that seems less highly regarded and has no mythos connection. The story I love the most was titled The Lurking Fear, and dealt with an abandoned house and the inbred family of mole people that lived beneath it. The ending still sticks with me despite not having read it in years, and I am sure I was drawn to it because the setting. That dilapidated manor was something familiar to me as houses very similar loomed in the corner of nearly every Nebraska cornfield.
Now, here I am, firmly an Adventure/Thriller author that hasn't written true horror in over a decade, but my love of that genre has never really gone away. In fact, I do my best to add elements of horror throughout my own adventure tales. Not just because I love horror, but because it fits into the Adventure genre so well. There is the seed of an article there, but I am venturing off the beaten path, so to speak. What does all this have to do with a Shaky-Cam horror movie with a pretty rotten Tomato Meter?
Follow me down the rabbit hole, and I'll show you.
My entire premise here is that the eponymous title, As Above, So Below, is not just a mediocre horror film, but a unique entry into adventure film, albeit steeped in horror. When looking at it from that perspective, you will find a much more interesting film, at least in my opinion. This is an older film from the Golden Age of 2014, so I'm not going to avoid spoilers. This will probably have a ton of them. You have been warned, there are SPOILERS from here on out.
The movie opens up with the main character, Scarlett Marlow, illegally entering a cave system in Iran, seeking a historical artifact known as the "Rose Key". You see, Scarlett is an accomplished young professor of archeology, polyglot, and researcher in the field of Philosophy. She is following in the footsteps of her dead father, picking up his search for the fabled Philosopher's Stone.
And there it is folks.
The plot of an Adventure.
Archeologist: Check.
Ancient Artifact: Check
Historical Mystery: Check
Then BOOM! Some terrorists blow the crap out of the cave. Scarlett narrowly escapes with the "key", but not before she sees a mysterious man calling out to her from within.
Was that her father??
Seriously, if you aren't getting Lara Croft vibes, you should be.
For anyone who isn't familiar with the artifact in question, the Philosopher's stone was supposedly an alchemical substance that could change metals into silver and gold, and also bring eternal life. The exact formula was supposedly discovered by French monk, Nicholas Flamel in the 17th Century.
So far, what we have here, is the set up to a classic adventure where the protagonist travels to exotic, mysterious locales, solving riddles and following in the footsteps of history. I would not be surprised if this movie contained gun-fights with terrorists and rival treasure hunters, but this is not that kind of Adventure.
We pick up a year or so later, and Scarlett has sought out her ex-boyfriend, a church historian and expert in Aramaic. With his help, they are able to decipher the text found on the Rose Key, discovering a cryptic message that indicates their holy grail lies 370 meters below the streets of Paris, France, hidden within the famous catacomb system. Together, they recruit a team of "Urban Explorers" that will aid them in their trespassing into the forgotten tunnels far beyond the eyes of tourists.
We have a couple other aspects of Adventure Fiction here: exploration and wilderness. Exploration is a simple concept to understand. We have our team of characters boldly going forth into the unknown. The "wilderness" though, is a more interesting idea here. This film relies a lot on the myth of the "Urban Wilderness", areas of the urban landscape that have been cut off and forgotten by the rest of society. A lot of horror movies and media rely on this idea, of wrapping the unfamiliar and dangerous in a skin of the familiar. And it's not like this myth isn't based in reality. There are numerous places around the world where abandoned industrial areas exist beneath the city streets. Instead of using a desert, mountain crags, or a jungle as the setting, this film opts to place its adventurers into an alien underworld right below our feet.
The cast of characters move through these hazardous tunnels, solving riddles and following clues, until eventually they reach the heart of the catacombs and find a hoard of treasure, alongside the sarcophagus of a Templar Knight. Nearby is a door, emblazoned with the Philosophers Stone, the Gnostic Star of David, as well as the phrase "Abandon Hope, All Ye Who Enter Here" in Greek. This is a well known as the message that marks the entrance to Hell in Dante's Inferno. Having been cut off from the tunnel entrance, the explorer's only option is to move deeper into "Hell" and find another way out.
From this point on, the film takes a dive into the supernatural and ramps up its horror aspects as the remaining members of the teams travel through a dark reflection of the catacombs they had originally traveled through. This is where the movie gets it's title. The Star of David on the door was a representation of the Gnostic belief in "As Above, So Below". This is a concept used to different ends in the modern classic Uncharted 3: Drake's Deception. The idea is lifted from Hermeticism, Sacred Geometry, alchemical philosophies, and medieval occult practices.
Again, we see a list of tropes not unfamiliar to the Adventure aficionado.
As a horror fan, I love when everybody in the film gets killed off. Normally, horror protagonists are put up against forces they have no chance of overcoming, and when they all end up dead in only re-enforces that horror for me, instilling the idea that we are lost a in a dangerous sea of stars. That being said, Scarlett and her ex don't die here. Because at its heart, this is not a horror film. Does it have scares? Yes. There is even a decent attempt at the feelings of claustrophobia and dread, though not as good as Descent. Instead, as I mentioned earlier, this film is an Adventure movie wrapped in horror dressings. Nothing hammers this home to me more than Scarlett's final line.
After escaping the confines of Hell, they emerge through a hole in the floor that actually ends up leading back to the streets of Paris. Before the credits roll, Scarlett tells us that her "Mission is to find the Truth."
In my post, The Art of Zazz, I mention that the search for "Truth"is something I find key to a good adventure. That is the essence of what drives Indiana Jones, Nathan Drake, and Lara Croft. That undying need for humanity to find some semblance of explanation for humanity's place in a far grander scheme.
So, is this movie any good?
Yeah. I think it's quite enjoyable. Perhaps not as a horror film, but as an adventure film it does have a very intriguing premise. Like all the films in the Found Footage genre, this one suffers from that annoying shaky camera, but surprisingly, it wasn't as bad as other entries. Especially Cloverfield. Loved J. J.'s idea, but that movie literally made me nauseous. I don't think this movie is any worse than any other in this particular catalogue. I do think it shines more brilliantly when you look at it as an Adventure as opposed to a Horror piece.
I hope this piqued your interest some. This will be the first in a handful of Horror themed posts throughout the month of October. Let me know what you think! We'd love to hear from you.
Oh! And Submissions are still open!
L. D. Whitney
Labels: Adventure, Horror, MovieReview
Archetype Exploration: The "Wildman"
Confession: I love character archetypes. I love the "Gunslinger". I love the "Dashing Rogue". Hell, I even love the "Great White Hunter". However, my most favorite is the "Wild-man". Characters that are products of nature and wilderness as opposed to civilization's refinements. I aim to explore that here.
The concept of humans spending their formative years in the presence of wild animals is nothing new. Some of the most iconic (?), universal (?) figures in ancient mythology suckled at the proverbial teat of wild things. For example, Romulus and Remus, the twin brothers that would go on to found the Roman Empire claimed their mother as a She-wolf. In Mongolian myth, the hero Jangar, is taught various skills by a Tiger, Eagle, Antelope, Wolves, and Deer. The Greek Demi-Goddess, Atalanta, was abandoned by her father and adopted by a bear. In American folk-lore, Pecos Bill is fostered by Coyotes. My favorite of the lot, however, has to Enkidu, the barbarian warrior and best friend (maybe lover?) of Gilgamesh the King. Enkidu is born to a family of unnamed beasts before eventually being led into conflict with the King of Mesopotamia. Of course, there are many more examples in myth, especially throughout Cletic and Medieval European folklore. There is no doubt in my mind that these folkloric tales and myth cycles became the inspiration for many of, if not all, the fictional characters that eventually culminated in the figure head of the archetype, the one and only, Tarzan.
Tarzan was not the first of his kind to appear in the pages of fiction, being preceded by Albert Rabida's Saturnin Farandoul in 1879, and Ruyard Kipling's Mowgli in 1894. Both of these characters are raised among wild animals in the untamed wilderness and grow up to have their own adventures in the larger world. The character of Farandoul is, in my opinion, more like Tarzan in that he goes on wild adventures that involve pirates, cannibals, mummies, and even aliens, although the character's true influence Burrough's creation is speculative. Mowgli, the main character of the The Jungle Book, however, is noted as a major influence in the creation of Tarzan. Regardless of who came first, it is easy to say that Tarzan is the most iconic and everlasting of the bunch.
The story of Tarzan is a simple one, with an origin so well known, it is barely worth telling. The critical reception of the character's exploits, especially the latter novels, is interesting, especially when compared to the enduring recognizability (if not popularity) of the character. Through the two dozen original tales penned by Burroughs we see Tarzan (aka John Clayton aka Lord Greystoke) travel through Europe, Africa, Jungles, Deserts, Lost Cities, and beneath the Earth's crust. He meets all manner of people, from a diminutive tribe of Pygmies, forgotten Romans, to devolved Ape-things, and even Dinosaurs. Tarzan has appeared in all kinds of media, from novels, fiction written by other authors, television, radio, comics and film. Unsurprisingly, every iteration has it's own unique sensibilities due to the time and place of the particular creations. Despite these myriad differences, many simultaneously and contradictorily bemoaned by the various fandoms centered around each creation, the core of Tarzan as an archetypal adventurer remains intact.
When thinking of Tarzan as a character template, an RPG class if you will, we begin with an individual that has been separated from civilization. In Tarzan's case, this is jolly old England. During his separation, he learns various skills and ways of life from the beasts that he grows up beside. In the case of Tarzan, these manifest as all the things you would expect from being raised by fictional apes; he can climb with trees, communicate with various animal species, he is strong, nearly inhumanly so, and his physical features (especially his hands) have become malformed from living life as an "ape". After all of our pieces have fallen into place, this character now uses his skills in feats of daring, danger, and heroics.
In many ways, the "natural vitality" of the Wild-Man seems a progenitor, or at least influence on, the blood that runs through the fantasy "Barbarian" archetype. What we have in Tarzan and his ilk, is a hero/heroine more in-tune with the their wild side, not unlike Robert E. Howard's Conan the Cimmerian. In fact, while REH only mentioned Edgar Rice Burroughs in a single letter, his library was full of ERB creations. The concept behind this seems to be a contrast between what man "is", and what it "used to be". Tarzan, while wholly human, grew up an animal, in a more "natural state" than other products of civilization. While ERB himself draws many comparison between the contrasting states of mankind, I believe this culminates in Howard's "Barbarism vs Civilization" philosophy.
Conversely, the same characteristics that make Tarzan and Conan heroes, exemplars in a savage world, makes them outsiders nearly everywhere else. Tarzan, though born to English nobility, is not necessarily welcome in High Society. This culminates in his return to Africa with Jane and son. Conan too is seen as an outsider in a world rife with burgeoning civilization. Jane Porter, the eternal love interest of Tarzan, fears that their son, Jack, will be drawn to a life like his father, outside the trapping of modern civilization. This flip-side of the bull-strength, panther-like grace, tiger ferocity, makes for compelling interactions with the rest of the world. Does this character belong with humans? What of their bestial/barbaric family? Is there a place in society for such a creation of happenstance?
In recent years, I have seen what I deem to be a new spin on the "Wild-man", specifically within the realm of video games. Two pieces of media stand out to me in particular. The first is Far Cry 3 by Ubisoft, and the second is the 2013 reboot of the Tomb Raider franchise. In all actuality, I could understand the argument that these represent a different archetype, but at their heart I believe they are firmly rooted within the Tarzan family.
The first, Far Cry 3, is set on a tropical archipelago teeming with wildlife and vicious pirates. The protagonist, Jason Brody, is the nothing more than a spoiled rich kid surrounded by his rich kid friends. Essentially, the same kind of elite to which Tarzan was born in to. When things go south, Jason is left to "learn the ways of the jungle", save his friends, and escape the island. To do that, he masters skills taught to him by resistance fighters, CIA operatives, and the island's reclusive native warriors. By the end of his quest, Jason is no longer recognizable by the very people he once loved. He has essentially transitioned from a spoiled brat, to a Tarzan-esque killing machine, ultimately facing ostracization from the world to which he once belonged. In the end, the player is given a choice. They can either leave on a salvaged boat and attempt a normal life, or forsake everything they once knew.
Following a similar path, the 2013 reboot of Tomb Raider set out create a new Lara Croft; one shaped by her ability to survive strange environments and impossible odds. Again, we see our character born with a silver spoon in hand, Lara being the daughter of a wealthy Englishman. After her father goes dies, she sets out to prove herself and her archeological prowess by accompanying a crew of adventurers on an expedition into the Dragon's Triangle. Bad weather rips apart her ship, and Lara finds herself stranded in the Japanese Bermuda Triangle analogue, Yamatai. Throughout her adventure, Lara is molded by harrowing encounters with wolves, insane cultists, inbred samurai, and an undead princess. Whether it's shooting arrows, creating makeshift weapons, climbing and jumping from tree to crag, or solving ancient riddles, her skills are developed through the trials of the island. All the while, she too becomes an obsessive killing machine hardly comparable to her past self. This all culminates in the third (and best) installment, "Shadow of the Tomb Raider", where Lara has essentially become the Predator.
While not one-to-one comparisons, the key notes of Tarzan still ring true in these examples. Our main character finds themselves in a stranger, wilder place, where they must adapt, or die. Perhaps not literally raised by animals, the settings into which they are thrust act as the beast. Upon choosing to live, to transform, they find themselves living a new life outside of their old reality. I too have played in this sandbox, twice actually, most recently in the main character of my first novel (Remnant due out in December and published by Primal Press!). I'm sure my fascination with this archetype stems from my love of Conan, who I obviously couldn't help but name drop, but also my love of the wild places that crafted Tarzan. You see, I used to be the kid that stayed inside and played video games. I was that teenager that would rather be somewhere virtual than someplace natural. But, as I slowly grew older, I found many things in nature that I once sought elsewhere, specifically, I found a sense of adventure. Climbing rocks gave me confidence, seeing natural wonders brought me curiosity, watching animals in their habitat brought me peace. Nature and the natural world had molded me, slowly, into a new person, the person I am today. Maybe not Tarzan, far from it, but someone new. I was alive. And there it is. Perhaps that is the most enduring aspect of the Wild-man, that, given the proper scenario, we too could find the King/Queen of the Jungle inside ourselves.
What do you love about the "Wild-man" archetype? Did I get something wrong? Let's discuss, I'd love to hear from you!
- L. D. Whitney
Tarzan and the Antmen, Frank Frazetta
Labels: Adventure, Writing
Review: "The Alexander Cipher" by Will Adams
There is a lot to like here for fans of the genre; it's got ancient secrets, historical mysteries, fabulous treasure, acts of courage and hairsbreadth escapes. But there is something a little bit off about this book, and I can't decide if it hinders the book or makes it innovative in some way. In the acknowledgments, the author states that this book was a work of ten years' passion and dedication, and this is clearly evident with the amount of meticulous research and historical information on display. Where this falls short however, is that at points the book feels more like a history lesson with a tacked on narrative than a ripping adventure with historical mysteries, seeming like a paper on Ptolemaic Alexandria with some people doing some things just thrown in.
"Some people" is a perfect way to describe the characters in this book, who the author tries desperately to get us to care for with pretty flimsy and transparent emotion bait that feels like RPG backstory thrown on a character sheet to give at least some weight to the relationships therein. None of the characters feel like they do much, which is a problem in a genre that is built on pulpy tropes of good and evil. Daniel Knox, whom later books are eponymously associated with never seems to act heroic, rather he is acted upon and seems like a passenger borne along by the actions of others. This calls into question whether the other books bearing his name will include him learning new skills, and improving as a heroic character which is a very interesting thing to do, though in this tale he falls a bit flat. With every hero comes a villain, and the principle villain in this book doesn't actually do anything villainous, merely acts with singular drive toward his goal (which is debatably a noble one) with no regard as to its effects, which ultimately lends a nice air of realism to the book. The secondary villain is definitively a scum bag that ends up not being stopped; in fact he ends up coming out the other side with even greater power and influence, adding realism to the book, because as we all know villains are never actually stopped in real life, they just accrue more power and influence after they escape justice.
This book was published in 2007, though some of the social attitudes feel a bit older, with the women either being rescue bait or coded as volatile and mean simply because they are career focused and driven toward their goals. There is also a tiny bit of completely needless homophobia in here as well, though I think it was inserted to give a character a bit of depth, though it just felt gross and dumb rather than any type of deep characterization. What was pleasant to see however, was the way the Muslim characters were handled. Because the book takes place entirely in northern Egypt, several principle characters were Muslim, and the author avoided treading on precarious ground quite well, never having characters dip into stereotypes or uttering buzzwords or catchphrases that made them feel like bad pantomime.
The singular greatest strength of this novel lies in its absolutely breakneck pacing. Three main story threads are snap cut from one to the next in such a well executed way as to leave you with a cliffhanger on nearly every other page, driving you to hustle on through the story to see what happens next.
I can't decide if this was a novel of high adventure that just missed the mark or a clever piece of genre subversion that just missed the mark. I would definitely recommend it to someone looking for more grounded adventure, as it has zero elements of the fantastic or weird. No wild ancient technology, no ancient curses, no secret societies desperate to conceal ancient secrets; just people caught up in a treasure hunt. A very fun read, if not excellent or wildly exciting.
-Z.S. Reynolds-
Labels: Adventure, Book review, Thriller
Crafting Adventure: The Art of Zazz
Before I start out here, I have to be up front. I am not an expert. I am not a massively successful writer of New York Times Best Sellers. I have a single short novel published by an Indie Press, and half a dozen short stories that have been accepted and are floating around out there. What I can claim, is to be a connoisseur of what I call "Adventure Fiction". This post is really meant to benefit not just you, the readers, but also me since it is little more than a brainstorming exercise. Now that my confession is out of the way, let us begin.
Trying to curate and publish a collection of short stories is a new undertaking for me, and while we are only beginning this process, I have already learned a ton.
We have received a decent amount of submissions so far. Quite a few of them good stories, to boot. The issue though, is that they aren't what I would call adventure, they don't scratch the itch, or have that "zazz" as my partner is crime would put it.
So how does one achieve said "zazz"?
To be perfectly honest it requires a fairly precise mix of just the right ingredients in order to create the ideal concoction.
But, before I get ahead of myself, I have to clarify something. I totally understand that Adventure means different things to different people. I acknowledge that there is adventure to be found within the realm of full on fantasy, and unabashed sci fi. That's not the kind of adventure I'm talking about. I would say the difference is that those examples are "fantasy and sci fi first", with adventure being secondary. I'm speaking specifically on a role-reversal that put adventure first and foremost. For my following discussion, I am going to rely on a formula that every adventure writer (and nerd) should be familiar with: Indiana Jones.
Let's forge some zazz!
1. Setting
I know that a lot of people are going to be surprised by this, but I really think setting is the first and foremost ingredient for a good adventure. Let's think about the most iconic and memorable "adventure" media from the last century or so. Indiana Jones (of course), Tomb Raider, Uncharted, Doc Savage, Tarzan, Clive Cussler's Dirk Pitt. What do they all have in common? They use a real world setting, anchored in time and place, where mystery, maybe even the supernatural, lurks just below the surface. In the case of Indy, he exists in a world very much like our own. In every way, except a few key details, his world is wrapped up in all the trappings of what we would see had we too been living during the 1940's and 50's. The "zazz" we are talking about shines because of these familiar and relatable trappings. When the Ark is opened, revealing it's true nature, that is a moment of awe and wonder. We are forced to question and reconcile our reality and how this new information fits into it. Which is the same thing Indy is doing in that exact moment. In a fantasy world, or a high tech universe, this sense of awe and wonder is diminished because the very world is filled with wonder when compared to ours. It is the juxtaposition with the mundane that sets the wonder apart.
I am unabashedly not a character guy. That's not to say I don't understand what makes characters good and bad, or that I don't try and write good characters. I do try. But that is not the reason I read or write. I read specifically to go on that eponymous adventure. That being said, of course the character/s play a role in that, but maybe not in a way that you would expect. When one goes on an adventure, whether it is real world hiking or travel, or the fictional quest for the holy grail, there is an element of danger. That danger needs to be conveyed through the characters we are following on the journey. When we watch Indy scramble across the top of tanks, or react to spreading flames, we understand that he is human. These hurt and are a danger to him. The reader needs to see (and ideally feel) every punch, kick, fall, and bullet graze. Feel that adrenaline pumping? That's the zazz talking. Now that our hero or heroine has fallen from the pan into the fire, do they give up? No! That would be lame! No matter the situation that they are faced with, our characters rise to the challenge, if only to find what new danger dwells on the horizon.
So we already talked about our characters reacting to, and overcoming danger. What left is there to talk about in regards to action? THAT IT NEEDS TO EXIST! Is the plot slowing to a crawl? GUNFIGHT! Is there no way out of your vital historical information dump? CHASE SCENE! How do you solve your problems when all intellect, reason, and logic fail? PUNCH SOMETHING! I am aware that there exists the literary idea of the "cozy" adventure, where problems are not solved with violence and no real danger is present. I reject that idea and push it into a pit of spikes! In my mind there are essentially four kinds of action: running, jumping, climbing and fighting. A good adventure should have at least two of them, because fighting is always necessary. The best thing about these categories is that they are extremely versatile. Swimming? That's running in water. Car chase? That's running on wheels! See? Easy peasey. On the topic of fighting, that is not to say your character has to be a mass-murdering psychopath. MacGuyver and Doc Savage are known for non-life threatening resolution. Indy himself has a fairly low body count, often resorting to fists, and whip. Creative resolutions to violence are always welcome, and a character that doesn't kill everyone he meets makes them easier to relate to.
ProTip: To ensure maximum zazz, use all four categories.
This, I think, is the hardest but most key thing to achieve in a good adventure. This ties a lot into the setting and what I said there, but you need need need to strike the right mixture of wonder, weird, and mundane. Indiana Jones is always faced with something out of this world, whether supernaturally so, or literally. The caveat is that it comes in small doses and doesn't hit full force till the climax of the episode. We may get small hints of weirdness throughout the journey, but the true nature of the universe isn't revealed till we reach our peak's zenith. This weirdness can come in all sorts of forms, from strange creatures like Sasquatch, Nessie, and El Chupacabra, it can come in the form of strange weird created by man with just the right application of pressure to bend fact, or the straight up supernatural and divine. This is not a 100% necessary ingredient, I admit, but there is something about these kinds of additions that push an adventure into a more elevated category. Maybe it is the human desire to discover, to explain? Our craving for answers to the unknown? Why am I asking these questions? Of course that's it. Much of our drive, our call to adventure, so to speak, is because humans have an innate curiosity and desire to see what lies beyond the next horizon. There lies the zazz at the heart of all of this.
Of course there are many more things that go into a really good adventure, and a good adventure doesn't necessarily need some of these items either. Conspiracies, both modern and historical, are common. Exotic locales and interesting people are almost always a must. I would argue that a treasure, like those Indy searches for, are not a necessity. Or maybe your treasure takes on another aspect. A war journalist on the heels of a war criminal, looking for just the perfect shot to expose the bastard. That's an adventure. Finding your way down from an isolated mountain top after an avalanche while being pursued by a clouded leopard. That's an adventure too. It is not necessary to have a treasure at the proverbial X, or a J.J. Abrams style McGuffin at the center of your plot. The best example of Adventure sans treasure that I can think of, would be the El Borak stories by none other than Robert E. Howard, creator of Conan the Cimmerian. Set in the days before WWII, a Texas Gunfighter lives and fights his way across untamed Afghanistan, helping friends and toppling foes. Good, rollicking stuff. Check it out; there is an amazing collection published by Del Rey.
Phew, that was a lot of brain power put into this. And you know what? If you didn't learn anything, I sure did. Do you think I missed anything? Am I wrong? Let's discuss! We love to hear from you!
-L. D. Whitney
at September 15, 2020 1 comment:
Review: "Hell's Gate" by Bill Schutt and J. R. Finch
This is a tough one for me. I really want to like this book. It's not that I don't like it, but I want to like it more than I do. On paper, hell, on the back cover, it has all the ingredients that would make it a top notch read for me. It has glowing blurbs by Clive Cussler and James Rollins, with additional praise from James Cameron. That's a lot of hype for someone like me. And you know what? Maybe that's it. Maybe it was hyped too much for me.
But let's take a look-see, shall we?
Ostensibly, this book is about a zoologist-turned-adventurer that is tasked by the U.S. military to seek out intel on shady Nazi goings on deep in the Amazon. The Nazis and all their ne'er-do-well have awoken something better left forgotten by the world.
Awesome?
Sure sounds like it.
Temper that excitement though.
The protagonist, R. J. MacCready, is a rough and tumble zoologist that may or may not have inherited schizophrenia from his mother (at least I think that is what was being eluded to). He has a background in the military and isn't afraid to throw a punch, pull a trigger, or blow some stuff up. But unfortunately, there wasn't a ton of that. I always enjoy a protagonist with a science background. It allows for a lot of that good scientific detail to flow from the characters naturally as opposed to an omniscient narrator dumping exposition. I also enjoy the trope of a brainy guy/gal doing some butt kicking. I think what is most endearing though, is the 1940's slag that is bantered about between MacCready and friends.
The other two main supporting characters on the good guy side are Mac's friend Bob, a shroom eating botanist gone native, and his wife Yanni, a beautiful and adaptable indigenous woman with a unique gift. Bob and his friendship with Mac is believable, and the historically accurate issues that led Bob to leaving civilization in the rear-view add a lot to his character. Yanni should be more awesome than she is though. I love the idea of an indigenous character, and there is a lot about her that is eluded to, but I never felt like she had that much to do. Her special ability doesn't even really come into play until the (long) epilogue that is clear set up for a sequel.
The Nazis/Japanese have a a large cast of characters, but almost too many for me. There is the evil General Wolff, who is evil. The evil Japanese scientist who is also evil. A rocket scientist that is evil. A conflicted rocket scientist that is not evil, but works for the Nazis so he can go to space. And to round it out, a female Nazi pilot who is evil. The most compelling fictional character in this lot is the conflicted rocket scientist who gives the reader an interesting perspective on the state of science in that time period. There is also a lot of time devoted to him, a bit too much. The evil rocket scientist and evil woman pilot were actual people, people that ended up having a lot of impact on various parts of history post WW II. Unfortunately, none of that really plays into the story. I would have almost preferred fictional characters as opposed to historical personages that kind of move in and out fiction without any real gravity.
Oh. There is a Nazi captain that is also evil.
The real draw here for me, other than the glowing praise by some of my favorites, was the creatures. There are some interesting ideas in here, ones that I really love. Even some truly horrifying bits. But there's the rub. They only remain bits. I am not sure if it was the author's plan to subvert expectations, but mine were definitely subverted, just not in a good way. The best scene involving creatures doesn't even focus on the main species that is key to all of this mess. There is a lot ton of good speculation and bending of scientific fact that goes on in this book. The naturally occuring "monsters" were genuinely well done and could be quite creepy. However, when I read "Will haunt you long after you put the book down." as quoted by James Cameron, I have to disagree. I am not haunted. I want desperately to be haunted. I wish I was and was sooooo close to being haunted, but it just never came to fruition.
Haunt me, damn it!
Ultimately, I think this book suffered from a pacing issue. There were times when the action was ramped up to a 10, but only for like two seconds and then it was a 1 again. There were large spaces of this "adventure" that were dedicated to the sad backstories or relationships of people that just never resonated with me. Worst of all was the choppy and disjointed epilogue that went on far too long. I got it. I understood its purpose. But it wasn't satisfying to me. I really appreciate the later Marvel movies that understood it was bad to end a movie just to set up a sequel. That's what happened here. It wasn't a cliffhanger sort of thing, but a lot of pages throughout the book seemed solely dedicated to setting up a sequel. Of which there are currently two, I believe.
Now, can I recommend this book?
Yes. I can.
Especially if you need to take a break from Cussler or Rollins because their formula is growing stale.
Will I read the sequels?
There are some really interesting ideas present in this book, and MacCready partnered with Yanni have a lot of potential for cool things. I want to see them grow and I want to see what trouble they will stir up.
I have high hopes for the next titles, but I have learned to temper my hopes some. I am not usually one to fall prey to the hype machine, and this book has reminded me why one should always be wary of marketing.
Did I miss anything? Maybe my perspective is askew? Maybe you just want to talk about this book? Leave a comment!
at September 14, 2020 2 comments:
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