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I really wanted for Forge of Darkness to be great, something that would wash away the disappointment of the tenth and final book in the Malazan Book of the Fallen. And, in a way, it is. However, with increases in the inner philosophical monologues and a downplay of magic, with a plethora of characters that, for anyone not reading (or remembering, like me) the entire Malazan series, don't yet make sense, it felt raw, pretentious, more in line with Steven Erikson's admission that after 20 years of writing, the voices have stopped nagging him (for a while at least, as evidenced by this book). If this was supposed to be a book to be read, understood and loved, then I cannot see it as a success. If it was only a way to unload the chaos of characters demanding voice in the author's head, then it is quite a realization.

I won't describe the plot in detail. Enough to say that it is all happening in the Tiste realm and it is the story of the beginning of the high magic used in the Malazan cycle. The Azathanai, magic creatures of unknown potential, start interacting with the world on a more personal level. Draconus marries a queen, while K'rull starts bleeding magic as a gift for anyone to use. Eleinth break open into the world and gates for the major flavours of magic are opening as a result of Draconus' love gift. Through all of that, the division of the Tiste and the break of civil war are preparing to shatter the realm of Kurald Galain.

I imagine the second book will be a lot more active, with magic breaking out wild in a world unprepared for it, however the first was more about presenting characters (a zillion of them) and setting the stage. My impression was that, even if Tiste people live for hundreds of years, not every soldier and common man can have pages of internal monologues about the philosophical aspects of living. That is the biggest failure of a book that is otherwise brilliant. I will continue reading the Kharkanas cycle (I doubt it will end as a trilogy), of course, but I am starting to ask myself when the next book of Ian Cameron Esslemont will come out.

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It has been a while since I've posted music here. The performer is Lindsey Stirling and today is the first time I've heard of her, but I like her stuff. She is a pop violinist akin to Emilie Autumn, but not as dark. Here is the clip for Phantom of the Opera, 7 minutes long and very nice.

I thought about translating the lyrics to English, but there would be no point. It is pure poetry and it is beyond me. For the non-Romanian visitors, I just hope you like the song.

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After such a long pause it seems only natural that I come up with a good chess blog post and I think this one, about the Evans Gambit, fits the bill. Since it is a gambit employed in the Giuoco Piano/Italian Game opening, it has been widely used from the 1820s when it was first documented. There are numerous videos on it on YouTube, but the one I consider the best is the one below, from GM Gregory Kaidanov.



I have also explored the gambit with ChessBase, but there it is difficult to see the spectacular games, the ones that lead in traps or quick wins, as they are often studied and the mistakes there not repeated in high level games.

1. e4 e5
2. Nf3 Nc6
3. Bc4 {The Ruy-Lopez (Bb6) is twice as common, but this is the second most popular move for White.} Bc5 {The main Black response to Bc4, almost on par with Nf6.}
4. b4 {The Evans Gambit, giving material for speed. It is interesting to note that this gambit is the second most popular way to go from here, after the mainline c3.}
(4. O-O {When first invented by Evans, he castled first.} d6 {Here is a trap in the original Evans Gambit.}
5. b4 Bxb4
6. c3 Ba5
7. d4 Bg4
8. Qb3 Qd7
9. Ng5 Nd8
10. dxe5 dxe5
11. Ba3 Nh6
12. f3 Bb6+
13. Kh1 Bh5
14. Rd1 Qc8
15. Rxd8+ Qxd8
16. Nxf7 Bxf7
(16... Nxf7
17. Bb5+ c6
18. Qe6+ Qe7
19. Qxe7#)
(16... Qh4
17. Bb5+ c6
18. Qe6+ Qe7
19. Qxe7#)
17. Bxf7+ Nxf7
18. Qe6+ Qe7
19. Qxe7#)
4... Bxb4 {The overwhelmingly more used move to accept the gambit, rather than decline it.}
(4... Bb6 {A possible run for the lot less employed gambit declined variation.}
5. a4 a6 6. Nc3
(6. a5 Ba7
7. b5 axb5
8. Bxb5 {This transposes into a sort of Ruy-Lopez.})
6... Nf6
7. Nd5 Nxd5
8. exd5 Nd4
9. a5 Ba7
10. d6 cxd6
11. c3 Nc6
12. O-O O-O
13. d4 h6
14. Re1 Qf6
15. Nd2 exd4
16. Ne4 Qg6
17. cxd4 d5
18. Bxd5 Nxb4
19. Bb3 d5
20. Ng3 Bg4
21. Qd2 Nc6
22. Bc2 Qf6
23. Qd3 g6
24. Bxh6 Bxd4
25. Bxf8 Rxf8 {0-1 Santos,M (2245)-Martins,C (2278)/Americana 2000/EXT 2001})
5. c3 {Multipurpose move to defend d4, make way for the queen to go to b3 and doing it with tempo as it is attacking the Black bishop.} Ba5 {Bishop retreats, keeping an eye on the White king.}
(5... Bc5 {Bc5 transposes easily, but also has the disadvantage of giving White an extra tempo after d4.}
6. d4 exd4
7. O-O)
(5... Be7
6. d4 Na5
7. Nxe5 Nxc4
8. Nxc4 {Beautiful center and development options.} d5
9. exd5 Qxd5
10. Ne3 Qd8
(10... Qa5
11. O-O Nf6
12. c4 O-O
13. Bb2)
11. O-O Nf6
12. c4 O-O
13. Nc3)
(5... Bd6 {Not used a lot, as it cramps the d pawn.}
6. d4 Nf6
7. O-O O-O
8. Re1 h6
9. Nbd2 {Leads for a closed game for both sides, not really in the Evans spirit.})
6. d4 {Defended by queen, knight and a pawn that is, at the moment, pinned, White aggressively makes a claim on the center.} exd4 {The defending pawn can not move and taking with the knight invites a host of unpleasantness}
(6... d6
7. Qb3 Qd7
8. dxe5 Bb6
9. Nbd2 Na5
10. Qc2 Nxc4
11. Nxc4 d5
12. exd5 Qxd5
13. Qa4+ Bd7
14. Nxb6 cxb6
15. Qb4 Ne7 {Three games in the database for this, two White wins and a draw.})
(6... Qe7
7. O-O Bb6
8. Ba3 d6
9. Bb5 Bd7
10. Bxc6 Bxc6
11. Nxe5 Bb5
12. Re1 Qe6
13. Nf3 O-O-O
14. Bb2 a5
15. Nbd2 Qd7
16. c4 Ba4
17. Nb3 Ne7
18. Qd2 Nc6
19. Bc3 Rhe8
20. d5 Nb4
21. Bxb4 axb4
22. Qxb4 Bxb3
23. axb3 {1-0 Sveshnikov,E (2560)-Sofieva,A (2370)/ Cappelle la Grande 1995/EXT 1997})
(6... Qf6
7. O-O Nge7
8. Bg5 Qd6
9. d5 Nd8
10. Qa4 b6
(10... f6
11. Bc1 Bb6
12. Na3 c6
13. Rd1 {Tchigorin})
11. Na3 a6 {Two games between Chigorin and Steinitz in 1889 from here: one won by White, the other by Black.})
7. O-O {Main themes in the Evans: keep your king safe, develop as many pieces as possible and prevent the Black king from castling.} Nge7 {Nge7 is the move masters have found most effective against the Evans gambit, as well as d6, but at amateur or club level it is more likely you will see Black take the pawn on c3.}
(7... d6 {Meant to protect against the push of the White pawn to e5 and liberating the bishop.}
8. cxd4 Bb6
9. Nc3
(9. d5 Na5
10. Bb2 Ne7 {And again: Nge7.}
11. Bd3 O-O {At this point we can assume that the gambit has failed, as Black has achieved castling, but they are not out of the woods yet.})
9... Bg4 {Black is planning to castle queen side and their position is getting better.}
(9... Nge7 {At this point, Nge7 is a mistake.}
10. Ng5 O-O
11. Qh5)
(9... Nf6
10. e5 dxe5
11. Ba3 {Not taking the e pawn, but preventing Black from castling!} Bxd4 {let us see how it could go down from here.}
12. Qb3 Qd7
13. Rae1 Na5
14. Nxe5 Nxb3
15. Nxf7+ Qe6
16. Bxe6 Bxe6
17. Nxh8 {White wins a lot of material here.})
10. Bb5 Bxf3
11. gxf3 {Take with the pawn to continue to protect d4.} a6
12. Ba4 Ba5
13. Bxc6+ bxc6
14. Qa4 Bxc3
15. Qxc6+ Kf8
16. Qxc3 {Now material is even, but Black cannot castle and does not control the center.})
(7... dxc3 {Taking the pawn, accepting this second gambit, might seem a good idea, but it only allows White to develop a powerful attack.}
8. Qb3 {attacking e7, b7, c3 as well as getting close to the lightly defended Black bishop.} Qf6 {The only options for Black to defend the e7 pawn are Qf6 or Qe7.}
(8... Qe7
9. Nxc3 Bxc3
(9... Nf6 {The usual move in this situation is Bxc3. The Nf6 variation is what happened in the Fischer-Fine game from 1963, the one in the video above. The rest of the moves are from that game.}
10. Nd5 Nxd5
11. exd5 Ne5
12. Nxe5 Qxe5
13. Bb2 Qg5
14. h4 Qxh4
15. Bxg7 Rg8
16. Rfe1+ Kd8
17. Qg3 Qxg3
18. Bf6#)
10. Qxc3 f6 {At this point Black has not yet achieved safety, but it is pretty close. I continue with the main line, without annotations.}
11. Ba3 d6
12. Bd5 Bd7
(12... Qd7
13. Rac1 Nge7
14. Rfe1 Qd8
15. Nh4 Bg4
16. Qg3 Qd7
17. h3 Be6 {Rajaboz-Smeets 1995, ended in draw.})
13. Rfe1 O-O-O {Black castles (Steinitz Gray 1872), although White manages to win.})
9. e5 {The pawn cannot be taken due to the threat of Re1.} Qg6 {Only good square for the queen.}
(9... Nxe5
10. Re1 d6
11. Qb5+ {and if Black protects the knight with the pawn on d7, they open themselves to this fork.})
10. Nxc3 {Gaining back a pawn and bringing yet another piece into the game. White has brought almost all the pieces out, while Black is cramped.} Nge7 {And here it is again, Ne7. If playing correctly, it seems Black cannot move that knight anywhere else in any variation.}
11. Ne2 {Very sophisticated idea, as it attempts to lure Black into castling and losing their queen or some other piece in its attempted rescue.} O-O {Black falls into the trap. The next few moves demonstrate it.}
12. Nf4 Qe4 {The only acceptable move for the queen.}
(12... Qg4
13. h3 Qf5
14. Bd3 Nd4
15. Nxd4 Qxe5)
(12... Qh6
13. Ne6)
13. Bd3 Qb4 {Only safe square.}
14. Qd1 {The Black queen is still in trouble, as Rb1 follows.} Ng6 {This is the only move that is giving respite to the queen, but White still gains advantage.}
(14... d6
15. Rb1 Qc5
16. Rb5 Qc3
17. Bb2 {Queen is trapped.})
15. Rb1 Qe7
16. Nd5 Qe6
17. Rb5 {threatening to take on a5 and then fork queen and rook at c7.} Rb8
18. Ba3 d6
19. exd6 cxd6
20. Ng5 Qd7
21. Qh5 h6
22. Nf6+ gxf6
23. Qxh6 fxg5
24. Bb2 Nce5
25. Rxe5 dxe5
26. Bxe5 f6
27. Bc4+ Rf7
28. Qxg6+ Kf8
29. Bd6+ Ke8
30. Qg8+ Rf8
31. Qxf8#)


For more background you can scour the net for videos on the Evans Gambit, there are a lot. There are a multitude of traps in the Evans as well, for the unprepared. One video that I do recommend, though, is Ruy Lopez vs Italian Game where it is explained why the Giuoco Piano is less favoured than the Ruy Lopez, even if it seems to open up more avenues of attack, and also what are the goals of White in the opening, thus explaining a lot about the coices made during the Evans Gambit.

Enjoy!

I used the original name for the book, but I didn't read it in Swedish, I read it in English for obvious reasons. John Ajvide Lindqvist wrote this 2004 book and the screenplay for the 2008 Swedish movie with the same name, but not for the American version Let Me In, made in 2010.

Let the Right One In, as the title of the book translates into English, is the story of a bullied 12 year old that forms a relationship with a child vampire. And not the sparkly or stylish vampires, but the ones that kill for a living. The title comes from verses of Morrissey's song Let the Right One Slip In. Of course the Americans could not help but remake the film using beautiful people and more romance. Actually, I didn't see that version and maybe I should before I start saying bad things about it, but I did watch the Swedish version and it was a beautiful film and it was the reason for me reading the book. If you haven't seen any of the versions I highly recommend you read the book first. The film is more mellowed down, but also preserves some hints of the story in the book and has that same eerie alienated feel to it.

The movie transforms the story in a sort of romantic late childhood thing, but the book is only slightly like that as it covers uncomfortable subjects like the poor and artificial Socialist suburbs in Sweden, child gangs, bullying, paedophilia, homosexuality, murder. The story is both spooky and disturbing, but also weirdly comforting. I really don't want to spoil it, so I will end with the link to my review of the Swedish film and a short conclusion: the book is not brilliant, but it is decently written and has a good story. It would be a shame not to read it.

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William Golding writes difficult books. They are not only complex in prose and detail, but dissecting difficult subjects as well. Best known for Lord of the Flies, which is a pretty dark and twisted tail of children getting trapped in what is basically a social experiment, he manages to write something even darker in Darkness Visible.

The book follows the story of several characters. There is Matty, a child that emerges from the burning wreck of a bombed building during WWII with half of the body burned. He grows up in the state social system, interacts with Mr. Pedigree, a teacher who is also a raving paedophile, and then spends the rest of his life seeking redemption. He is a simple, almost stupid person, easily influenced, but taciturn and withdrawn most of the time. There there are the two beautiful and very smart daughters of a rich man. With every opportunity given to them, they prefer to dwell on the remoteness of their father and screw their lives completely. And finally Sim and Edwin, two old men passionate about books and good friends, who despite their best intentions and education are not capable of understanding the world and people around them.

Golding uses themes I've seen before: the way people can perceive so differently a shared event, like in Rites of Passage and the almost clinical dissection of the motivations characters have in doing what they do, as in both Lord of the Flies and Rites of Passage. The way he explores the inner, most private triggers of his characters is almost creepy.

The book is not exactly a success. I had a hard time reading it, mostly because of its overly verbose prose, and the presentation of people's lives sometimes goes to incredible extremes, escaping the main story completely. That doesn't mean it is not a brilliant book. One just has to be in the right mood to be able to finish and understand it.

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Any person that is remotely interested in the history of chess knows the name of José Raúl Capablanca. He was a great chess player and the world champion for 7 years in a row. I've just finished reading one of his books, entitled Chess Fundamentals, and I thought it was great. It featured clear chess principles, backed by real master games and, what I believe it is most important in the book, all the matches featured in Chess Fundamentals are annotated by Capablanca, who focuses on what moves he saw best, the ones he didn't like and, most fortuitous, what he thought when he played those moves, as many of the games are his.

Unfortunately, as with any chess book, one must spend time to focus on the details and to revisit it as many times as it takes to understand and learn what Capablanca wanted to express. I've read the book as part of an iPad application called "e+books". You get the free application, this Capablanca free book, then you have to pay for any other there. What I found really nice is that the positions and moves in the book are mirrored by a chess board that allows navigation between moves, variations, going back and forth, etc. It really helps reading the book and I recommend it, especially for beginners. Using a real chessboard to mirror the moves might be best, but it adds a layer of discomfort and complexity that might deter someone from finishing the book.

The book is structured into 6 chapters, the last being a series of 14 games in which Capablanca either lost or won. He begins with some principles of the endgame, the part of a game that he considers the most important. If you recall, Josh Waitzkin also highly recommended focusing chess training on the endgame, where there are few pieces and the principles become clearer. Also, since some chess games end with mates somewhere in the middle game, there is less opportunity to learn that part of chess. For openings Capablanca has only a few words, focusing on the healthy development of pieces, which he considers the most important. As stated previously, the games are the most important and their complexity is pretty high. Some say that the book is not fit for beginners for that reason alone, but I disagree. Even the most complex strategies are explained in the annotations and I believe they are a rare opportunity for anyone to glimpse in the mind of a chess master and realize where their aim as chess players lies.

All in all a rather easy to read book, with the help of the iPad application, but very hard to completely understand and remember. I intend to return to it, several times perhaps, in order to internalize some of the cool patterns of thought I saw in there. I warmly recommend it.

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Games People Play: The Psychology of Human Relationships is a sort of summarization of previous works by Eric Berne, the "father" of Transactional Analysis. It was written in 1964, but it is very actual (barring some author views that could be construed as not politically correct in this age of sensitivity). In fact it felt to me so to the point, that I am asking myself how come I've never heard of this book before.

The idea of the book is that all people are torn between their three major components:
  • the Parent - exponent of the social environment, things that "are done" in the "proper" way
  • the Adult - who reacts to the circumstances as they change
  • the Child - the emotional being who craves satisfaction and enjoys life the most
As I see it, is a separation in things one learns from others, things one thinks for themselves and things one likes or dislikes. At the end of the book the author resorts to a similar division: the Jerk, the one that does everything based on what others would think of them, and the Sulk, the one that does everything in order to demonstrate to themselves and others that they are being mistreated by the world and they are justified in their feelings, similar to the Parent and the Child.

Then there is a presentation of Transactional Analysis, an area of psychology that feels more like economics applied to human beings, where people do things in order to settle debts or gain profit. A nice example is two people that work together and say "hi" to each other in passing whenever they meet first in the day. This is equivalent to settling a debt that each have for their level of relationship. If one of them fails to say "hi", the other will feel attacked, just as if one of the two would stop and say "well, hello! How are you?" which would also feel like an attack, one that indebts the other. These transactions are being categorized into simple transactions, pasttimes, etc.

But then the interesting part comes up. It is funny, I felt for the entire length of the read that the chapters are in the reverse order. Each chapter was more to the point and more interesting than the first. I would have organized the book starting from the introduction, then reversing the remaining chapters. The interesting part is about games, which seem like normal transactions, only they have an alternate "tricky" purpose, one that is not obvious to both people in the transaction.

Quite annoyingly, many of the games described in the book apply to the reader. One feels exposed while reading it. With a structured list of these games, one can use the book as a reference to be used for further study. Each game is presented with their purpose, their "thesis" or pretext and expectations, their actors and their "antithesis". A clear warning is sent by Berne, though: the antithesis of a game is just a way to shortcircuit it and refuse to play, not a "solution" for the problems raised by the playing of said game. Indeed, when faced with a person that refuses to play or, worse, blocks their own playing of the game, they become anxious, depressed, maybe violent, depending on how "hard" they play the game.

An interesting ending is the listing of the reasons why games exist from different standpoints: social, personal, emotional, etc. The games are learned and, in that sense, inherited from parents, then from the environment. People that play the same games stick together and people that play different games are growing apart. That pretty much explains why people that come from the same settings get to have the same social standings and work and live in the same world. Sadly, it also explains why social cases need to make enormous efforts to be accepted, to "make it".

Also, the author presents his view of the best psychological mindset, the one he calls Autonomy. It requires three ingredients: Awareness, to be able to see your surroundings as they are, not as you were taught to; Spontaneity, to be able to have access to your own thoughts, unfiltered by other mechanisms; Intimacy, to be able to share what you are, as you are. A kind of a Zen philosophy. He reckons anything less is not quite living, but only going through the motions. I am not sure how I feel about this, right now.

For me, the book was very interesting. In truth, I should reread it, or at least summarize it into a logical schema that I would add to this post. I am not sure I will do that, but I intend to. Afterwards, I would use it as a tool for introspection and for analyzing my interactions with others. Yes, but...

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Ship of Fools is a sci-fi book written by Richard Paul Russo. It reads a lot like a journal, written in the first person, with little (or badly evoked) emotional involvement or dynamic action. Add to this that the main character is called Bartolomeo and he is on board of a ship with no history and going nowhere in particular, where there is always a struggle between the captain and the bishop and the people of the lower class, and you kind of get the impression you are reading a Spanish crewman ship log adapted to science fiction. The low focus on technology and the way people are thinking and acting increases the feeling that this is something futuristic only by accident, and the reality of it is some feudal world, only milder than one would expect those dark times to have been. Somewhere in the second half of the book the plot veers slightly towards Event Horizon, an opportunity to make some biblical references. Even then, the book is written in the same linear and descriptive way, despite being in the first person.

The title comes from a long existing concept in Western literature, usually depicting a bunch of ridiculous people travelling together, but without an aim, and also characterizing the society from which they came as a whole. However, the book doesn't really feel like a satire and the fact that it won the Philip K. Dick award in 2001 makes me think that maybe I missed something.

Bottom line: An interesting subject, but approached in a manner that I did not enjoy very much. I could empathize with the main character, but only to a point. When actual technical decisions were made, I thought everybody was kind of stupid. Luckily enough, it is not part of any series, it is a standalone book.

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Yes! Another good sci-fi book. Blindsight is a hard science fiction standalone novel in which, using the idea of contact with an impossibly alien species as a pretext, Peter Watts discusses hard subjects like the future of humanity and its very definition, the nature of conciousness and the difference between intelligence and self awareness. It also features vampires (ugh!), but with a good scientific background and true relation to the plot.

There is no romance in this bleak and autopsic book, where the essence of all the characters gets dissected to complete the tableau of the human race under cold fluorescent lighting. Good stuff! But one gets to expect this from Canadian writers, eh? :)

The other cool reason why you should read the book is that it is free at Watts' site: Blindsight. Enjoy!

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The Legacy of Heorot is a good sci-fi book, part of yet another trilogy: Heorot, written by no less than three authors: Larry Niven, Jerry Pournelle, and Steven Barnes. You've heard of Niven by way of Ringworld, the others are no first time writers either, but I have frankly never heard of them.

The book is about a colony of people on the fourth planet of Tau Ceti. They call it Avalon and the colony Camelot, declaring their ideal of an honest equalist society that has the good of the people at heart. But of course, as the title of the series suggests, the plot moves towards the story of Beowulf rather than any round table. In face of doom and disaster, people tend to go through standard phases, starting with denial, while any façade of equality and reason quickly crumbles.

And this above paragraph pretty much details the subject of the book as well as the reason why I was partly disappointed with it. I was afraid that the story would be yet another actualization of the myth of Beowulf, which would have bored me to hell, but it wasn't. Yet it wasn't really a strong psychological or social commentary either. More of an optimistic view of the first human interstellar colony. Like any government or corporation would spend a whole lot of money on a space ship, in order to send it to another planet and then made it a present to the crew of the ship, fire and forget like. (See how I start and finish sentences with "like", I'm pretty rad, huh?) And all the people there, selected by a well designed process, would be nice and intelligent and having no social pathology at all.

But the book is nice enough, regardless of my bleak and neurotic projections. It focuses on the planet's (very simple) ecology and the way the colonists interact with each other and fight for their prize. They have colonized a small island in order to minimize threats, but there is a huge unexplored continent waiting for them, therefore the trilogy. It was nice, though, that the first book is rather standalone. If you choose to read it and you do not want to continue the series, there is no hook at the end, it just satisfactorily finishes all that was started.

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I was searching for horror books and I tried this list from a book site. Little did I know that the asshole that wrote the list had a vampire fetish and so he listed all the books with vampires that he ever read.

Blood and Magic, by Lena Austin, is not a horror book, it's an adult fantasy book where sexy vampire bitches have sex with magical and well endowed unicorns. That should say enough about the book, and yet I have read it. It was easy to read, being a short single threaded narrative that had the only purpose of getting the main character (said red headed vampire girl) well fucked, respected and pretty much anything she wanted. I am sure sometime in the future will be discovering that she is also a princess of sorts.

This ends my review.

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Yes, it's that Guillermo del Toro and he wrote a book, together with this Chuck Hogan dude. Actually he wrote more books, this is part one of the Strain trilogy which, judging by the name, should have been about either a contagion or some sort of pulled muscle, but instead is about vampires.

Now, I don't want to be mean towards poor Guillermo. Vampires, even if really overdone nowadays, are pretty cool. The ones in the book are not even sparkling or talking with a Russian accent, but are vicious creatures that have in mind only one thing: to feed. That makes them the more believable type of vampire, although the technical details that are trying to explain in scientific terms the process of vampirification are complete rubbish.

The book is about a contagion of sort, that of vampirism. A "master" comes in New York (where the hell else), wreaking havoc and turning everybody to vampires. They even say this type of vampire is a virus incarnate, although the analogy gets a little strained (get it?). An old Jew is the only one who knows what vampires truly are and how to fight them and he teams up with this New Yorker epidemiologist (and later a pest control rat hunter second generation Russian) in order to fight this asshole vampire.

This melange of different cultures gives opportunity to talk about the Holocaust and 9/11 and even Romania, all at the same time! The writers shamelessly abuse this without actually connecting these facts with the story in any significant way. That bothered me. I understand people can become a little obsessive over things like this, but what kind of a jerk keeps using them to further their careers and books? Anyway, before turning this into another "stop using Hitler, the Holocaust and 9/11 as arguments" extension of the Godwin law, let's get on with the book.

The writing itself is not bad. The only things that kept me getting out of the atmosphere of the book (except the shamelessness above) were some of the emotional background stories used to describe the beginning of the infestation. I would blame that on me, though, as I am often prone to get annoyed by the feelings of others, especially when they get in the way of a good storyline.

Being a trilogy, the book doesn't really end at The Strain. It's just a broken shard of a whole story. You get some hints on what would happen and also some of the arches are closed by the end of the book, so it isn't completely annoying.

Bottom line: Hmm, it was good, not really a masterpiece. It reads like a movie, with a simple almost linear plot. The thing is that, even if it managed to convey the terror of such an occurrence in general, it didn't really evoke in me feelings of horror or at least some empathy with characters that feel that horror, and that is what I was looking for. I've read the book in under a week, but I am not really prepared to spend another two reading the continuation.

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It is hard to describe House of Leaves in relation to any other I have read before. It is clearly a masterpiece, a mad foray into personal darkness and schizophrenia, maybe Mark Z. Danielewski's (it is certainly difficult to imagine a non-extraordinary person writing this).

What is it about? At the surface, it involves a guy that works in a tattoo parlor finding some old papers in the apartment of a blind old man and getting obsessed by them. You see, this old man has written an extensive analysis of a house made movie than was released to critical acclaim and that was viewed and analysed by a lot of others. Only the film does not exist, the references are mostly bogus and the people that happen to be real deny any connection with this fictitious film.

Now, the old man, Zampano, has died in a house that was sealed from the outside, with various implements used to cover every open bit from the door and windows. Now Truant, the tattoo guy, is reading the Zampano papers and starts to get similarly affected, being overwhelmed by a subtle horror emanating from the old man's writing.

The film itself is about a guy, Navidson, a famous international photographer, who decides to move with his family to a new house, a gesture of healing and reconnection, as his job often took him away from his wife and two children. This house, though, has a secret. Suddenly, there is a corridor in one of the walls of the house. It is terrifying through his deep black color and the fact that the wall is an exterior wall and no evidence of its space is visible from outside. More than that, the corridor twists randomly and seems to go forever, even changing configuration.

These are not the only dimensions of the book. Indeed, the fact that a terrifying hole in a wall exists in their family home terrifies the wife, who forbids anyone going in there, under the threat of leaving. Navidson, though, an explorer and a man dedicated to committing the world to photo and film, feels the need to explore it. The very house that was supposed to bring the family together, breaks it apart.

Zampano's notes are comprehensive, academic, with references from linguistics, physics, philosophy, psychology and literature. They contain numerous quotes from documents and books written about the film. The notes have a lot of footnotes, that contain not only more details about the analysis, but personal ideas and emotional outbursts.

Now, Truant is not really a scholar, but he transcribes all of Zampano's work and adds his own notes, together with the story of the document and bits of his personal life. He does drugs, goes clubbing and has a lot of sex, all while obsessing over his bosses girlfriend. But it is not enough to switch him from his transcribing work and the dark effects this has on him.

And that's not all, either. At one time a foot note describes Truant going into a random bar and hearing a band singing about something in Zampano's notes. He asks the members of the band and they show him the published version of the House of Leaves, by Zampano, annotated by Johnny Truant. Truant starts seeing more and more horrible versions of his own life, only to switch back to reality and not be sure which is which.

The book itself is written in 3 different colors, emphasizing Truant's and Zampano's notes. The references are often insane, hyperanalysing a single quote or sequence of the film through analogies with psychological complexes, Latin quotes and mathematical analysis of sound when it echoes. The notes often end abruptly and continue with Truant's story that itself ends with no discernible pattern.

However, the story somehow remains cohesive and the feelings of alienation and unspeakable, more: undefinable, horror transpire through the book. The early Truant drug trips go further in defining this weird combination of Lovecraft, Kafka and Philip. K. Dick.

Bottom line: this book is as brilliant as it is insane. I have never read a book like it and I can only bow to the immense effort of constructing it. It is itself like a dark corridor, ever shifting, and totally gigantic. You should read it.

Be forewarned, though, this is ergodic literature. To truly understand it, you need to read it on paper or in PDF form; OCR doesn't really work on this book and various rtf, doc, html versions you might find are probably close to unreadable.

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I started reading The Stranger on a recommendation. A guy told me the main character was a bit like me. Having read the book there is only one question I want to ask: How did Albert Camus know about me in 1942?

Joke aside, this a rather short book detailing a bit of the life of a Frenchman that doesn't feel much, is a rational person and doesn't believe in God. Therefore everybody around him thought him a stranger, hence the title of the book. Camus has a way of writing this in the first person, but in a way that seems both introvert and totally outside. The character describes everything he sees in neutral terms, proving he is both very observant and completely indifferent. When other people talk, he quotes them, when he describes himself talking, the character is summarising to the minimum, with no quotes, giving the impression he is a stranger to himself, hence the title of the book.

In the end, it felt like the last part of the movie The Mist. The same irrational fear of the different, coming from a shapeless mass of mindless drones, blindly destroying everything. In my view, the character manages to maintain his decency by rejecting the smallest gesture of resistance. But what do I know?

Would I recommend the book? It certainly teaches the reader something. It describes a way of thinking and of being that is different from most people. It explores several philosophical schools of thought, but you wouldn't know about it unless you read Wikipedia :). It is short enough to not bother anyone, though. Why wouldn't you read it?