Jrisi itibaren Otice, Çek Cumhuriyeti
Oldukça ok, iyi biraz tahmin edilebilir okuyun.
Ann'in Kitaplarını Sevin hepsi eşit derecede iyiydi. Ne zaman yeni bir tane görsem okumak için rafa koymalıyım!
Ragmop is a crazy romp through conspiracy theories, bizarre religious speculation, and quantum hocus-pocus. Walton's art is like a cross between old Looney Tunes cartoons and 1960's Marvel comics. I first encountered Ragmop when it was serialized in comic book form back in 1994 and was very disappointed when Walton announced in the back of issue 12 that he was forced to cancel the series due to low sales. Browsing online one day I was pleased to discover that not only had the series been collected in a graphic novel but Walton had completed the story as well. Reading the collection I was surprised to find that Walton had rewritten parts to bring it up to date to a post-9/11 world. I have to question the wisdom of the rewriting. Imagine the Smothers Brothers taking episodes of their old TV series and dubbing over jokes about Richard Nixon with jokes about George W. Bush. Topical humor does not age well, but like George Lucas' continued fiddling with Star Wars, attempts to update just serve to lessen the whole. I'm giving the collection 4 stars for how much I loved it 15 years ago. The intervening years have lessen my enjoyment of conspiracy theories and all the nonsense about quantum theory meaning "anything can happen at anytime" just irritates me.
56. "In the alternate New York of Colson Whitehead's gritty, brainy first novel, The Intuitionist, the elevator inspectors union is split into two factions. The upstart Intuitionists have their own candidate for Guild chair, and are intent on ousting the current chair, leader of the nuts-and-bolts Empiricists. When a brand-new elevator on Lila Mae's beat suddenly and inexplicably plummets 40 floors -- suffering a supposedly impossible "total freefall" -- Lila Mae gets dragged into the election year battle, and soon she's chasing after the lost notebooks of Intuitionism's founder, James Fulton. Rumor has it that Fulton, author of the classic text Theoretical Elevators, had designed the perfect elevator, then hid his blueprints just before his death. Such a device would remake the topography of the city as radically as Otis' first lift, bringing on "the second elevation" and upsetting the Guild's delicate balance of powers." This was a slow read and I couldn't finish it. At times it read fast like a John Grisham novel, at other times it dragged through a boring montage of poetic descriptions and intricate elevator workings.
This was disappointing. I felt like she thought, "I've got a good thing going here, let's do a prequel that ties into the first book!" But then she couldn't really think of a good story line, so she has a book with lots of jumbled nothingness and a terrible, quick ending to tie it - albeit very loosely - into the series. Plus her not-so-subtle political leanings are just a bit gag-worthy for me.
Abraham Merritt's "The Face in the Abyss" first appeared as a short story in a 1923 issue of "Argosy" magazine. It would be another seven years before its sequel, "The Snake Mother," appeared in "Argosy," and yet another year before the book-length version combined these two tales, in 1931. It is easy to detect the book's provenance as two shorter stories, as the first third of the novel is pretty straightforward treasure-hunting fare, while the remainder of the book takes a sharp turn into lost-world fantasy, of the kind popularized by H. Rider Haggard and Edgar Rice Burroughs. In this novel we meet Nick Graydon, an American miner, who is searching for lost Incan loot with three of the nastiest compadres you can imagine. In the Peruvian wastes, they come across a mysterious girl, and are led by her toward Yu-Atlanchi, the so-called Hidden Land. Graydon's cohorts suffer a mysterious fate, but Graydon himself goes on to discover Yu-Atlanchi's many wonders. He meets the Snake Mother, one of Merritt's finest creations: a half snake/half girl entity who is countless aeons old and possessed of ancient wisdom. The Snake Mother is similar in nature to the Silent Ones of Merritt's first novel, "The Moon Pool," but is a much more fleshed-out character. It seems that Graydon has stumbled into Yu-Atlanchi just as civil war is about to break out there. Nimir, an evil lord whom the Snake Mother had imprisoned ages ago, has returned, and is intent on using his weapons of mind control and superscience to rule the world. Merritt does ultimately treat us to a nifty battle between the forces of Nimir (aided by his lizard men, dinosaurs and various weapons) and the Snake Mother (aided by her invisible flying lizards and assorted way-out armaments). But before we get to that battle, Merritt also dishes out a dinosaur hunt, a dinosaur race, a tour through the Cavern of Lost Wisdom, a garden of evil, mind control, spirit possession, spider-men (and NOT of the Peter Parker variety!), and some fascinating history of and philosophizing by the Snake Mother. It's all wonderfully pulpy and improbable stuff, but Merritt throws quite a bit into the book to keep the reader well entertained. On the down side, "The Face in the Abyss" does not feature as much of the wonderful purple prose that made earlier Merritt works such as "The Moon Pool" and "The Metal Monster" so special. This book seems to have been written more quickly and, in some places, almost carelessly. For example, in one scene, the moon is said to be rising from the west! In another, Graydon is said to have only one pistol, under his arm, although the pistol he's had at his waist is never mentioned again. That Cavern of Lost Wisdom seems so easy to come across that it's impossible for the reader to believe that it has been undiscovered for thousands of years. Merritt is also guilty of occasional fuzzy writing in "Face" (such as when he refers to a "three foot parapet"; is that three feet high or three feet wide, or what?), and much of the geography of the incessant tunnel crawling that takes place in the book is hard to follow. But perhaps this is deliberate on Merritt's part. Not all of our questions are concretely answered by the novel's end, and Graydon's theorizing is apparently meant to suffice. But I suppose that this is all nitpicking. What "Face" ultimately does succeed at is in providing action-packed escapism, constant imagination and colorful wonders. What an incredible Hollywood blockbuster this would make! Anyway, as it is, this is yet another fine fantasy from Abraham Merritt.
the translation from Avesta is good and been compared with german translation, but still there are many obscure points in interpreting the text.anyway the book contains many beautiful sentences.
Couldn't even finish it... Not my cup of tea to be honest.