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review 2019-11-16 19:24
Three's a charm...
 The Concrete Blonde - Michael Connelly

Book 3 in the lengthy series of Harry Bosch novels was published in 1994 (Book 24 came out in September 2019) and as with its predecessors it could stand alone. Indeed, I think this was the best so far, in my ongoing discovery of what makes the maverick LA detective tick.


The earlier novels (see my reviews of ‘The Black Echo’ and ‘The Black Ice’) allude to the ‘Dollmaker’ case, which lent some notoriety to Bosch, not least because he shot dead the supposed serial killer. But, now the late victim’s widow, represented by the reputed lawyer, Honey (‘Money’) Chandler, is challenging the legality of the lethal force used and even postulating that her innocent husband was simply the subject of an execution. By contrast, for his trial under civil rights law, Bosch is defended by an inexperienced lawyer from the DA’s office, clearly out of his depth and when a new body is found, with all the hallmarks of the original killer, Bosch is confronted with the prospect of his career and reputation being publicly shredded.


Away from the courtroom, the thread of Bosch’s burgeoning relationship with Sylvia Moore successfully tethers this novel to the previous book and reveals the tension in the detective’s attempts to satisfactorily balance a life so dominated by the demands of criminal justice. Still, it is the metaphorically ticking bomb of the court case that drives the pace of the book and the main character’s race to prove that his original action was justified.


Michael Connelly is a master of suspenseful drama, but as the plot hurtles along, he is also able to insert some memorable pauses, often describing the author’s beloved California, or a poignant moment for Bosch, a chance for the reader to reflect and ponder, before dashing on to a breathless conclusion. It can be exhausting, but also utterly compelling.


The reader knows that Bosch is emotionally damaged and torn between his ‘mission’ as a homicide cop and his desire for a life in which his priorities might be different. His lover, Sandra Moore, struggles with the same issue. “…He felt at home with her. That was the best thing. That feeling. He had never had it before…” Yet, while Bosch hankers for a quieter life, he also remains addicted to his adrenaline-gushing role as a dogged crime fighter. They both know he won’t give it up willingly.


Curiously, but unsurprisingly, Bosch also becomes a begrudging admirer of his legal adversary, perhaps seeing in the tough and ruthless prosecutor (‘Money’ Chandler), a reflection of his own personality. Their cerebral and verbal duel dominates the courtroom, while outside and during ‘intermissions’ a fast-moving investigation continues into the murder of the ‘concrete blonde’, racing against the pronouncement of a verdict, the contest refereed by a dour local judge.


Notwithstanding Bosch has given evidence in court many times, never in his own defence and surrendering himself to such scrutiny is an excruciating experience. But, the onslaught of intrigue and animosity, disloyalty and attempted scape-goating of Bosch, plants the reader very much on the detective’s side. The binary labels of ‘monster’ and ‘hero’ proffered to the jury, distilling the opposing perspectives in the battle of ‘rights’ and the actions/motives attributed to the police officer called upon to make a split-second decision, in contrast to the lengthy deliberations of the legal process. I found this an absorbing read and worthy of a place on my favourites shelf. Book 4 has a hard act to follow!

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review 2018-12-22 09:36
Life Is but a Dream: "Descartes' Error: Emotion, Reason and the Human Brain" by António R. Damásio
Descartes' Error: Emotion, Reason and the Human Brain - Antonio R. Damasio



(Original Review, 1994-11-17)




Dave Chalmers did a great job of making consciousness popular but his own view was 400 years out of date. Descartes is the real rigorous physicist here - he was after all one of the people who devised physics. What he meant by the soul and God being 'spirit' is that they caused matter to move. Matter for Descartes was just the inert occupancy of a space (extension). So physics consisted of the interaction of spirit and matter. We now call spirit 'force' or 'energy' and Descartes was quite right because thinking is all about electromagnetic fluxes - which in themselves do not occupy space or have mass. His mistake was to think that there had to be one special spirit unit. Leibniz sorted that out in 1714.

 

 

 

If you're into stuff like this, you can read the full review.

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review 2018-11-24 20:03
Theories Galore: "Alice’s Adventures in Wonderland" by Lewis Carroll
The Complete Illustrated Works Of Lewis Carroll - Lewis Carroll



(Original Review, 1994-08-10)


I’ve always interpreted “Alice’s Adventures in Wonderland” as a (modern) Fairytale.

In a way most of modern commercial movies are more like classical fairytales: very elemental stories set in a simplistic moral universe, with stereotypical characters. The movies may seem to be more complex but that is mostly 'effect'. Movies are very good at the dazzle part of the story telling business. Complexity of story: very much less so.

 

 

If you're into stuff like this, you can read the full review.

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review 2018-09-12 21:09
Sonnet 42: "The Hitchhiker's Guide to the Galaxy" by Douglas Adams
The Hitch Hiker's Guide to the Galaxy: A Trilogy in Five Parts - Douglas Adams


The way I (probably mistakenly) see it, the answer 42 represents a view of cheery perfection. It's almost as though it is trying to be as divisible as possible simply to be helpful. Even its name is annoyingly perky. It is the number which represents what the established order (notably religion) has told us represents the universe. It is the number of order, sense and reason. Neither 6 nor 9 nor 54 are particularly welcoming numbers. Douglas Adams seems to like this view of the world. Just like Sirius Cybernetics, we're sold the idea of something being perfect and flawless whereas we all know (even if we are reluctant to truly accept it) that the reality does not match it.

 

 

If you're into stuff like this, you can read the full review.

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review 2018-09-03 17:34
Access Denied Prototype: “Valis” by Philip K. Dick
VALIS - Philip K. Dick


Is Phil Dick talking about regressing back to former time periods, or the much more radical notion of previous structures existing in the sub-strata of reality and emanating forward, like the notion of ancient Rome, a proto-fascist state, The Black Iron Prison of VALIS, falling forward through history. I think for Phil Dick - sensing these things - was no mere matter of psychological themes. And in the exploration of these realities one thing is clear - the date doesn't matter. A smug talking refrigerator door is about everyday oppression. It is humorous but it represents the shadow. Have you heard the automated checkout robot at Woolworths? "Unexpected item in the bagging area." Combining elements of stern accusation and exasperation. So he had it right, now everyday objects talk to us, and form part of an oppressive regime who's intent is to shackle the soul.

 

 

If you're into stuff like this, you can read the full review.

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