Category Archives: Reading

Mike Loades: Swords and Swordsmen

Cover of Swords and SwordsmenThis is a gorgeous book. Pen & Sword have done Mike Loades proud with the production values—it’s nicely laid out, beautifully illustrated, and has a deeply satisfactory heft to it.

Even if you don’t recognize his name, Loades may be familiar to you if you watch the occasional historical documentary. I most recently caught sight of him belting around in a Celtic chariot, in the BBC’s The Celts: Blood, Iron And Sacrifice.  He has a long history of expertise in ancient and mediaeval weaponry and tactics (in this book he describes the 1970s as his “jousting years”), and he frequently turns up on television, enthusiastically wielding a sword or a spear to illustrate some finer point of warfare. Here he is doing his thing in Bettany Hughes‘s Helen of Troy, and giving you a pretty good idea of the tone and content of this book:

He’s also a documentary maker in his own right, a fight arranger for film and TV, and an adviser to that segment of the gaming industry that involves realistic mediaeval combat.

He has authored a slim paperback volume about the longbow for Osprey, a specialist publisher on military matters, but Swords and Swordsmen is in an altogether different league.

In fifteen chapters, Loades takes a sword (or swords) associated with a particular historical individual as the jumping-off point for a dissertation on the person, the sword, the historical milieu, the style of warfare of the time, and … well, pretty much anything else that takes his fancy. He starts with the bronze sword of Tutankhamun, and finishes with the cavalry sabre of General George Armstrong Custer. Along the way he talks about metallurgy, fashion, the plays of Shakespeare, mediaeval surgical techniques, etymology, the culture of dueling, the design and testing of armour, and his numerous mishaps and discoveries while attempting to reconstruct the specific uses to which a sword might be put. Loades has spent a lot of time in libraries, studying fencing manuals and memoirs; a lot of time in museums, hefting original weapons; and then a lot of time swinging reproduction swords, trying to reconstruct the fighting techniques of the times.

So when Loades tells you that, contrary to popular belief, a mediaeval knight didn’t need to be winched on to the back of his horse, it’s because he has spent a lot of time mounting and dismounting horses while wearing full armour. When he says that the same mediaeval knight wasn’t helplessly trapped in his own armour if he fell off his horse, it’s because he has actually fallen off a  horse in full armour, jumped to his feet, and run about a bit. He has fought with rapier and dagger, he has stood in a shield wall and understood why they always tended to drift to the right (every man was trying to tuck himself more fully behind the shield of his neighbour), and he has established, by experimentation, why Roman soldiers carried their swords on their right hips, rather than favouring the usual cross-draw from the left hip. There’s seldom a dull moment, or a tedious page.

It’s intermittently bloodthirsty, as you might expect. Loades seems to be in a constant state of emotional tension, balancing himself between the joy of finding things out, the excitement of reenacting a sword-fight, and a sort of sinking horror at the potential for death and maiming that resides in his beautiful blades.

Anyway, here’s Mike Loades himself giving the book the hard sell with all his customary enthusiasm:

Cary Elwes: As You Wish

Cover of As You Wish

Rest well, and dream of large women.

If the quotation above doesn’t immediately ring a bell, then this book may well not be for you.

How about:

There’s a shortage of perfect breasts in this world. It would be a pity to damage yours.

Or, indeed, the title of this book:

As you wish.

They’re all quotes from the The Princess Bride, a film released to only moderate enthusiasm in 1987, which then became a slow-burning cult classic on video. It was a quirky adaptation of a quirky original novel by William Goldman, also entitled The Princess Bride.

Cover of The Princess BrideIf you haven’t seen the film (or read the novel), it’s very difficult to describe what it’s about or why it’s so well-loved. It’s … well … a sort of richly layered fantasy-romance-satire-homage-comedy—

Oh, for pity’s sake just go and watch it now.  Come back to me when you’ve done that.

Cary Elwes, the author of this memoir, played The Princess Bride‘s romantic lead, Westley / The Dread Pirate Roberts / The Man in Black. (I told you it was complicated.) The subtitle of the book is Inconceivable Tales From The Making Of “The Princess Bride”, and that’s exactly what it is—a series of anecdotes about Elwes’s involvement in the film. But his story is interspersed with text boxes containing reminiscences from the writer, William Goldman, the director, Rob Reiner, and pretty much all of the surviving lead actors. So it assembles a host of viewpoints into an overview of the making of the film.

In places, it gets a bit luvvie—actors do seem to devote their memoirs to either dishing the dirt on, or writing love-letters to, their fellow performers. Elwes falls firmly into the latter category. But everyone involved does seem to have had a rather splendid and hilarious time while making the film, with the exception of Wallace Shawn, who seems to have spent his entire time on set in trembling fear that he was about to be fired and replaced by Danny DeVito. And everyone seems to have loved the gentle charm of André the Giant, the two-and-a-quarter-metre tall acromegalic wrestler who played Fezzik the … um … Giant.

Some of the stories are good, some less so. The predictable reaction of American directors to British union-mandated tea-breaks has pretty much been done to death, I think. But then there’s the broken toe episode, the stuntman that had to be bailed out of jail for a critical scene, and the actor who was accidentally knocked unconscious on camera.

The most impressive story is about how much practice Elwes and Mandy Patinkin put in for their sword fight, which Goldman had marked up on the screenplay as simply THE GREATEST SWORDFIGHT IN MODERN TIMES. In order to make it so, Elwes and Patinkin practised their duel scene (left- and right-handed) for months before production began, and then at spare moments during the film itself. And Elwes was understandably perturbed to find that Patinkin had also been training for a couple of months before he turned up for his preproduction training.

I’d say it’s probably worth rewatching the film before reading the book. And now I’m going to have to watch it again, so that I can fully appreciate the sword fight, the broken toe, and the unconscious actor.

Mad Rush For Gold In Frozen North: Supplement

Columbia Summer 2008You’ll perhaps recall that when I finally got around to reading Arthur Arnold Dietz’s book, Mad Rush For Gold In Frozen North, I was a little bemused to discover it was a pretty obvious fake (at least in parts) given its widely accepted status as one of the classics of Gold Rush memoirs. My original post about that is here.

Well, I’ve now got hold of historian Terrence M. Cole’s article, “Klondike Literature”, in the Summer 2008 issue of Columbia, which I find is appropriately subtitled, “The Mad Rush For Truth in the Frozen North”.

Cole is pretty clear about Dietz’s book: “Monstrous factual mistakes are spread throughout every chapter …” He points out one I’d missed—the fact that Dietz claimed to have seen the midnight sun on March 24th at Yakutat. Wrong latitude, wrong time of year.

Interestingly, Cole finds a record of an A. Dietz on the passenger manifest of the brigantine Blakeley, bound out of Seattle for Yakutat in February 1898. A Seattle Post-Intelligencer article at the time reported that 150 aspiring gold-prospectors were aboard. We have the right person aboard a ship with the right name and with the destination mentioned in Dietz’s book, but setting off a year later than the date given in Mad Rush For Gold.

So if Dietz actually went to Yakutat, why are there so many “monstrous factual mistakes” in the book?

Well, it seems possible that Dietz didn’t write the book for which he is listed as author and copyright holder. The preface is certainly odd—written in the third person (“During the time he was away Mr. Dietz kept a diary …”) and signed only “AUTHOR“, which would fit with the involvement of a ghostwriter.

Cole feels, based on the quality of the writing, it was “probably scripted by a professional ghostwriter or perhaps a Los Angeles journalist looking for some extra money.” The work may have been intended as a morality tale, spun around the events of the Gold Rush—a lesson on what can happen to greedy people.

Nevertheless, it seems to have been a work of fiction (in part, at least) sold under the guise of a factual account.

Pennycook et al.: On the reception and detection of pseudo-profound bullshit

This from the November 2015 issue of Judgment And Decision Making. Here are links to the original paper (pdf) and its supplementary tables (pdf).

The authors seek to find a preliminary answer to the questions, “Are people able to detect blatant bullshit? Who is most likely to fall prey to bullshit and why?” Their study is therefore of the characteristics of the  bullshittee, rather than the bullshitter, or of bullshit itself.

They suggest that bullshit occupies a sort of halfway house between lie and truth. Bullshit is “something that is designed to impress but […] constructed absent direct concern for the truth.” (That is, the author of bullshit doesn’t care whether it’s true or not, in contrast to the liar, who is deliberately subverting the truth.) And “bullshit, in contrast to mere nonsense, is something that implies but does not contain adequate meaning or truth.”

I’m indebted to them for providing links to two sources of pseudo-profound bullshit, used in their study.

One, Wisdom of Chopra, uses random words taken from the Twitter feed of Deepak Chopra to construct novel sentences. Here’s an example of its output:

The unexplainable arises and subsides in the doorway to energy

The other, Seb Pearce‘s New-Age Bullshit Generator, generates an entire, beautiful page of random bullshit. Here’s one headline:

You and I are entities of the quantum matrix. By evolving, we believe

So that’s all pseudo-profound bullshit.

According to Pennycook et al., reasons you might mistake that for actual profundity include:

  • A deficiency of analytic thinking
  • Ontological confusion (confusing different categories of existence, such as the mental and the physical)
  • Epistemically suspect beliefs (such as paranormal or supernatural ideas)

Four studies are reported in the paper. They all look for correlations between the particular cognitive biases listed above with a “Bullshit Receptivity” scale—a measure of an individual’s tendency to rate randomly generated bullshit as “profound” on a five-point scale ranging from “not at all profound” to “very profound”.

I haven’t even counted the number of separate correlation measures to which the authors assign significance values; I’ll leave that as an exercise for the  Interested Reader.

But what we seem to see is that:

  • Participants tended to score random nonsense as moderately profound.
  • Participants scored selected real Deepak Chopra Tweets as a little more profound than random nonsense, but less profound than some motivational quotations.
  • Some participants scored even mundane statements like “Most people enjoy some sort of music” as having some level of profundity. These participants tended to give high profundity scores across the board.
  • To quote the authors: “Those more receptive to bullshit are less reflective, lower in cognitive ability (ie. verbal and fluid intelligence, numeracy), are more prone to ontological confusions and conspiratorial ideation, are more likely to hold religious and paranormal beliefs, and are more likely to endorse complementary and alternative medicine.”
  • Waterloo University undergraduates (or at least, those who sign up for this sort of study) are catastrophically gullible, assigning various levels of profundity to some quite astonishing twaddle (Table 1). Snake-oil salesmen are presumably converging on the campus even as I type.

So it’s good to have all that sorted out.

Arthur Arnold Dietz: Mad Rush For Gold In Frozen North

Cover of Mad Rush For Gold In Frozen NorthGood title, eh? (And yes, I’ve written it correctly, with no articles—it does seem as if the author telegraphed the title to his publishers.)

In 1914, when he published this memoir of the Klondike Gold Rush, Dietz was a physical director at the YMCA in Los Angeles, as well as being a “playground director” in the same city.

Cover of KlondikeI can still remember exactly where I was and what I was doing when I first decided I needed to read this book. August 1989. Hamilton, Ontario. A sweltering day had blown up into a huge evening thunderstorm out over Lake Ontario, and I was sitting at the open window of our tiny rented apartment, dividing my attention between a glass of hopeless Canadian Chardonnay, the spectacular lightning over the lake, and Pierre Berton‘s splendid Klondike: The Last Great Gold Rush.

Berton was describing how people made the epic journey to the Klondike gold field, which was inconveniently situated in Butt End Of Nowhere, Yukon Territory. There was the standard route, starting from the Alaskan coast and climbing over the Chilkoot Trail or White Pass. There was the “Rich Man’s Route”, which involved chartering a boat and trying to get up the Yukon River before it froze over. There were various “All-Canadian” routes, which involved very long forest treks starting in various Canadian towns. There was an “All-American” route, starting at Valdez, Alaska, and climbing over the Valdez Glacier. (It was “All-American” only to the extent it sneaked past the Canadian border formalities that were in place along the more popular Chilkoot/White Pass route.)

And then there was another “All-American” route, taken by very few, and recorded in Dietz’s book. If you drew a straight line from the Klondike goldfields to the Pacific coast, the shortest line would come out about where Dietz’s route started. Otherwise, it has absolutely nothing to commend it. And some features that make the unbiased onlooker shout, “What? Are you crazy!” The starting point, Yakutat Bay, was extremely remote and sparsely settled. The route then went straight over the high and heavily glaciated Wrangell-St Elias Range and then dropped down into the poorly mapped headwaters of the Tanana and Yukon rivers, still three hundred heavily forested and pretty much unexplored kilometres from the Klondike.

Mount Wrangell
Mount Wrangell, at the north end of the Wrangell-St Elias Range, from Willow Lake
© 2014 The Boon Companion

Berton tells the story from Dietz’s book over four-and-a-half gruelling pages, and that’s what hooked me in. It was a story of a completely mad endeavour going very badly wrong indeed over the course of two years, leaving four survivors from an original party of eighteen. And it had a bonkers, memorable title.

Now, a quarter century after first reading about it, and thanks to a generous retirement gift from my over-indulgent colleagues, I finally own a first edition of Mad Rush For Gold In Frozen North.

Dietz tells how his party of eighteen set off from New York on February 1st 1897, intent on reaching the Klondike. The story effectively ends on April 18th 1899, when he describes wakening up in the hospital in Sitka, Alaska, one of only four survivors.

Between those two events, the story involves a stormy voyage on a leaking, condemned brigantine with a drunken captain; the ascent of a glacier (Berton calls it the Malaspina, Dietz says only that their route started at Disenchantment Bay and passed between Mount Logan and Mount Hubbard, which places them at altitudes of 2000m on either the Hubbard Glacier or the Seward Icefield); the loss of three companions by falls into three separate crevasses; the dragging of an 800-pound generator up and over the icefield, only to abandon it in the forest beyond; a prolonged overwintering in a tiny cabin, during which men went mad with boredom, and three walked out into the snow never to return; the death of three more men in a landslide while prospecting for gold the next spring; the abandonment of efforts to reach the Klondike, and a starving retreat back across the icefields; the killing and eating of the sled dogs; deaths from scurvy and fever and frostbite-induced gangrene; the final arrival on a deserted beach, and subsistence on rotten fish until a passing revenue cutter rescues the survivors.

If you’re into astonishing tales of hardship and survival, then this is your sort of story. Otherwise, probably not. But now that I’ve read it, I have to declare that it seems to be a pretty obvious fabrication.

The Native Americans Dietz says he encountered at Yakutat are a fantasy hybrid of Tlingit and Inuit culture—living in igloos and raising totem poles, producing canoes that are a strange mixture of dug-out and kayak.

When overwintering, he says his party were subjected to months during which the sun did not rise—”at no time were the days well enough defined for us to have marked them off on a calendar had we had any.” That’s rather remarkable at 60°N, well below the Arctic Circle.

Not only did his party lose track of where they were (it’s pretty much impossible to make sense of his journey on a modern map) and what month it was, Dietz also seems to forget how many people were in his party. Three deaths in crevasses, one death from fever, and three departures leave eleven of his eighteen to overwinter—Dietz records that number, and all is consistent. But in the spring, four named individuals die … and according to Dietz eight now remain. Then one dies of gangrene on the return journey, and three die on the beach, leaving the four survivors with which the book ends. So an extra man seems to have turned up during the first winter.

It’s amazing that someone as knowledgeable as Berton’s didn’t spot these problems. And it’s worrying that this one book seems to have given rise to the historical record of a “Malaspina route” to the Klondike. Did Dietz embroider on a real journey, or was the whole Malaspina route just knocked together in the local Public Library?

Convinced I can’t possibly be the first to notice this, I’ve been searching around for confirmation from other people, which turns out to be difficult to find. However, I have turned up an article written by Terrence Cole, Professor of History at the University of Alaska, Fairbanks. In 2008 he wrote a piece, mentioning Dietz’s book, for the Washington State Historical Society’s magazine Columbia, entitled “Klondike Literature” and with the tagline, These Alaska gold rush tales share a prominent characteristic with the region’s mountainous terrain—they are very tall.

Even as we speak a back-number of the relevant volume is winging its way to me. I’ll keep you posted. *


* My supplementary post concerning Cole’s article is here.

Angela Gannon & George Geddes: St Kilda – The Last and Outermost Isle

Cover of St Kilda: The Last and Outermost IsleAngela Gannon and George Geddes were  archaeologists with the (now-defunct) Royal Commission on the Ancient and Historical Monuments of Scotland. Both have worked on the islands of St Kilda (Geddes lived there for six months), so they’re well qualified to write this book.

St Kilda is that island group you can never quite see on the weather map during the Scottish weather forecast, because it’s out in the Atlantic behind the presenter’s head.

St Kilda map by Eric Gaba
Map by Eric Gaba (GNU Free Documentation Licence 1.2)

It consists of one big island, Hirta, which hosted the only permanent settlement until it was evacuated in 1930. There are three smaller islands, Soay, Boreray and Dùn, which were used for pasture and agriculture. The islanders also regularly harvested eggs and seabirds from several sea stacks in the surrounding ocean.It’s a World Heritage Site and a National Nature Reserve. Incongruously, it also hosts a Ministry of Defence missile tracking station, on a few hectares of land leased from the National Trust for Scotland, with two radar installations perched on Mullach Mòr and Mullach Sgar. These two locations are served by a narrow ribbon of tarmac. The construction team must have been at a bit of a loose end, because when the Boon Companion and I were there in 1995, we found a zebra crossing laid out in the windswept col between the two radar towers.

For some reason people think I sometimes just make stuff like this up, so I tracked down a photo of it for you, from 2002 (original context here):

Zebra crossing, St Kilda
© Russel Wills, Creative Commons 2.0

Since it was evidently getting a little scadded by that time (presumably by the large number of people re-enacting the cover of the Abbey Road album), I was cheered to discover that it had later been repainted:

QinetiQ staff ensured that the St Kilda Archaeologist was consulted over issues which may be of concern, including the emplacing of a new crash barrier on Mullach Sgar; the construction of a concrete plinth at the POL ramp and the repainting of the zebra crossing.

St Kilda Archaeologist’s Report (2002)

Gannon and Geddes’s book sadly doesn’t contain a picture of the zebra crossing, but it is otherwise chock-full of images of St Kilda. The latter half of the book is a pictorial section, in themed subdivisions each with a little introductory commentary: Landscape, St Kildans, Seasons, Tourism, Evacuation, Military, Expeditions. For me, that half alone is worth the price of admission. There’s some glorious landscape photography in there, along with early photographs of the St Kildan community.

The first half of the book is a history of St Kilda, largely based on archaeological evidence. It’s heavy on archaeological detail, and tends to assume that the reader will already know what a cleit, a naust, or a consumption dyke are. Sometimes explanations turn up later in the text; sometimes not. It’s a little light on the detail of the St Kildan way of life from the historical era, but there are plenty of other books that fill that gap. What it does do very well is put St Kilda back into a wider context—this was never the utterly isolated island that popular accounts make it out to have been, but always part of a wider Hebridean seafaring community. A killer fact for me was to find out that Dunvegan Castle, in Skye, didn’t even have a landward entrance until the eighteenth century—sea travel was how people got from place to place, and when you understand that, St Kilda stops seeming so cut off from the world.

Cover of St Kilda and Other Hebridean OutliersThe book also puts to rest the old story that the main settlement on St Kilda had at one time been in Gleann Mòr, on the north side of the island, rather than the current, more sheltered, location at Village Bay on the south side. The archaeology shows that the ruins in Gleann Mòr are actually of bothies and sheep-folds, used by the islanders when grazing their flocks in that area.

If you want a book that tells more about the St Kildan way of life (including the story of the last Great Auk, and instructions on how to make socks out of gannets), I can recommend Francis Thompson’s St Kilda and Other Hebridean Outliers (1988). It’s of course not up to date with the recent archaeology, but otherwise very satisfying. As a bonus, you get chapters on such out-of-the-way places as North Rona, Sulasgeir, the Flannans, the Monachs and Heisgeir Rocks.

Simon Ingram: Between The Sunset And The Sea

Cover of "Between The Sunset And The Sea"

This one’s something I read earlier this year, posted now as a Christmas recommendation for anyone who knows a hillwalker. It’s the sort of book that has something for anyone who is even vaguely interested in British hills.

It is subtitled A View of 16 British Mountains. The sixteen mountains are: Beinn Dearg (the one round the back of Liathach), the Black Mountain, Cadair Idris, Crib Goch, Cnicht, Cross Fell, Shiehallion, Ben Loyal, An Teallach, a selection of Assynt hills, Askival, Ladhar Bheinn, Loughrigg Fell, Great Gable, Bein Macdui and Ben Nevis. So a fairly mixed and scattered sampling from across Britain.

Simon Ingram is editor of Trail magazine, so no stranger to outdoor writing.

Now, I have to confess I’ve never read Trail in my life. I pick it off the newsagent shelf occasionally, leaf blankly through its brightly coloured pages, sigh, and put it back again. I’m a member of that a silent majority of hillwalkers who don’t read outdoor magazines and don’t endlessly prowl gear shops. We wander the hills wearing the same old gear every year until it wears out, and then we venture grudgingly into a shop to try to buy something new that’s as close as possible in every way to the old stuff we had before.  We are suspicious of any hill activity that involves the words “challenge” or “adventure”, because we look on the hills as places that offer comfort, quiet and contemplation. If we find ourselves being “challenged” or “having an adventure”, then we’re pretty sure we ‘ve just done something wrong, and we try very hard to learn from the experience so that it doesn’t happen again.

So, to be honest, Ingram’s descriptions of his own hillwalking experiences seem a little overwrought to me. He seems constantly to be having adventures—setting off late, flirting with terrible weather, being forced to change plans late in the day, and fretting about gear and water and navigation and exposed ridges. I kept feeling that he could avoid all this if he just, well, sorted himself out a bit better. His description of An Teallach, in particular, is so full of episodes of awe and foreboding that it reads more like a trip to the Gate of Mordor than a day hike up a lovely big mountain.

Fortunately, the sixteen mountains aren’t actually what this book is about. They are just the narrative hooks from which Ingram hangs fascinating discursive essays on pretty much all things hill-related: mining and rock-climbing, natural history and weather, painting and poetry, history and geology. He has a great sense for a telling anecdote and a colourful character. We read (among many other things) about the Welsh potholers squeezing through into a new chamber, only to find themselves in a disused mine being used to store dynamite; the marvellously improbable nocturnal encounter between Bill Tilman and Jim Perrin in the summit shelter of Cadair Idris; Norman Collie‘s panic attack on Ben Macdui; the alligators on the Hebridean island of Rum; and the odd characters involved in running a weather station on Ben Nevis and a physics experiment on Schiehallion.

So, apart from intermittent twinges of worry about the sheer intensity of Ingram’s relationship with some of his chosen hills, I enjoyed every page.

Glen Affric from Mullach Fraoch-choire
Comfort, quiet and contemplation
Looking down Glen Affric from Mullach Fraoch-choire, Summer 1980

Gene Kranz: Failure Is Not An Option

Cover of Failure Is Not An OptionGene Kranz is the most famous of NASA’s Flight Controllers, having led Mission Control on both the Apollo 11 first Moon landing, and the Apollo 13 crisis. This, his insider memoir of the Mercury, Gemini and Apollo years, was published in 2000.

As an Apollo buff, it’s odd that it has taken me fifteen years to get around to reading it. And there’s really only one reason for my having put this off—that terrible title. It was such an incredibly fatuous bit of content-free motivation-speak when Ed Harris uttered it (while playing Gene Kranz) in the 1995 film Apollo 13, I confess to having felt slightly betrayed when Kranz adopted it as his own.

To the extent I’ve been drinking coffee out of this mug for a few years:Failure Is Always An Option

In any case, Kranz never said it. It came from something said by Jerry Bostick, Flight Dynamics Officer on the Apollo 13 mission, when he was interviewed by the scriptwriters for Apollo 13. He said something rather different: “… when bad things happened, we just calmly laid out all the options, and failure was not one of them. We never panicked, and we never gave up on finding a solution.” The scriptwriters spotted the potential for a striking phrase, albeit one so trimmed down that it sent a different message.

Kranz seems to have embraced that phrase, however. And he has said other, similar things. In the aftermath of the Apollo 1 fire, in which astronauts Gus Grissom, Edward White and Roger Chaffee died, Kranz delivered a speech in which he instructed his team to write the words “Tough and Competent” on the blackboards in their offices, and to never erase them. When I first heard that story, I couldn’t see how a group of very smart, hard-nosed engineers could find that in any way motivating. It seemed … well, childish. Actively demoralizing.

But it needs context. In the video below, Kranz reenacts his “Tough and Competent” speech for a 2003 documentary entitled Failure Is Not An Option:

Context is all. Kranz is infinitely more nuanced than the “Tough and Competent” soundbite suggests. He delivers a package, and the memorable, pithy phrase is just a wrapper for the whole deal.

So, OK. I belatedly decided that I needed to read the package Kranz had wrapped in Failure Is Not An Option.

It’s beautifully written. I don’t know how much of that is Kranz and how much is Mickey Herskowitz, a journalist that Kranz credits with helping him “condense the story and better focus my role in the story.” However it came about, the narrative pacing is excellent, and the atmosphere of Mission Control beautifully conjured up. I developed sweaty palms during the recounting of the Apollo 11 landing, and it’s not like I haven’t read that story before.

And Kranz also gives an insight into what it was like to do that job at that time. Seventy-hour weeks on government pay, keeping going with black coffee and cigarettes, and then a (Flight Surgeon issued!) double whiskey to come down at the end of the stint of duty. The quantity of beer consumed after missions seems to have been heroic, and the drink-driving rate … astonishing. But they just paid their fines and keep on doing it.

There’s a lot of technical detail, but it’s there to show what a hard job Mission Control is, especially at that time. They were dealing with big, complicated and sometimes potentially explosive devices, operating in an unfamiliar environment, with people inside them. The devices kept changing, radically, on a rapid schedule. And the ability to test these things was minimal, given the financial and time constraints imposed. They just had to try to understand as much as they possibly could about how everything worked, practise constantly in simulations, and then deal with problems on the fly. Kranz describes very clearly how it feels to make a wrong decision in simulation, killing the simulated crew, while the astronauts who are just about to be strapped into a rocket under your guidance stand in a corner and watch the whole thing.

The problem-solving is an interesting mix. On the one hand there are complicated software patches being developed in a couple of hours, to fix a control problem that would otherwise abort the mission. On the other hand, there are some pretty basic approaches: force it (to get a reluctant docking adapter to work), tap it (to get a dodgy panel button to behave) and switch it off and on again (or “cycle the circuit breaker on the radar”, in Mission Control parlance). Kranz calls this a “shade-tree mechanic” approach.

Kranz also talks a lot about himself. He has the slightly teary-eyed patriotism, the ready religiosity and the unique American reverence for his country’s flag that seem to go with a military career in 1950s America. He loves his flat-top crew cut, but lets his hair grow when his daughters complain that it is scaring the boys who come to visit. Then after a while everyone realizes that it’s actually Gene Kranz himself that scares the boys, and he gets to have his crew cut again.

He doesn’t make himself out to be a steely-eyed missile man; he tells us how often he gets angry, demoralized, anxious and confused. But he feels it’s very important to look and behave like a steely-eyed missile man, just as often as you can, because that’s how you get your job done in this environment, and keep those around you doing their jobs, too.

I think the scene in the book that best sums up the man and his attitude to his work appears in the chapter about the Apollo 1 fire. Kranz was at home when it happened. When he found out about it, he writes, “I grabbed my badge and my plastic pocket protector full of pencils.” And then he drives through every red light on the way to Mission Control.

Organized. Meticulous. And bloody determined.

Book Collector

When you have more than 4000 books scattered around the house, it gets difficult to find the one you’re looking for. Especially if you’re hunting for a short story and you can’t quite remember which book you read it in. This used to happen a lot, chez Oikofuge. But not any more.

Book Collector is a book cataloguing program from Collectorz.com, and it’s the best I’ve run into. I can’t now imagine life without it.

Data entry is easy, and highly automated. If your book has an ISBN, you can type it in or scan it with a barcode reader, and the basic book data are pulled down off the Collectorz.com central database. These days, the ISBN is readily visible on the back cover, but with older books (1967 to the mid-70s) you may have to look for numbers written on the spine, or listed in the front matter. Some UK publications of that vintage have nine-digit SBNs instead of ten-digit ISBNs, but the conversion is easy—just add a zero at the left end.

Before 1967, there were no ISBNs, but Book Collector also lets you add books automatically by entering the author and title. This option will bring up all matching entries in the Collectorz.com database, so you might need to do a little poking around to find the entry that matches your specific edition.

That will get the basic data into your database, including a version of the cover art if it’s available. But the software offers a huge number of additional relevant data-fields, which you can fill in or ignore according to your wishes. (You’ll probably want to make use of the “book location” field, unless you have a memory much better than mine.) It even lets you create custom fields.

First page of data entry screen
First page of the data entry screen
Note all the additional tabs at the top

The on-line cover art comes from a variety of sources—it varies in size and quality, and can occasionally be for the wrong edition of your book. But Book Collector has an automated search facility that lets you look for more cover art on-line. It also lets you add your own art by scanning the cover. If you’re of an obsessive nature (who, me?) you may find yourself scanning a lot of book covers to get precisely the right edition.

You can view your database in various ways, usually splitting the view between some sort of overview of the books, and a detailed view of a specific volume. The overviews available are a “bookshelf” depiction of cover art (which I find useful when browsing for a specific book) and a spreadsheet-type display of multiple customizable columns. There’s also a “cover flow” option available, but the less said about that the better—it’s the sort of triumph of style over utility that could only appeal to an Apple user.

Book Collector screen capture images view
Books containing Asimov short stories, displayed using one version of the “Images” view on the left, with a “Details” view of a specific book on the right. Note the contents list.
Book Collector screen capture 2
The same short stories list, this time displayed with a “List” view using customized columns on the left, and “Details” view on the right

You can choose from a growing number of different formats for viewing your book details; or, with a little knowledge of HTML/ XML, and some digging around in the file structure, you can customize up your own view.

Searching is easy. There’s a quick-and-dirty search option that just looks for your chosen text anywhere in the book’s description. It’ll bring up false hits, but often it lets you narrow down the display enough to zero in visually on the book you want. But you can also create moderately sophisticated “filter” views, using simple Boolean logic functions, to pull out the books you want.

Boolean search for Asimov short stories
Boolean search for Asimov short stories

As someone who has a lot of short stories in my book collection, I particularly value the fact that I can enter a contents list for my books. Book Collector offers you a cut-down database and user-defined fields for each short story in a book. Unfortunately, the contents list won’t come down to you automatically from Collectorz.com—manual entry is required, which can be tedious if you have a lot of “complete works” volumes on your shelves. And I would appreciate it if Book Collector some day offered a detailed view by short story as well as by book. But that’s a minor niggle when I can choose to display anything I want in the columns of the spreadsheet view.

What else? Collectorz.com offers a cloud storage facility, so you can be sure you have the same data on all your devices. There’s a responsive Support team (I’ve only ever had to use them once) and an active users’ forum where people are happy to help out with minor queries. And there’s a free try-before-you-buy download.

If you’re in the market for book cataloguing software, do give it go.

Poul Anderson: Three Hearts & Three Lions / The Broken Sword

ThreeHearts&ThreeLionsBrokenSwordPoul Anderson (1926-2001) was a prolific American science fiction and fantasy writer. His name is Danish (pronounce it “pole”). He wrote hard science fiction adventures and puzzle stories, which is how I came to start reading his work. I’ve come late to his fantasy work, since I don’t generally have much taste for that genre.

From his earliest work, Anderson was a stylist—he cultivated a  slightly archaic vocabulary and sentence structure, such that his work can often be recognized from just a few paragraphs. And he was given to lyrical descriptions of the outdoors—the smells, the sounds, the sights, the feeling of being out in a big, wide, complicated world (not necessarily our own world).

I like hard science, I like puzzles, I like words and language, I like the outdoors … I was a reader made for Poul Anderson’s writing.

TauZeroFor big, roomy, high-concept SF, we have Tau Zero and The Avatar; for rollicking adventure, well-constructed puzzles and superior world-building, there are his stories of Nicholas van Rijn and Dominic Flandry; and for carefully crafted time-travel stories combined with compelling evocations of past times, there’s his Time Patrol series. His novella “The Sorrow of Odin the Goth” is, in my opinion, the single best time-travel story ever written.

I was prompted to buy this omnibus edition of two of his fantasy novels by reading an extract of Three Hearts & Three Lions in his retrospective collection, Going For Infinity.

The Fantasy Masterworks series is an ongoing effort by Gollancz to republish some of the finest examples of the genre in paperback. In 2002 they republished The Broken Sword (originally published in 1954), and followed it in 2003 with Three Hearts And Three Lions (originally published in 1961).

This is a 2003 Book Club edition combining the two novels. They’re a mismatched pair, presumably forcibly married under the fantasy umbrella in order to produce a fat book-club hardback.


Three Hearts And Three Lions is generally lighthearted and humorous. A Danish engineer finds himself suddenly transported into another world, inhabiting the body of a mediaeval knight. But he seems to be in a world in which magic works. The humour comes from his slow, shocked adaptation to this new reality, as he pieces together an understanding that he has, somehow, found himself in a world in which the Carolingian myths of La Chanson de Roland are literally true. And then he begins to use engineering principles to problem-solve this new world—an understanding that dragons must be very hot on the inside means that he could arrange an internal steam explosion, if he could just get some water down the dragon’s throat …

And there are sly contemporary references threaded through the narrative, as in this sign outside a magician’s shop:

MARTINUS TRISMEGISTUS
Magister Magici
Spells, Charms, Prophecies, Healing, Love Potions
Blessings, Curses, Ever-Filled Purses
Special rates for parties

There’s also a darker and more significant thread running though the story, as our hero comes to understand that he has a significant role to play in this world—that he has been brought there for a reason, and he will understand the reason only if he can work out who he really is.


The Broken Sword, on the other hand, is dark from beginning to end. It seems to be an effort to write something like a new Prose Edda—a story using  Norse and Celtic mythology, and borrowing the styles, structures and rhythms of the old Irish and Norse storytellers. Anderson’s native archaic style lends itself beautifully to this task.

A battle rages between the elves and the trolls, each side manipulated by the Æsir (the old Norse gods) and their enemies the Jötnar (the Frost Giants). The central characters are a changeling (a half-troll left by the elves in place of a human child), and the human child stolen and raised by the elves. They fight on opposite sides. Each has done terrible things, each is doomed, and each is the other’s doom. There are cursed swords, fatal oaths and dark treacheries. The characters are given to breaking into skaldic alliterative verse from time to time:

Home again the howling,
hail-streaked wind has borne me.
Now I stand here, nearing
ness of lovely England.
She dwells on these shores, but
shall I ever see her?
Woe, the fair young woman
will not leave my thinking.

And Anderson’s prose drives the thing along in style. Here, the god Odin pays a visit, one dark and stormy night,  to reclaim a debt:

Someone knocked on the door leading into Freda’s chamber from the yard. The bolt crashed up and the door flew open. The storm-wind galed around the little room, blowing the cloak of the one who entered like huge bat wings.
He had to stoop under the roof. He bore a spear in one hand that flashed with cold unearthly light, the same steely blaze that lit his one eye. His long wolf-gray hair and beard streamed down from under the hat that shadowed his face.
His voice was the voice of wind and sea and the vast hollow spaces of the sky: “Freda Ormsdaughter, I have come for the price you swore to pay.”

That’s just not going to end well, is it?

Through it all, there is a thread of melancholy about the advent of Christianity, which is slowly driving the old gods and supernatural creatures out of the world. Although it’s a grim story, there is also a sense of deeper loss, that something bright is going out of the world as the old ways die.

I have the feeling Anderson would agree with Algernon Swinburne:

Thou hast conquered, O pale Galilean; the world has grown grey from thy breath

Hymn to Proserpine (1866)