More Drivel For the Masses
Just a quick update to everything that matters in the universe:
1) Today I received a copy of the paperback edition of The Deserter. I think it looks even better than the trade paperback! I also took possession of two copies of the U.S. Hardback. All is excellent.
2) I'm reading the gigantic The Sunne in Splendour by Sharon Kay Penman. So far -- 100 pages -- it's excellent, but what's intriguing me are the ways in which she throws away scenes I would consider crucial. For example, at one point, we have an extremely important murder taking place. We see things from the point of view of the victim for a while, but long before the fatal blow is struck, we hop into somebody else's POV and miss out on the potential horror of the situation as a young boy realizes that this is *really* it. He is about to be killed. And even when the blow is struck, the sentence reads something like: "the [killer] swung at the boy." In other words, there is an ambiguity -- did he even connect? -- that robs the scene of its power to shock or surprise.
Of course, I don't have a zillionth of this woman's skill overall, so I'm going to shut up now and enjoy the rest of the read.
3) EasterCon is next week. I'll be there, will you?
4) Power is Power.
5) I saw yet another excellent French movie recently. A Prophet.
6) More soon, I expect.
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1) Today I received a copy of the paperback edition of The Deserter. I think it looks even better than the trade paperback! I also took possession of two copies of the U.S. Hardback. All is excellent.
2) I'm reading the gigantic The Sunne in Splendour by Sharon Kay Penman. So far -- 100 pages -- it's excellent, but what's intriguing me are the ways in which she throws away scenes I would consider crucial. For example, at one point, we have an extremely important murder taking place. We see things from the point of view of the victim for a while, but long before the fatal blow is struck, we hop into somebody else's POV and miss out on the potential horror of the situation as a young boy realizes that this is *really* it. He is about to be killed. And even when the blow is struck, the sentence reads something like: "the [killer] swung at the boy." In other words, there is an ambiguity -- did he even connect? -- that robs the scene of its power to shock or surprise.
Of course, I don't have a zillionth of this woman's skill overall, so I'm going to shut up now and enjoy the rest of the read.
3) EasterCon is next week. I'll be there, will you?
4) Power is Power.
5) I saw yet another excellent French movie recently. A Prophet.
6) More soon, I expect.
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Give 10
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