The Perpetual To Read Pile (As it never ends, not because I'm Perp!)

[Perpetual Man]

Would you say they need to be read in order? Would I be missing important story arcs if I missed out Vamphiri?

I always felt that Vamphiri did not really fit in, almost a stand alone, whereas the next three books all fit together nicely, tying in with a few things dropped in the first book. So in answer to the question, it could be skipped... but that does not mean nothing important happens in it that I've missed.

I know there is a major plot point that happens, and it might be in the second book.

 

[Perpetual Man]

I've now finished Slade House. (That took a while )

Here’s a funny thing, I would never have considered reading any David Mitchell if it were not for the movie Cloud Atlas, this I watched and enjoyed, so as is often the case I bought the book and read it. Again, this was something I really enjoyed.

Somewhat inevitably I was tempted to read some more, and finally got around to it, randomly choosing Slade House. I’m not sure what I was going to think, but for some reason part of me assumed that Mitchell’s work was non-genre, but in fact with the example of this and the aforementioned ‘Cloud Atlas’ nothing could be further from the truth. Slade House is genre, in fact it is so genre that it should be sticking out like a sore thumb. Only it doesn’t.

The book is quite short, but the chapters are long, each chapter is set nine years after the last starting in 1979. To begin with it would be easy to believe that the story is well written tale of the modern world, without any fantastical attributes. A young boy is dragged along by his mother to the strangely positioned, but intriguing ‘Slade House.’ She is going there to give a musical recital for its residents and guests, including virtuoso violinist Yehudi Menuhin. Of course, this might be something that appeals to an adult, but to a young lad, especially an odd young lad.

Once at the house he is left in the garden with the son of the owner and starts to form a bond, the glimmerings of a friendship, something he has never really known before… and then things go crazy.

The ideas on offer are fantastical, brilliant and different. It lends something different to a story that allows it to stand out. There is an element of fantasy involved, but there is more than a feel of horror as well, but due to the very nature of the story it is near impossible to go into detail without delivering a wealth of spoilers.

It might be that part of the appeal to me are the years in which the story is set, Mitchell and myself are of an age, so the times he chooses are ones that he is familiar with, so accordingly I am familiar with. This might give the story a cosiness to me that others, their ages ten years apart from my own might not connect with in the same way. (It’s odd to think that someone only ten years younger than me might find 1979 ‘long ago’). There is something about the writing that reminds me Iain Banks, particularly things like Crow Road and the Wasp Factory.

I’d also read recently that Mitchell has stated that most of his writing takes place in the same ‘universe’ and with that in mind I realised there were things that could conceivably tie this in with Cloud Atlas. Of course, whether I would have seen the same things had I not read the above snippet is open to debate.

In all, an engaging and enthralling read that I enjoyed immensely.

(Also, I have to admit it’s always a thrill when someone uses a real person like Yehudi Menuhin, a logical choice for the story, but on a personal level even better because I am/was related to him)

 

[ralphkern]

I remember enjoying the Necroscope novels (I think I got as far as finishing the Vampire Wars trilogy which came after). I didn't feel any need to go further than that, as I felt the story was complete by then, and the final part of Vampire Wars reached a cresendo which the others wouldn't be able to top.

 

[Perpetual Man]

I remember enjoying the Necroscope novels (I think I got as far as finishing the Vampire Wars trilogy which came after). I didn't feel any need to go further than that, as I felt the story was complete by then, and the final part of Vampire Wars reached a cresendo which the others wouldn't be able to top.

As mentioned above I did go beyond that, and I think you are right.

The following books had the same engaging style, but they were written to fill gaps in continuity. Unfortunately they were gaps that did not exist so it felt shoehorned rather than flowing.

Not sure about anything after the Lost Years series, because I stopped. (But have them somewhere to read....)

 

[Perpetual Man]

 

[Perpetual Man]

The Graveyard Book

This is a remarkable book.

I do not think I could say otherwise considering the number of people who told me so when I said I was going to read it.

Although it starts with a scene that is grim and horrific in nature there is a touch of whimsy to it, for even as a family is brutally murdered by the sinister Man Jack, the overwhelming image is of the toddler escaping his cot, the house and wandering down the dark night time streets, avoiding his fate and ending up at a graveyard…

When I started reading I felt that each chapter was more like a short story, albeit with the same characters. Each one a progression of time in Bod’s (Nobody who was once the toddler). Each chapter seems to be a standalone piece, as Bod explores the graveyard around him, and learns more of the world he has become part of. From the ghosts who live beneath the stones, to the stories that come with them.

From there we are introduced to the mysteries of the Ghoul Gates, The Sleep, the unmarked dead, witches’ thieves and other forgotten souls.

But as the story progresses the strings that Gaiman has flung through the early chapters start to come together, being pulled tighter and tighter by a progressive plot, until all the apparently disparate stories come together into a glorious whole, which is a sure sign of why Gaiman is seen as one of this country’s pre-eminent writers.

There are some lovely touches throughout, one of my favourite being that every time a new ‘dead’ person is introduced we are gifted with a line from their stone, that tells a lot about them in a few words.

I think this is one of the strengths of the book, that the majority of the characters are dead, moved onto what comes next, living a polite and quiet existence around the stones where they were laid to rest, ironically feeling more alive than many characters thrown at the reader by lesser authors. Although there is no heaven on show, there is something strangely beautiful in the afterlife portrayed here. There are worse things that could happen after one bites the bullet.

There are a few tricks that Gaiman employs that I would say come close to being stereotypical, but even as you think ‘I have seen this before’ the concept is turned on its head and you find your expectations surprised.

The book ends with a dramatic climax, that does not disappoint, and ends in many ways with the bittersweet end of childhood. Although this is a fitting way to conclude the book, the change and what it means for Bod are strangely, both triumphant and sad.

Undoubtedly the book it not only the work of a great author, but of one at the height of his powers. It is well written, fresh ideas and some fascinating concepts. It travels at a great pace, but not too fast and leaves you wanting more.

In fact, as I type this I feel less like calling Gaiman an author, because this book is a greater feat than that, in this he is a storyteller, weaving a tale that draws you into other lives, deaths and unlives, brings it vividly into the world and leaves strands clinging to you when you have finished, as though one is waking from the best of dreams.

 

[Perpetual Man]

 

[Perpetual Man]

Yet another Dune book released by the duo of Brian Herbert and Kevin Anderson, but this one is a lot different from their normal milking of the cash cow.

In many ways this is a fascinating read, presenting discovered material from Frank Herbert himself, allowing an insight, not only into the way that books come together, especially in the pre-digital age, but also in the way that Dune itself came into existence.

The Road to Dune is divided into different parts, first and foremost the science fiction story/novel that was the precursor to Dune, unpublished but where one can clearly see Herbert’s imagination percolating as ideas fall into place.

Duneworld is a SF romp, lacking much of the depth of the final novel, but is a fun read all the same. Apparently the manuscript was a rather vague affair and Herbert jr. and Anderson have reconstructed it. In the broadest strokes it tells the Dune story, but many of the names are different, or not quite the same – and then there are those that are the same and it is a warm glow to see that some of them made it through from these early stages.

There are no Fremen (but there are Freemen!), no Bene Gesserit, so consequently no messianic outing, the main character is the Duke not his son and the properties of the spice are still being discovered.

There are notes on Herbert as a journalist trying to get interest in an article based on something he had discovered from a scientific gathering, how sand was being knitted together by one certain type of grass, slowing or stopping erosion in deserts and uh, other sandy areas.

It is obvious that the writer was incredibly intrigued by the idea and it is almost certain this was the genesis of an idea that would evolve into Dune.

The next part of the book contains letters going back and forwards between publishers, both magazine and book, as interest is either shown or not shown in the novel. It is interesting to note that one of the reasons Dune was such a hard sell was the size of it, far too big apparently. 600 pages is probably quite standard for many novels these days, but back then it was excessive and broke the mould.

There are also chapters from the first two Dune novels that were cut. These are interesting reading, and although perhaps irrelevant, give an insight into the way the book was written and edited. Had they been included, particularly those from Dune Messiah, would have given a totally different ending to the novel.

The final part of the book are a selection of short stories, all written by Brian Herbert and Anderson, all set in the Duniverse , and all become hard to come by in their original published format. All the stories are solid and well told, with only one seeming to have no point. Even those that seem a little far-fetched are told well enough, for me they seem to step outside the elements that make Dune, Dune.

It does not stop them from being entertaining and well told tales.

This could be an invaluable guide and insight for anyone wanting to be a writer, showing different aspects of the publishing world, from the genesis of an idea, to the development, to the attempted publishing, unprecedented success and the continuing process of creation as others continue your work.

In this instance though, it probably helps if you are a fan of the original novel

 

[Danny Creasy]

Yet another Dune book released by the duo of Brian Herbert and Kevin Anderson, but this one is a lot different from their normal milking of the cash cow.

In many ways this is a fascinating read, presenting discovered material from Frank Herbert himself, allowing an insight, not only into the way that books come together, especially in the pre-digital age, but also in the way that Dune itself came into existence.

The Road to Dune is divided into different parts, first and foremost the science fiction story/novel that was the precursor to Dune, unpublished but where one can clearly see Herbert’s imagination percolating as ideas fall into place.

Duneworld is a SF romp, lacking much of the depth of the final novel, but is a fun read all the same. Apparently the manuscript was a rather vague affair and Herbert jr. and Anderson have reconstructed it. In the broadest strokes it tells the Dune story, but many of the names are different, or not quite the same – and then there are those that are the same and it is a warm glow to see that some of them made it through from these early stages.

There are no Fremen (but there are Freemen!), no Bene Gesserit, so consequently no messianic outing, the main character is the Duke not his son and the properties of the spice are still being discovered.

There are notes on Herbert as a journalist trying to get interest in an article based on something he had discovered from a scientific gathering, how sand was being knitted together by one certain type of grass, slowing or stopping erosion in deserts and uh, other sandy areas.

It is obvious that the writer was incredibly intrigued by the idea and it is almost certain this was the genesis of an idea that would evolve into Dune.

The next part of the book contains letters going back and forwards between publishers, both magazine and book, as interest is either shown or not shown in the novel. It is interesting to note that one of the reasons Dune was such a hard sell was the size of it, far too big apparently. 600 pages is probably quite standard for many novels these days, but back then it was excessive and broke the mould.

There are also chapters from the first two Dune novels that were cut. These are interesting reading, and although perhaps irrelevant, give an insight into the way the book was written and edited. Had they been included, particularly those from Dune Messiah, would have given a totally different ending to the novel.

The final part of the book are a selection of short stories, all written by Brian Herbert and Anderson, all set in the Duniverse , and all become hard to come by in their original published format. All the stories are solid and well told, with only one seeming to have no point. Even those that seem a little far-fetched are told well enough, for me they seem to step outside the elements that make Dune, Dune.

It does not stop them from being entertaining and well told tales.

This could be an invaluable guide and insight for anyone wanting to be a writer, showing different aspects of the publishing world, from the genesis of an idea, to the development, to the attempted publishing, unprecedented success and the continuing process of creation as others continue your work.

In this instance though, it probably helps if you are a fan of the original novel

Thank you, a most helpful post. My attachment to the Dune series dwindled with each new book. Perhaps I should reengage with The Road to Dune.

 

[Perpetual Man]

Thank you, a most helpful post. My attachment to the Dune series dwindled with each new book. Perhaps I should reengage with The Road to Dune.

I'm glad you find it helpful, Danny. Unfortunately I cannot recommend many of the recent books, the Winds of Dune nearly finished me off. I have a few others in my to-read pile but cannot believe I'll really enjoy them.

 

[Danny Creasy]

I'm glad you find it helpful, Danny. Unfortunately I cannot recommend many of the recent books, the Winds of Dune nearly finished me off. I have a few others in my to-read pile but cannot believe I'll really enjoy them.

Thanks, again.

 

[Perpetual Man]

The City of Dragons is an excellent continuation of a series that has grown in strength book by book. To be fair anything written by Robin Hobb is never going to be poor, the only real problem that she faces is that she sets herself such an incredibly high standard that it is easy to forget that even her lesser books are masterpieces.

This is the third (of four) books in The Rain Wilds series, and continues the adventure. A small motley crew of misfits and hired hands have led an equally sorry group of malformed dragons across the inhospitable lands of the Rain Wilds in the hope of finding them safe haven, or against all odds the lost ancient city of Kilsingra.

The first two books in the series followed that journey, in many ways it could be considered Hobb’s take on the classic quest format so common in fantasy novels, but with her own unique spin on it. Perhaps it did not work quite as well as many hoped, but it was a well written and engrossing read. It is now an element of the story that has been removed because the explorers and dragons have reached the lost city and things really kick off.

To start with getting to the city itself is nearly impossible, so the explorers and dragons have set up a small community in the ruins of a village that overlooked the city. The dragons are uncomfortable, struggling with their disabilities, but the city is a beacon to them all and when the only dragons that can fly goes back and forth to the huge township and secrets begin to be revealed things start to get interesting.

Hobb seems to be in her element describing the remains of the ancient city, the miraculous things that are hidden away there just waiting to be recovered. But one of her greatest strengths has always been the characters that permeate her novels, both good and bad and inbetween and they, combined with all the threads she has been weaving through the series elevate this book and the series.

To be honest, it could be easy to say that not much happens in this novel, a boat goes down the river, the characters explore the city and learn things, the dragons begin to learn more about the city and the dangers of complacency… but it is a lot more, it is a supremely able and imaginative writer, writing at the top of her form, moving all the bits into place for the conclusion of the series in the next novel.

And this is what really makes the whole thing work so well. It is the growing feeling of anticipation as the reader sees everything starting to come together. Witnessing the plans and schemes of different people and factions, all in conflict with one another, yet to actually come together, getting closer and closer all the time. These are the things that work so well building anticipation for the conflict to come.

It might also be said that story could be considered a study of outsiders striving for something better, of the dangers of complacency, of greed and prejudice and of goodness.

 

[Perpetual Man]

So here we are, the end of the year and how have I done?

The main targets of the year were to read more books than the previous, and to catch up with the backlog of comics that had been allowed to develop over the last few months. When I say few, I mean 24....).

Obviously, I did not catch up completely, the comics defeated me. I tried to read 25 comics between each book, but when you have over two years’ worth to catch up on and more being added each week, the process of attrition is slowed. That being said I have less than 100 to read now and hope to do that before I pick up another novel.

I did mange to read more than the previous year, 2016 saw me manage 23 books, but I surpassed that and reached 35 this year. However… I did read a lot of very small books which skew the figures somewhat. That being said my page count for 2016 was 7332 and this year I managed 8777 so I did do better than last year. (Also if I wanted to be pedantic and say that I was reading comics in between the books that are not counted, then reading 25 comics between each book, allowing 20 pages per comic adds another 20,500 pages )

 

[Perpetual Man]

 

[Perpetual Man]

 

[Perpetual Man]

My year in Books​

 

[Perpetual Man]

When I first started this thread it was not only to share what I was reading, but to let me see how well I was reading and perhaps, just perhaps, encourage me to read more, something that I felt had fallen by the wayside.

On one level this really worked. As can be seen by the Goodreads statistics above I did manage to read a lot more last year than the previous, but there were a few areas where it fell a little flat! The initial plan was to read a book, then 25 comics and deplete the pile of comics that had built up over the year. I estimated that I would easily catch up on the backlog by April, then have the time to read any more.

This was a severe case of optimism. As the year wound to a close I had not finished the comics...

So, I have spent the first few days of this year rectifying that, and now, for the first time in years, I do not have any comics sitting by my bed waiting to be read. If I read any new ones I shall do it as they come in, and perhaps even be able to take the time to review some of those that stand out in the comics section.

Of course this now clears me up for the 2018 book reading year!

 

[Danny Creasy]

Congrats, PM!

 

[Perpetual Man]

So, here we are at the start of another reading year and I am changing the rules slightly. Last year as I chose a book I replaced it, maintaining a 40 book to read pile, each novel chosen at random. Obviously there are some books left over that were there at the start of last year.

This time around I'm going to read through the pile - so hopefully it will be gone by the end of the year - if not sooner.

I'm not going to post a picture of all the books chosen, most of them have had pictures throughout last year.

The first randomly chosen novel of the year is:

 

[Perpetual Man]

There are certain writers whose style just appeals to a particular reader. It6 does not mean that they have to write an excellent book each time they put pen to paper (metaphorically), but reading one of their novels is like slipping on a cosy pair of slippers – you know that you just enjoy it.

It is rapidly becoming apparent, that for me, Brian McClellan is one of those writers.

Following the resounding success of his opening Powder Mage series, McClellan launces straight back into the same world with the first book in the Gods of Blood and Powders, The Sins of Empire. Set ten years after the first trilogy it does what any good series should do, deepening the world while containing enough familiar elements to keep the returning readers happy.

This is done by setting the story away from the original location of the original series, while keeping it close enough that the events of the first series are easily referenced. Further, some of the characters have carried over, becoming larger players in the new story. This combines with all the magical elements, the Privileged, the Powder Mages, those with Knacks and the lesser known Blood Magic.

Another of McClellan’s strengths are his characters, adding to his already impressive creations some cracking new players, from the legendary Ben Styke, to the spy turned investigator, Michel Brevis, Fidelis Jes are three that really stand out, but that should not undermine the others.

Although the story for us kicks of with the discovery of a powerful ancient artefact, something that the ruler of Fatrasta, Lindet has been desperately searching for, it soon becomes apparent that there has a been a lot going on before this discovery and that Fatastra might not be one of the safest places to live! The ‘downtrodden’ Palo live in what initially appears to be a ghetto, and there is dissent fermenting away, a movement led by the mysterious Mama Palo and her Red Hand. Lindet is determined to maintain control and used her oppressive police force under the control of Fidelis Jes to maintain power.

At the same time there is an illegal pamphlet doing the rounds that is doing it’s best to undermine her powerbase, causing spy turned detective Brevis to try and locate the instigator of the publication. With mercenary troops thrown in, it might seem as though there are problems enough, but the discovery of the artefact triggers the interest of the long dormant and powerful Dynize Empire, setting things up for an explosive finale.

There are a few twists and turns, and a couple of very good reveals, some more obvious than others, but at least three that are true ‘wow’ moments. The best of these is one that is obviously once the reveal comes, but you would never have put it together with the clues given.

There are a few possible problems though. There is a danger of repeating itself, some of the characters could be transposed versions of others from the first series, given slightly different roles and tweaks to character. There is not a single unifying character who stands out as in the first series, it is really missing its Taniel or Tamas, although Styke comes close.

And there is a gut feeling, for me at least, that McClellan might be preparing to pull a similar stunt as he did in the first series, concerning divinity and its unexpected presence on the planet.

All that being said though, I cannot but admit to being impressed and loving the book from cover to cover.