Tuesday, October 15, 2024

The Map That Changed the World: William Smith and the Birth of Modern Geology by Simon Winchester



Too much hero worship and too many tangential digressions
The geologist William Smith is hardly a household name, but then again, how many geologists are? Perhaps Smith is more renowned in his native England, but Americans who aren’t specialists in this field are unlikely to have heard of Smith before coming upon Simon Winchester’s 2001 biography, The Map That Changed the World. Smith’s claim to scientific fame is that he discovered that rocks are arranged in strata, formed in different geological eras, and each strata can be identified by the fossils it contains. This was a very controversial idea at the time, when most people, scientists included, believed that God created the Earth a few thousands, not a few billion, years ago. Smith, also a skilled surveyor, was able, over the course of almost two decades, to single-handedly map the distribution of geological strata over the entirety of England, Scotland, and Wales. Because of good old-fashioned British classism, Smith was unfairly denied the credit he deserved for his discoveries. After reading Winchester’s book, one might also say he hasn’t gotten the biography he deserves either.

The most bothersome aspect of Winchester’s book is his unrelenting hero worship of Smith. There’s no attempt made for even the semblance of objectivity. First of all, “Changed the World” is a bit of an overstatement, isn’t it? Winchester makes it sound like prior to Smith’s map, everyone believed that the Earth was 6,000 years old. Later in the book, he does let it slip that maybe a few other scientists had the same idea. In a book that’s largely about fossils, Winchester doesn’t even mention Georges Cuvier, the Frenchman often credited as the “founding father of paleontology.” Winchester asserts that Darwin would never have formulated his theory of evolution were it not for the earlier pioneering work of Smith. That may be true, but the same could be said for at least a hundred other scientists. That’s what scientists do. They build upon the foundation of knowledge established by those before them. Smith did the same thing, even though Winchester tries to convince you that he was a savant who conducted research and experienced scientific revelations in a vacuum.


I don’t mean to make less of Smith’s discoveries and accomplishments; I only mean to make less of Winchester’s writing about them. Winchester repeatedly uses the words “genius” and “triumph” far too often throughout the book. Just tell us what the guy did, and let the reader be the judge of whether he’s a genius or not. The fact is, Smith only seems to appear sporadically in the book, while Winchester goes off on way too many extended asides: the history of prehistoric life, the history of coal, the history of canal building, the history of Bath as a tourist destination, Winchester’s own travels in the region, etc. Smith, meanwhile, feels like a forgotten guest in his own biography. Winchester also enjoys rattling off the names of myriad English towns and villages as if the reader grew up in this neighborhood and is expected to be intimately familiar with the area. Instead of a New York Times Bestselling scientific biography, the result often reads like a book aimed at a regional audience about a hometown boy who made good.

I read a lot of science biographies such as this. Of those written for a popular audience, the best ones grab your attention with an exciting story of the adventure of discovery. In that regard, The Map That Changed the World is a little on the boring side, mostly due to Winchester’s numerous digressions. Did I learn a thing or two about geology? Yes. Did I learn as much about Smith as I expected? No, not really. If there’s a more academic biography of Smith out there, it might be worth reading, but Winchester’s book wouldn’t inspire me to want to seek one out.
If you liked this review, please follow the link below to Amazon.com and give me a “helpful” vote. Thank you.

Thursday, October 10, 2024

Old Books by (Mostly) Dead Nobel Laureates 2024

Congratulations to Han Kang!

Han Kang, South Korean author of poetry and prose, has been announced as the winner of the 2024 Nobel Prize in Literature. Every year at this time, Old Books by Dead Guys presents the ever-growing cumulative list of works by Nobel laureates that have been reviewed at this blog. Though previously unfamiliar with Han Kang, we have been busy consuming the works of other Nobel-winning writers over the past 12 months. New authors added to the list this year are Russia’s Aleksandr Solzhenitsyn, Italy’s Luigi Pirandello, Mexico’s Octavio Paz, Ireland’s Samuel Beckett, England’s William Golding, and France’s Patrick Modiano. Also, I’ve added new works by Mario Vargas Llosa, Albert Camus, Eugene O’Neill, Mikhail Sholokhov, Knut Hamsun, and Wladyslaw Reymont. Check out the authors below and click on the titles to read the complete reviews.

Bjørnstjerne Bjørnson (1903 Nobel) Norway 🇳🇴

Henryk Sienkiewicz (1905 Nobel) Poland 🇵🇱


Rudyard Kipling (1907 Nobel) United Kingdom (born in India) 🇬🇧

Selma Lagerlöf (1909 Nobel) Sweden 🇸🇪


Paul von Heyse (1910 Nobel) Germany 🇩🇪


Maurice Maeterlinck (1911 Nobel) Belgium 🇧🇪


Gerhart Hauptmann (1912 Nobel) Germany 🇩🇪


Rabindranath Tagore (1913 Nobel) India 🇮🇳

Romain Rolland (1915 Nobel) France 🇫🇷

Verner von Heidenstam (1916 Nobel) Sweden 🇸🇪

Henrik Pontoppidan (1917 Nobel) Denmark 🇩🇰

Carl Spitteler (1919 Nobel) Switzerland 🇨🇭

Knut Hamsun (1920 Nobel) Norway 🇳🇴

Anatole France (1921 Nobel) France 🇫🇷


Wladyslaw Reymont (1924 Nobel) Poland 🇵🇱


George Benard Shaw (1925 Nobel) Ireland 🇮🇪


Henri Bergson (1927 Nobel) France 🇫🇷

Sigrid Undset (1928 Nobel) Norway 🇳🇴
  • Jenny (1911) - 2.5 stars

Sinclair Lewis (1930 Nobel) United States of America 🇺🇸

John Galsworthy (1932 Nobel) United Kingdom 🇬🇧

Ivan Bunin (1933 Nobel) France (born in Russia) 🇫🇷 🇷🇺

Luigi Pirandello (1934 Nobel) Italy 🇮🇹

Eugene O’Neill (1936 Nobel) United States of America 🇺🇸


Pearl S. Buck (1938 Nobel) United States of America (raised in China) 🇺🇸


Frans Eemil Sillanpää (1939 Nobel) Finland 🇫🇮

Johannes Vilhelm Jensen (1944 Nobel) Denmark 🇩🇰

Hermann Hesse (1946 Nobel) Switzerland (born in Germany) 🇨🇭 🇩🇪

Bertrand Russell (1950 Nobel) United Kingdom 🇬🇧


Pär Lagerkvist (1951 Nobel) Sweden 🇸🇪


François Mauriac (1952 Nobel) 
France 🇫🇷

Ernest Hemingway (1954 Nobel) United States of America 🇺🇸

Halldór Laxness (1955 Nobel) Iceland 🇮🇸

Albert Camus (1957 Nobel) France (born in Algeria) 🇫🇷

Borris Pasternak
 (1958 Nobel) Russia (Soviet Union) 🇷🇺

John Steinbeck (1962 Nobel) United States of America 🇺🇸

Mikhail Sholokhov (1965 Nobel) Soviet Union 🇷🇺

Samuel Beckett (1969 Nobel) Ireland 🇮🇪

Aleksander Solzhenitsyn (1970 Nobel) Soviet Union 🇷🇺

Miguel Ángel Asturias (1974 Nobel) Guatemala 🇬🇹

Gabriel García Marquez (1982 Nobel) Colombia 🇨🇴

William Golding (1983 Nobel) United Kingdom 🇬🇧

Wole Soyinka (1986 Nobel) Nigeria 🇳🇬

Camilo José Cela (1989 Nobel) Spain 🇪🇸

Octavio Paz (1990 Nobel) Mexico 🇲🇽

José Saramago (1998 Nobel) 
Portugal 🇵🇹

Günter Grass (1999 Nobel) Germany 🇩🇪

Orhan Pamuk (2006 Nobel) 
Turkey 🇹🇷
  • Snow (2002) - 3.5 stars

Mario Vargas Llosa (2010 Nobel) Peru 🇵🇪

Mo Yan 
(2012 Nobel) China 🇨🇳


Patrick Modiano (2014 Nobel) France 🇫🇷

Bob Dylan (2016 Nobel) United States of America 🇺🇸

Olga Tokarczuk (2018 Nobel) Poland 🇵🇱

Wednesday, October 9, 2024

Mother by Maxim Gorky



Madonna of the Revolution
Following the Russian Revolution and the formation of the Soviet Union, socialist realism became the prevailing, government-approved mode of artistic expression in the USSR. In the literary realm, Maxim Gorky is the epitome of this school of writing. None other than Joseph Stalin called Gorky “the founder of socialist realism.” Gorky didn’t merely write in this style in order to toe the party line; he helped draw the party line. In the early years of the 20th century, Gorky, a colleague of Vladimir Lenin, was active in the formation of the Bolshevik Party and an outspoken voice for Revolution. His novel Mother, published in 1906, is Gorky’s best-known work from this early period in his career. After the defeat of the First Russian Revolution of 1905, Gorky wrote Mother to inspire and motivate socialist revolutionaries in the struggle against the Tsar. Because the Tsarist regime banned the novel, it was first published in English in the pages of Appleton’s Magazine.


Pelageya Nilovna Vlasova, a Russian wife and mother, lives in an unnamed factory town with her husband and son. The husband, an alcoholic who repeatedly beats her, dies unexpectedly, leaving Vlasova to raise her young son Pavel by herself. When Pavel grows into manhood and becomes a factory laborer himself, he gets involved with the underground proletarian movement to incite a socialist revolution against the oppressive monarchical government of Tsar Nicholas II. Soon, Pavel is inviting groups of bohemian types to his home to read from forbidden literature and engage in discussions on political topics. At first the mother is frightened of this movement, but, like a good parent who loves her son, she accepts his guests with politeness. As she gets to know these young people, her fears diminish and she develops a genuine affection for them. As Vlasova listens to the socialist rhetoric of her son and his friends, she gradually becomes a believer in the movement. Eventually, she actively participates in the group’s activities, carrying out missions for this cell of revolutionaries.


Although Gorky may be the posterchild for Soviet socialist realism, his work does have merit above and beyond its propaganda value. In fact, American writers like Jack London and Upton Sinclair published some novels that are just as blatantly propagandistic than this one. London’s The Iron Heel and Sinclair’s The Jungle, however, are also clearly better written than Mother. For starters, Mother is unnecessarily long. Russian authors seem to have a propensity for monumentality in their works, but while authors like Tolstoy, Pasternak, and Sholokhov manage to maintain the reader’s interest over the course of their long works, Gorky’s Mother is too monotonous and repetitive. There are too many scenes of the mother sitting around someone’s kitchen with a few revolutionaries talking about how to distribute political pamphlets. The distribution of socialist literature is really the only revolutionary activity that the reader gets to see this underground network perform, which seems unrealistically kind and gentle for a cadre of insurrectionists. Also hard to believe, the goal of Pavel and his friends seems to be to get themselves arrested and exiled to Siberia. It is a source of pride with them, but hardly seems fruitful to their cause. Beyond a few main players, it is difficult to distinguish the supporting characters, who are mostly nondescript mouthpieces for Gorky’s socialist rhetoric.


Even Gorky admitted that this novel has its faults. That doesn’t detract, however, from the fact that the book does contain a few very powerful scenes of oppression and resistance. The possibility that Mother may be one of the most influential novels of the 20th century is due more to its political content than to its literary merits. Nevertheless, the book would not have had such an impact if Gorky hadn’t the ability to inspire pathos and passion in his readers, as he occasionally does here in Mother.

If you liked this review, please follow the link below to Amazon.com and give me a “helpful” vote. Thank you.
https://www.amazon.com/review/R3GA2SH1OYZN66/ref=cm_cr_srp_d_rdp_perm

Monday, October 7, 2024

Captain Antifer by Jules Verne



Orienteering to the extreme
Jules Verne’s adventure novel Captain Antifer was originally published in 1894 in the pages of the French periodical Magasin d’éducation et de récréation, under the title of Mirifiques Aventures de Maître Antifer. The novel was published in English the following year. This is the 40th novel in Verne’s series of books known as his Voyages Extraordinaires.

In 1831, a wealthy Egyptian named Kamylk-Pasha, persecuted by a greedy relative aiming to steal his fortune, fleas his homeland with his riches. He buries his treasure, consisting of three barrels full of diamonds and other gems, on an uncharted island. Flash forward thirty years later: Pierre Servan Malo Antifer, a retired sea captain, resides in the city of Saint-Malo on the northern coast of Brittany. His prized possession is a document bequeathed to him by his father. Many years prior, during the Napoleonic wars, Antifer’s father saved the life of Kamylk-Pasha. In gratitude, Kamylk-Pasha decides to leave his fortune to his rescuer. He gives the senior Antifer a document in which he has written the latitude of the island where his treasure lies buried, with the promise that the longitude will be conveyed to him at a future date. When Captain Antifer’s father dies, this document, and the fortune it promises, is passed down to the son. Captain Antifer waits twenty years before an Egyptian notary finally shows up with the longitude. The two coordinates, now united, show that the uncharted island lies in the Gulf of Oman. Accompanied by his nephew Juhel and his best friend Gildas Tregomain, Captain Antifer sets out to find the island and collect his treasure. The Egyptian notary, Ben Omar is also required to make the voyage, to oversee the uncovering of the inheritance and to collect his commission. He brings along his clerk Nazim, a man who is not who he seems and who hopes to steal the treasure for himself.

Although Verne is known these days for his science fiction, this novel is not science fiction but rather geography fiction. One can imagine Verne poring over an atlas as he penned the narrative. The prose often reads like a succession of place names read off of a map. Antifer and company travel from one city to another by boat, train, or horse-drawn coach, throughout the Middle East and North Africa. Verne seems more concerned with the logistics of the journey rather than the places visited. Because of the rapid traveling pace, the reader doesn’t really learn a whole lot about the lands through which Antifer and his friends pass.

The characters are quite likeable, however, which keeps the story engaging. Antifer is a gruff and surly old adventurer who calls to mind Arthur Conan Doyle’s Professor Challenger. His pal Tregomain is a big, gentle giant and sometimes comic buffoon. Together they give off a kind of Abbott and Costello vibe. Also, as in many a Verne novel, the cast features a pair of young lovers hoping to be married. In this case, it’s Antifer’s niece and nephew, Enogate and Juhel (cousins to each other). All of the globe-hopping travel arrangements in the story tend to get a little monotonous and frustrating, but the clever ending makes up for it. The plot of this novel is very craftily conceived and thoughtfully constructed. And, since Verne’s Voyages Extraordinaires were kind of the 19th-century precursor to Atlas Obscura, you end up learning a few fascinating facts about the world as well. Outside of his big hits like Twenty Thousand Leagues Under the Sea and Around the World in Eighty Days, many of Verne’s adventure novels have faded into obscurity. Captain Antifer, however, shows once again that it’s worth digging deeper into Verne’s catalog, as such an endeavor sometimes turns up hidden gems.  
If you liked this review, please follow the link below to Amazon.com and give me a “helpful” vote. Thank you.