The Moon Is A Harsh Mistress - Robert A. Heinlein

I had been meaning to check out the work of Robert A. Heinlein for a while, but was a little unsure where to begin. Well, I took the plunge by checking out The Moon Is A Harsh Mistress, first published in 1966.

Basically, the novel is set in the latter part of the 21st century.  The Moon has been turned into a penal colony, to where Earth's convicts and "undesirables" are transported. A group of revolutionaries, with the help of a "self-aware" computer, seek to overthrow the authority of "Terra" in the lunar colony.

The story is narrated by one of the main characters, Mannie, and he employs a curious Lunar dialect, which may take the reader a little while to become accustomed to. However, once this minor issue is overcome, the book will absorb and captivate.

Only a short way into The Moon Is A Harsh Mistress, I found myself rooting for the characters and their aspirations, even if their methods were sometimes questionable. I had emotionally invested in their fate and their destiny.  A diverse bunch, and this engendered some friction, and a strange chemistry.

The scientific and technical aspects of the story were for me secondary in importance, although I am not sure that by 2075 computers will have advanced to the degree envisaged here. To be frank, I'm not sure that I would want them to, either.  In truth, I usually reverted to "auto-pilot" mode when elaborate telephone systems and the vagaries of "Mike" the computer were being discussed.

I was impressed by the way in which justification for the Lunar revolt was presented, not just in "abstract" matters of freedom and self-determination, but by bringing ecological issues, economic liberalization and free trade into the equation. This demonstrated a real confidence on the part of the writer,  and added depth and credibility to the story.

Much of the nitty-gritty of how the revolt was organized is not presented in exhaustive detail, and the reader is invited to use his or her imagination, and to read between the lines. From this perspective, the novel does require concentration and open-mindedness, to grasp the rationale and implications of some of the deceptions which are committed by the "revolutionists", for example. A similar approach may be necessary when comprehending the social structures and customs which are shown to have evolved on Luna.

This book has a reputation as a "libertarian" novel,  although I think that conspicuous "preaching" on ideological matters is kept to a minimum.  Rather than being obtrusive, such things are generally woven quite seamlessly into the text, and at appropriate points.

The climax to the novel I found truly gripping, largely because, as mentioned above, I had been drawn in by the characters and the subject matter, and the outcome mattered to me.  The moral questions posed by the story line are not straightforward;they are awkward but timelessly pertinent. My curiosity and my senses had been animated, a good barometer, I find, for how worthy and substantial a work of fiction is.

The Moon Is A Harsh Mistress is well worth a read, and not just for dedicated science-fiction fans.

Vive La Trance - Amon Duul II - album review

It is the early albums made by the German rock group Amon Duul II which tend to define their influence, their legacy and their popularity, but my listening allegiance has lately shifted decisively towards their subsequent output.

Later releases, those released between 1972-1974, exhibit more melody, additional flair, and greater variety.  They also sound less forbidding - an easier and more pleasant listen, to be honest. Their level of invention, musical intricacy and elusive mystique has proved a revelation to me in recent times. Prominent among this batch of LPs is Vive La Trance, issued in 1973.

Much of this record is eminently accessible to mainstream listeners, but the adventurous impulses remain. It surprises and disappoints me that Vive La Trance is not singled out for greater attention when their discography is being appraised. Unless I have misjudged things completely?

The production on Vive La Trance has a fluency and freshness which permits the music to breathe and sparkle. The greater utilization of keyboards and other instruments (saxophone, violin, cello and so forth) supplements and enriches what might otherwise have been a stodgy recipe of guitars, bass and drums.

As the opening song, "A Morning Excuse" very much establishes the tone, with its bright and rhythmic foundation. I would have to say, though, that the highlights of the album are the tracks "Fly United" and "Jalousie".  The former is a very diverting piece with several haunting melodic touches, and a highly effective vocal arrangement. Indeed, the satisfying mixture of female and male voices is a hallmark of this record. "Fly United" has an enigmatic beauty which is hard not to find captivating. "Jalousie" is a highly tuneful and seductive affair, driven primarily by a confidently expressive Renate Knaup lead vocal.

"Mozambique" is a politically charged piece, which is hardly surprising for a German "progressive" act of that period, but the lyrics are perhaps more strident and blunt than one had grown to expect from Amon Duul II. "Trap" is another one of those numbers which make Amon Duul II sound uncannily like a New Wave act of the early 1980s, with its energetic, uncluttered flavour. Those looking for more experimental fare will be catered for by "Im Krater Bluhn Wieder Die Baume" and "Apocalyptic Bore".

Another thing to mention about this album is the largely sparing and tasteful use of guitars. The laboured and heavy riffs are few and far between, and there is considerable emphasis on melodic, dynamic and intertwining guitar parts which have an earthiness, but also a delicacy.

Vive La Trance has an enchanting and beguiling air of mystery and freedom which is difficult to resist. It still sounds vibrant after all these years. Give it a listen, and you will be impressed and entertained, believe me.

Pink Moon - Nick Drake - album review

Nick Drake's final studio album, Pink Moon, released in 1972, has a character all of its own. The terse or brief song titles, and the fact that this was the singer-songwriter's last record, have led people to jump to certain conclusions.

The songs have sparse and stripped down arrangements, consisting mostly of the voice accompanied by acoustic guitar. There is none of the decorative instrumentation or trimmings present on Nick's two previous records, Five Leaves Left and Bryter Layter.

It is true that some of the content of Pink Moon is bleak, but it is not unremittingly so, and the general perception of the LP's mood is no doubt compounded by the hypnotic and metronomic nature of a few of the tracks - "Place To Be" springs to mind in this regard. In a few cases the tempo and rhythms suit the atmosphere, but elsewhere things are less straightforward.

Some of the numbers, such as "Road", have a more pronounced "folk" feel to them, and the sparer sound allows Nick's acoustic guitar technique to show through.  I suspect that the word "ascetic" is used with some regularity when Pink Moon is discussed.The melodies are understated and uncomplicated, and the vocal delivery sometimes indistinct, as if the offerings are not really meant for public consumption.

For me the outstanding track is "Things Behind The Sun", which carries the odd echo of Five Leaves Left, in its greater complexity. It is also longer than the other compositions here. "Parasite" is quite unusual for the Drake catalogue, in the relative "crudeness" of its imagery.

Melancholy is the word so regularly, and often blithely, associated with Nick Drake's work. In the confines of Pink Moon, "melancholy", when understood in a broader sense, assumes its own identity, as if it is a realm in itself, existing in parallel with the real world. Without adopting a stereotyped view of Drake-songs, one can see a poetic beauty about this "other" world. People who have been there will doubtless identify with some of the sentiments expressed, even if they are done so cryptically.  This, together with the musical approach, helps to give the album an acute, occasionally unsettling, intimacy.

Pink Moon lacks the conventional "entertainment" value of Nick's other work. It is much more direct, but no less affecting.

Bodyline Autopsy - David Frith - book review

If I had to make a shortlist of my favourite sports-related books, then pretty near to the top would be Bodyline Autopsy by David Frith, a beautifully written and carefully researched account of England's acrimonious 1932-33 cricket tour to Australia.

The book was originally published in 2002, and the game of cricket has changed a bit since then, but the erudition and sweep of this work are timeless. The author's love for the game and its history leaps from every page, as does an appreciation of the world beyond cricket.

Thankfully, this book does not overplay the political and social importance of the Bodyline series, but at the same time it stresses the context in which the controversy unfolded. The world was a different place in 1932, and the relationship between England and Australia was different to what it is in the 21st century.

Much of the early going is taken up with an exploration of the similar controversies and debates which preceded the infamous tour, and how the tactics of Douglas Jardine and his bowlers might have evolved. This all helps to place what happened in some kind of perspective.

Quite apart from examining the Bodyline phenomenon, this book gives us a lovely window on the world, and cricket, as they were back then. The haphazard and piecemeal nature of England's selection process for the tour, and the informal and leisurely nature of the tour schedule and the social scene, evoke great nostalgia. There are also some charming anecdotes from England's ship journey Down Under.

This was also a world which was only just beginning to grapple with the notion of mass communication, and it was also a time before attention spans began to ebb away and finesse in all things was gradually dispensed with.

Frith sets out to analyze the drama from all angles, dispelling some myths and misconceptions along the way, drawing attention to anomalies and contradictions in the cliched popular version. The level of thoroughness is admirable. A wide range of sources and evidence are drawn upon to paint a vivid and balanced picture. The use of photographs is very tasteful. They are integrated nicely into the text, and their character augments the scholarly texture.

The accounts of the Test matches are absorbing and well-paced, making the reader feel that he or she was really "there". Naturally, the pivotal Adelaide match is accorded special attention, and there is an exhaustive "forensic" examination of the leak of details of the dressing room exchange between the Australian captain and the England management. The fact that a "leak" such as that was so emotive in the Thirties again illustrates just how much times have changed.

Reading this book again, the thought "what was the big deal" springs to mind, but we have to place these events in the context of those times. Bodyline stood out because it was seen to breach unwritten rules. At the same time, it was not really a historical watershed either; it didn't signify the imminent breakdown of civilization, and normal service was resumed, for a while anyway.

One of the book's strong points is the depth of its analysis of the aftermath of Adelaide, the sentiment harboured in both countries, and the attitudes in the corridors of power. The relating of the diplomatic toing-and froing is rounded and realistic, not exaggerating the gravity of the episode, but emphasizing the role of statesmen and civil servants. The priority of the politicians appears to have been to limit the damage beyond the portals of cricket.  The precariousness of the economic and trade situation is also highlighted (these were Depression years, of course). In retrospect, one wonders what might have happened had fences not been mended successfully, given what was to transpire globally in the late 1930s.

A sizeable proportion of Bodyline Autopsy addresses the fall-out from the tour, including the efforts to conciliate the two cricketing cultures, and the machinations which affected Harold Larwood and Douglas Jardine in particular. Interestingly, there is also some effort to look at how perspectives changed in some minds over time. There is a look at the later lives of many of the key participants, as well as how Bodyline was perceived in later decades.

This is a beautifully written work, endlessly stimulating, meticulously researched and also thought-provoking. A perceptive and authoritative look at a seismic sporting controversy, as well as a revealing glimpse at how things were back then.

Raging Bull (1980)

I recently watched Raging Bull, Martin Scorsese's 1980 biopic of the boxer Jake LaMotta, starring Robert De Niro, Joe Pesci and Cathy Moriarty. Here are a few of my thoughts on the movie....

The film has a distinctive and strong visual appeal, partially based on it being in black and white. Somehow the grittiness, and occasional brutality, of the tale is conveyed much more strongly that way. The film has a great period feel, and not just traceable to the monochrome being chosen. The "retro" settings are beautifully realized and convincing, unlike many movies of this type.

Raging Bull's fight sequences are very famous, and justifiably so, but they take up less of the picture's running time than some people might imagine. Much more of the film is taken up with a compelling, and sometimes unsettling, examination of LaMotta's insecurities and demons.

Of the boxing scenes, some are quite graphic, the final encounter with Sugar Ray Robinson standing out in this respect. These parts of the film, including the crowd scenes, are also well produced, succeeding where so many other sports-orientated pictures fall down. The scenes in the ring are short and snappy, and not quite as "arty" and surreal as is often thought.

In some ways, I think that Raging Bull is a slow burner, and its early stages could strike some observers as slow and pedestrian.  However, its greatness gradually emerges as it goes along, and the stellar performance of Robert De Niro has a strong bearing on this. Strangely enough, he is so consummate, natural and plausible in the role that the brilliance of his portrayal of the boxer can almost pass unnoticed. Of course, Joe Pesci shines in the part of LaMotta's brother Joey, as does Cathy Moriarty as Jake's wife. Whatever happened to Cathy Moriarty, by the way?

This may be a film whose true impact can only be fully absorbed following a few repeated viewings. The "human interest" angles mean that one does not need to be a boxing aficionado to enjoy and embrace it. It can also be argued that it is one of the last examples of a golden age of American cinema which began in the late Sixties.

All in all, a gripping and powerful work.