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Cenacle - In hidden crypts and dark vaults, cenacles of secret religion meet to keep their flame alive.

Cenacle - September 2007

The Greek Myths by Robert Graves

September 22nd 2007 09:28
In a simple foreword, Robert Graves explains the system behind the Greek Mythology and then begins to examine the whole gamut of it in his The Greek Myths. His main contentions are not really subject to proof but his collection is perhaps the most popular and certainly, the most accesible collection of the Greek mythology available today. As an amateur interested in ancient mythologies in general, I am stuck by how much there is in Greek mythology. The size of the cast, the depth of the stories, the density of inter-relationships are all so mind-bogglingly complex that it takes a patient, determined, scholar-like effort to get acquainted with it all. I am no scholar, just an amateur. Graves's collection, written in a non-fussy prose and cast in relatively simple schema is easy to read. In shot, made for people like me.


In ancient Europe, there were no gods. Only a Goddess. She was worshipped in various forms and shapes and the society she presided was a matriarchal one where fake kingships were established and disposed of yearly in picturesquely grotesque ways for the sake of good harvests. One day, a variety of God-worshipping warrior tribes conquered the matriarchal societies. They took over the original religion and the rites, they razed the temple. Goddesses were only spared if their followers agreed to make them subservient to their Father God.

Greek Mythology is nothing but a transcription of this ancient revolution, which was "not more mysterious in content than are modern election cartoons."

Of course, it is a little more complex than that with four stages of evolution, lunations and cyclic revolutions thrown in but you've got the idea.

Even an amateur can discern certain inconsistencies as Graves's plunking together of disparate mythic figures just to get his Triple Goddess triad right, like combining Semele with Athena. Experts have complained about the value of Graves's etymological and historical claims.


What do I think of it? There is probably some truth to it and I believe there could be some original exclusively Mother-Goddess cults which went a violent transformation under a patriarchal assault. I don't think it can be made to explain the entire spectrum of Greek mythology as Graves has attempted to do.

Still, it's quite an enjoyable read and it gives you information no other paperback does.
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Soldier of the Mist by Gene Wolfe

September 15th 2007 05:39
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Latro in the Mist by Gene Wolfe
Latro in the Mist by Gene Wolfe, an omnibus collection of Soldier of the Mist and Soldier of Arete


I was recently browsing through the sci-fi and fantasy section of Borders bookshop and stumbled across a beautifully designed copy of Gene Wolfe's Latro in the Mist. Gene Wolfe's unique contribution to sci-fi literature is to give the genre a highbrow, literary makeover. His most famour work is The Book of The New Sun, of which I remember reading the first page and giving up reading the rest. I don't like scifi that much but am a sucker for fantasy and this one was had an ancient history setting, so I couldn't resist buying it.

Latro in the Mist is a collection of two novels Soldier of the Mist and Solder of Arete. (Curse my luck, I have found that there is a third novel in the series, Soldier in Sidon, recently published, only after considerably investing in this costly omnibus collection). I haven't read the second novel yet, so I will review only the first novel.

Latro is the name of a Roman mercenary who has fought on the Persian side in the Greco-Persian Wars. The Greeks has just succeeded turning the Persians back. Latro is wounded in the war and is left with a debilitated memory. In short, he forgets everything while he sleeps. To remedy that, he has begun keeping a diary wherein he records his daily experiences. Though wounded, Latro acquired a unique ability, that of seeing and talking to Gods.

One god he meets tells him that he has been cursed by the Great Mother and the resolution to his problem can only achieved by her. So the wounded mercenary begins a convoluted journey through a landscape ravaged by war and confused by victory and the withdrawal of the Great Army of Xerxes, gathering a motley group of characters including Pindarus the poet, Io his slave girl and others along the way.

The prose, I admit, is picturesque, though in many places, it is hard to argue how Latro could have recorded all he does . Normally, I wouldn't have pressed on this point so much but the novel itself draws attention to the fact so many times that one can't avoid it. The narration is a bit oblique but not too much to snap your patience. I am not an expert in the area but would a narrator in 5th century BC resort to such a sophisticated and oblique way of telling his story? The writers of the period were pretty straightforward and I dodn't know they dabbled with hard-boiled realism or stream-of-consciousness narrative gymnastics. Remember, Latro is on the move and he is not such a literary heavyweight either. Again, I would give this a pass but Wolfe puts in additional props such as the preface where a modern day collector has apparently found the scroll which Latro has left behind. Such anamolies are annoying in so condescending an author.

The blurb on the book is positively rapturous about the originality of the work. For me, it read like a combination of Memento and The Sixth Sense, although presented in an exotic and beautiful context. The book was written in 1986 so I can't say Wolfe copied these movies. If anything, it goes to show that the premises that genre fiction operates on are out there and commonly shared. They are moulded to different purposes by different people. If Wolfe has originated these concepts, I am impressed.
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Enemies of Capitalism, Unite!

September 8th 2007 12:07
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Ratatouille: A very ratty dish

September 8th 2007 04:49


Someone on the blogosphere has already pronounced that Remy the Rat is an animated avatar of Howard Roark. Is he?

He does have some beautiful Rand-like aphorisms in the movie:

"Your limit is you soul."

"A cook makes while a thief takes!"

"But humans, they are not content, they create things..."

" Remy, you cannot change nature."
"But nature changes dad,.."

"I am going to walk .... forward!"

(All quoted from memory.)

Remy is the second son of the leader of a rat colony and unlike the rest of his tribe, he is not merely content with scrounging things from garbage bins. He has a highly developed sense of smell and uses that to get faimiliar with human cooking. He also catches the late French chef Gusteau and becomes a self-appointed disciple.

When he is broken up from his family in a well-executed escape, Remy ends up, where else but in Gusteau's restaurant ! The once famous restaurant has since been run down by the adverse notice of a critic and Gusteau died of a heart break. Since then, his good name has been used by an understudy Skinner who is less of a cook and more of a mass merchandiser. Here, Linguini a lanky and clumsy lad is offered the post of a garbage boy. Once Remy stops the boy from ruining a soup which quickly finds its way to a delighted customer, there's no stopping the fate as the rat and the garbage boy combine to pull off a Cyrano De Bergerac of French cuisine.

The movie is a visual feast but there are a couple of drawbacks. The secondary plot used to further the story, Linguing being the son of Gusteau, does nothing much to further our enjoyment. None of the human characters are appealingly drawn and Linguini is the worst of the lot. Remy despite having some choice lines is quite wishy-washy. The best drawn characters are Remy's brother and Gusteau's guiding spirit. Also, except for Peter O'Toole's excellent British snobbery, I did not like the voiceovers of others. Jeanne Garafelo as the love interest is a disaster.

I admit it is quite a pleasant diversion but is it a Randian dish in disguise? Not quite. The whole movie has an undercurrent of elitist distaste for "consumerist" type of capitalism. The setting of Paris itself is suspect. The portrayal of the rat colony is not free from the usual portrayals of the repressed-will-take-over-the- world kind of subtext to it. The motto dished out by the movie, Anyone Can Cook, looks like a mantra of egalitarianism. Also, the snooty food critic, arguably the movie's chief villain, is named Anton Ego; now, in Rand's world that would be the name of Remy. It is small details like this that bother me somewhat.

One thing can be said for the movie though, is that if this is where it is coming from, it does not jam down those "messages" down our throats. It is more of a subtle flavoring.

And that is why, I will not firmly categorise it as one more trashy "subversive" agitprop produced by the Brotherhood. It is a pleasant enough movie but I cannot wholly embrace it either.

I can't quite make my mind over it even though I found it fairly enjoyable.
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