Guide to Lyra’s worlds

Frederic Edwin Church's 1865 painting
Frederic Edwin Church’s 1865 painting “Aurora Borealis”: Wikipedia Commons

Laurie Frost:
Philip Pullman’s His Dark Materials: The Definitive Guide
Scholastic 2007 (2006)

Pullman’s wonderful trio of novels inspired by Milton’s Paradise Lost appeared around the same time as the Harry Potter books, but Pottermanes looking for more of the same were in the main disappointed. The feisty heroine Lyra, her universe of externalised souls called daemons, armoured polar bears and a mysterious phenomenon called Dust, not to mention criticism of an organised religious institution, confused and even angered many.

Sadly, the controversies often disguised Pullman’s accomplishments in world-building, complex plotting and character creation, all of which have contributed towards a work already acclaimed as a classic and which, true to its universal appeal, appeared in both adult and young adult editions. All that was needed was an Ariadne to take the reader through the labyrinthine ways of the multi-layered fantasy, as Martin Gardner did in The Annotated Alice.

Containing all you ever wanted to know about His Dark Materials, catalogued in encyclopaedic detail by superfan Laurie Frost, this hefty guide is teeming with maps, photos and drawings which enliven the text.

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Word hoards

A collocation of dictionaries

I love words. (You may possibly have noticed.) It’s one of the delights of reading, not just the storyline or characters but the way that sentences and phrases break down before being reassembled, the collocations or how their constituent words are juxtaposed or arranged.

I’m partial to commas, colons, brackets and semicolons (again, you might have noticed) because the more that words and phrases are put together in different relationships the richer the language becomes. So much nicer than the jumble of clichés that we customarily read, hear, write and say, at least to my way of thinking. (Of course, it’s almost impossible not to avoid those habitual collocations — as, for example, erm, my way of thinking.)

And let’s not forget the secondary meaning of ‘collocation’, literally ‘the positioning of things side by side’. I present above a conflation of both definitions, a collocation of dictionaries. You’re now itching to know the background to those volumes, are you not?

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Mischievous, not misleading

giuseppemariacrespi_bookshelves
Giuseppe Maria Crespi’s Bookshelves (Wikimedia)

Edwin Moore and Fiona Mackenzie Moore
Concise Dictionary of Art and Literature
Tiger Books International 1993

With entries ranging from Alvar Aalto to Francisco Zurbarán spread over 440-plus pages this is my kind of book, whether I’m dipping in, looking up a specific reference or finding that one entry leads to another. The clues are in the book’s title: there are short paragraphs on artists and writers, on artistic schools and techniques and on writing styles and genres.

Opening a double page at random I find a discussion (page 340) on Realism in both literature and art which includes references to George Eliot, Courbet, Gorky and Magic Realism; on the opposite page I can read about Redskins and Palefaces — not an obscure title by Arthur Ransome but a phrase to distinguish those who write about the outdoors (such as Hemingway) and those who focus on ‘indoor’ matters (Henry James is cited) — and, lower down the page, I find a note about relief sculpture in all its forms.

I’m assuming that Fiona Mackenzie Moore contributed the art entries and Edwin Moore the literary items, as the former also wrote the 1992 Dictionary of Art, while the latter, according to the Guardian, is a former senior editor who spent 18 years working in non-fiction publishing and now writes reference books. The literature entries are often characterised by sly humour and dry observations, such as this entry for Fiona Macleod:
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Authoritative, idiosyncratic and of its time

Beethoven in middle life, a new portrait by Batt (1937) on loan from a private collection to the Royal Academy of Music

Percy Alfred Scholes The Oxford Companion to Music
Oxford University Press 1963 (1955)

The ninth edition of The Oxford Companion to Music, first published in 1955 and still under the control of the original editor, is authoritative, idiosyncratic and certainly of its time. A typical example of Percy Scholes’ writing style can be seen in the Preface to the original edition of 1938:

Following this preface will be found the long list of the many who have tried to save the author from, at least, the faults of his own ignorance or inadvertence, but should the reader chance to discover that the author is anywhere insufficiently saved he should not take it that the blame necessarily falls on those enumerated in the list.

A footnote helpfully tells us that In the present edition this long list, with its many additional names from the seven intervening editions, has been merely summarised. This circumloquacious tendency may appear to explain the nearly twelve hundred pages of this hardback, but in truth they are packed with detailed information and references. The detail includes entries on composers, styles, genres, countries, foreign musical terms, instruments, synopses of operas and much else. Interwoven are close on two hundred monochrome plates illustrating different themes, using old prints, photographs and diagrams. Continue reading “Authoritative, idiosyncratic and of its time”

Random rummaging and reliable references

 

shelves

The Ultimate Book Guide: Over 600 great books for 8-12s
Daniel Hahn and Leonie Flynn (editors) Susan Reuben (associate editor)
Anne Fine, Children’s Laureate 2001-3 (introduction)
A & C Black 2004

I couldn’t resist picking this up secondhand, especially as I love books that I can dip into, for both reliable references and for random rummaging. Despite not being completely up-to-date (what printed publication can ever be?) or truly comprehensive (as far as I can see most of the books are Eurocentric or North American, so very little world literature) this is a volume I shall hang on to — that is, unless I get my hands on the 2009 edition (subtitle: Over 700 Great Books for 8-12s).

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Don’t disregard dementia

blurred

Peter Vance Message to a Grandchild
Foreword by Anne Robinson
Sidgwick & Jackson 2003

Two thousand and three was for me a notable year: our second grandchild was born; after nearly three decades fulltime in post at one school I resigned my teaching post; and a former pupil, a 16-year-old student at that school, had his first book published. This book was the extraordinary Message to a Grandchild, a slim volume but one that I kept and keep on dipping into as the years go by.

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Armchair travelling

camelot
Camelot by Aubrey Beardsley, detail from How Queen Guenever rode on Maying

Neil Fairbairn
A Traveller’s Guide to the Kingdoms of Arthur
Evans Brothers Ltd 1983

Geoffrey Ashe
The Traveller’s Guide to Arthurian Britain
Gothic Image 1997

Neil Fairbairn’s 1983 Traveller’s Guide inevitably invited comparisons with Geoffrey Ashe’s A Guidebook to Arthurian Britain (1980 and 1983, confusingly reissued as The Traveller’s Guide to Arthurian Britain in 1997). This would be unfortunate as the two are different animals, each with its own particular strengths and weaknesses, though both include illustrations and maps.

The first obvious thing about Fairbairn’s Guide is Continue reading “Armchair travelling”