Pieter

‘we went hunting...through the bones of the damned city. And then, with the captain's help, we crawled outa that grave.'
The Adjunct's gaze left the ragged man, travelled slowly along the line, the gaunt faces, the deathly eyes staring out from dust-caked faces, the naked, blistered skin. ‘Bonehunters in truth, then.'

“The Bonehunters,” part 6 in the Malazan Book of the Fallen series, has been noted by Erikson himself in interviews and talks as essentially two books combined. This is evident in the structure of the novel.

While the first five books introduce various independent storylines, they converge one by one in this book. The initial part of the book culminates in a 120-page chapter, which could have been a novella on its own. This chapter vividly describes the siege of a city that captivates the reader. In this single chapter, Erikson showcases his writing prowess - a fantastic segment. Following this, the aftermath is detailed, setting the stage for the second half of the book.

The latter part involves a less focused storyline but a more tactical maneuvering of players on the Malazan chessboard. Erikson introduces new storylines and ensures that the resolution of the book provides an opening for the rest of the series. Personally, I find the conclusion very intriguing.

Despite containing fantastic chapters, the overall impression is somewhat messy, lacking the tight composition seen in Midnight Tides. Erikson also explores themes such as religion, fanaticism, progress, and civilization.

On religion and fanaticism, for instance:
“All those bickering worshippers, each one convinced their version is the right one. Imagine getting prayers from ten million believers, not one of them believing the same thing as the one kneeling beside him or her. Imagine all those Holy Books, not one of them agreeing on anything, yet all of them purporting to be the word of that one god. Imagine two armies annihilating each other, both in that god's name. Who wouldn't be driven mad by all that?”“Show me a god that does not demand mortal suffering. Show me a god that celebrates diversity, a celebration that embraces even non-believers and is not threatened by them. Show me a god who understands the meaning of peace.”

And regarding progress and civilization:
“And so you still do not comprehend the great gift of civilization—' ‘I comprehend it fine,' Karsa Orlong replied around a mouthful of meat. ‘The savage proceeds into civilization through improvements—' ‘Yes!' ‘Improvements in the manner and efficiency of killing people.' ‘Hold on—' ‘Improvements in the unassailable rules of degradation and misery.' ‘Karsa—' ‘Improvements in ways to humiliate, impose suffering and justify slaughtering those savages too stupid and too trusting to resist what you hold as inevitable. Namely, their extinction.”

In this context, he also casually touches on the theme of the assimilation of many indigenous cultures by colonial cultures. The commentary on these themes by various characters in the story adds relevance that goes beyond just being a good fantasy tale.

Rated 4.5 stars.

Een deerne in lokkend postuur is een citaat van Multatuli. En ‘t Hart, die Multatuli duidelijk bewondert parafraseert hem meerdere malen in zijn dagboek van 1999.

Hoewel hij meerdere malen verzucht dat er niets gebeurd is en dat hij niets heeft om te schrijven weet Maarten't Hart toch altijd weer iets smeuïgs, verrassende, diepzinnigs of grappigs te vertellen.
Zijn wederwaardigheden als Maartje komen uitgebreid terug. Met enige regelmaat heeft hij zich als vrouw gekleed en aan het openbare leven deelgenomen. Zijn verslag hiervan zou ik willen typeren met terughoudende openheid. Hij gaat het niet uit de weg, maar dweept er ook niet mee. Maar het leverde wel het citaat van Multatuli op en daarmee de titel van het boek.

Uit deze bundeling blijkt weer eens hoe goed ‘t Hart kan schrijven. Misschien soms wat ouderwets, maar nergens onnodig uitbundige proza om indruk te maken.
Altijd accuraat en effectief. Het lijkt simpel, maar dat is het allerminst.

Ondanks dat 1999 alweer bijna 25 jaar geleden is heb ik dit boek met groot genoegen gelezen.
4,5 ster.

De tweede bundeling columns over de bijbel en het Christelijk geloof van Maarten ‘t Hart. Vooral de orthodoxe Christenen, regelmatig Knevelaars (naar Andries Knevel) genoemd, krijgen het voor hun kiezen aangezien zij het “kaft-tot-kaft” dogma aanhangen. Dat wil zeggen dat elk woord in de bijbel (van kaft tot kaft) waar gebeurd en het onweerlegbare woord van God is. Op deze claim valt wel wat af te dingen volgens Maarten ‘t Hart. De bijbel zit vol met inconsistenties, incorrectheden, volslagen krankzinnige verhalen en ongerijmdheden.

‘t Hart is bekend om zijn schertsende toon. Waarbij sommige dingen in het belachelijke worden getrokken. Soms erg flauw zoals de frase “Ik ben de ware wijnstok” veranderen naar “Ik ben de ware sperzieboon”. Maar hij haalt ook academici aan met inzichten over het ontstaan van de Bijbel gecombineerd met historisch onderzoek. En menig Christen kent minder van de bijbel dan de schrijver. Hieruit blijkt dat ‘t Hart niet zomaar uit de heup schiet, maar in de loop der jaren alles heeft gelezen over de bijbel en het geloof wat los en vast zit.
Je kan deze bundel dus ook niet afdoen als spotten om het spotten. Natuurlijk zitten er de typische vileine Maarten ‘t Hart opmerkingen in. En sommige columns, zoals “Jezus volgens de DSM-IV” zijn erg geestig.
De handschoenen gaan echter uit op het moment dat ‘t Hart komt te spreken over het antisemitisme wat eeuwenlang werd gepredikt (en gepraktiseerd) uit naam van de bijbel, kerk en geloof. Hij maakt gehakt van de RK-kerk en kerkvaders als Luther.

Hij eindigt tenslotte met de mededeling dat hij zijn “kleine kruistocht tegen het christendom” als geëindigd beschouwd. Hoewel, het is niet ondenkbaar dat hij erop terugkomt in zijn romans en verhalen. We kunnen na 20 jaar constateren dat hij er inderdaad nog op teruggekomen is...

4,5 ster omdat niet elk stukje even sterk is.

Het boek is geschreven in de, inmiddels, typische Windmeijer stijl. Korte krachtige zinnen, korte hoofdstukjes. Snel wisselende gezichtspunten.
Het aantrekkelijke aan de schrijfstijl is dat het erg to-the-point is. Geen onnodige bijzinnen, bijvoeglijk voornaamwoorden en tussenzinnetjes.

Het plot zelf is in het begin wel interessant en het wordt ook duidelijk hoe de novelle “De vervalste Vermeer” in het verhaal past. Het is niet nodig om deze novelle te lezen, maar als je dat wel hebt gedaan kan je zien dat deze naadloos past. Ik vond dat wel leuk gedaan. Een novelle als een soort trailer of teaser voor het echte verhaal. Moet het echte verhaal het natuurlijk wel waarmaken.

De karakters in dit boek zijn een beetje bordkarton, ze krijgen de karaktertrekken mee die nodig zijn voor het verhaal, maar ik krijg nergens het idee dat het complete mensen zijn, meer figuranten in een plot.
Dan het verhaal zelf. Behalve dan dat Windmeijer goede ideeën heeft omtrent de geheimzinnigheden rond Vermeer, is de speurtocht erg jongensboekachtig.
Het is echt letterlijk volgen van aanwijzingen door Delft. Te eenvoudig en compleet ongeloofwaardig. Het deed mij denken aan escaperoomraadsels. De motivatie van de diverse karakters is totaal niet realistisch.
De uiteindelijke ontknoping was niet verrassend en ook wel een beetje teleurstellend.

Dus wat te denken van dit boek? Het plot is best goed, de uitwerking is echter, wat mij betreft, ondermaats.
Windmeijer heeft bewezen dat hij beter kan.

2,5 ster. Afgerond naar 3 omdat Windmeijer een prettige schrijfstijl heeft.

“Het langverwachte boek van Maarten ‘t Hart over zijn moeder”. Aldus de eerste zin van de blurb.
Hier valt wel wat op af te dingen. Het boek is niet over de moeder van Maarten, maar voornamelijk over Maarten zelf. Het boek is eigenlijk een verzameling anekdotes uit het leven van Maarten ‘t Hart waarin zijn moeder in meer of mindere mate een rol heeft.
Als lezer krijg je het idee dat al deze anekdotes allang op de plank lagen, maar geen plaats hebben gekregen in zijn andere boeken om zijn moeder te ontzien.

Ondanks alle bizarre situaties en, wat wij tegenwoordig, emotionele chantage zouden noemen, komt duidelijk naar voren dat Maarten ‘t Hart erg van zijn moeder hield. Zijn moeder hield dan weer niet zo erg van zijn vader. Hoe waarheidsgetrouw het allemaal is kan de lezer niet beoordelen, maar het levert in ieder geval mooie, smeuïge, emotionele en soms grappige verhalen op.

Maarten zou Maarten niet zijn zonder zijn stokpaardje van het geloof.
Hele stukken over de bijbel en het geloof zijn helemaal niet gerelateerd aan zijn moeder, maar is meer een eigen afrekening met het Gereformeerde geloof uit zijn jeugd.
Het is allemaal best grappig, maar ook kinderachtig bij tijd en wijle en een beetje sleets. Er zit veel recycling in.
Alles is al eens voorbijgekomen in zijn andere boeken. Hier is verder niets nieuws of origineels te vinden, tenzij dit het eerste ‘t Hart boek is wat je leest. Het laatste verhaal waarin hij de Apostolische Geloofsbelijdenis en het Onze Vader fileert geeft een dissonant aan het einde. Niet dat het niet opgeschreven mag worden, maar het past niet in deze bundel.

Desondanks is ‘t Hart een geweldige verhalenverteller en heb ik dit boek met veel plezier gelezen.

The last book in the first trilogy about Thomas Covenant the unbeliever.

Once again, the book starts in Thomas' world, initiating, again, the process of self-loathing and self-pity. I had committed to finishing this first trilogy, but by 40% of the book, I'd had enough. Fortunately, it improved slightly. The Mhoram storyline and the battle for Revelstone were well-written and engaging. In the TC storyline, there was some development through events involving Lena and Elena. Unfortunately, the book did not maintain this level towards the end. The conclusion, once again, was messy. Out of nowhere, a new kind of being is introduced. I couldn't shake the impression that its only purpose was to advance the plot. In the overarching story, they served no real function. Donaldson does bring it full circle at the end, providing the reader with a bit of satisfaction.

My biggest issue with this trilogy is not the dark story or the unpleasant protagonist. I'm accustomed to that. My problem is mainly with Donaldson's writing style. Endless inner monologues, too close, when a more distant tone could have been more powerful. More is not always better.

Within the fantasy genre, these are important books as they represent a clear departure from Tolkien-esque fantasy. Many significant fantasy writers have drawn inspiration from this series. That's why they are worth reading, but they provided me with less enjoyment than I had hoped.

In my opinion, this last one is worth 2.5 stars.

A note on the Dutch translation. Although I read the first 2 books in English I decided to give the Dutch translation a chance for this one. It did not help in the enjoyment. The translation was old-fashioned, bombastic (even more then the original text) and it used a lot of the same words over and over again, while different words were used in the original text. TC was constantly “woedend” while Donaldson did not write the same word over and over again. I am not sure how much it influenced my judgment, but I will not re-read this one in English to find out.

The book “Billy Summers” is seen by some as an atypical King book. Presumably, this means that there is nothing unexplained or supernatural in it. Let's leave aside the cameo of the Overlook Hotel from The Shining for a moment.

But it's not that atypical. King's vast body of work contains quite a few books and stories without supernatural phenomena and monsters. And Billy Summers is one of them.

As always with King, the writing style is like a hot knife through butter. No hiccups, no strange turns of phrase, and no stylistic breaks. And if they are there, it's intentional. Once again, there's nothing to criticize about the translation. Stephen King is usually well translated into Dutch, so kudos to the translator. This is also the reason why I often read King in Dutch.

The book was surprising but still predictable. The first part of the book reminded me a bit of 11/22/63. The description of Small Town America. King is a master at this. Not much happens, but in a few strokes of the pen, he sketches a complete neighborhood with its characteristic residents, social norms, and customs. The reader becomes almost a part of it. A six-pack, a few burgers, and MAGA.

My expectation was that this part would be the main focus of the book, but nothing could be further from the truth. For me, this was surprising. But once it becomes clear how King wants to continue the story, the ending is not very surprising anymore.

Although the plot itself is not very special, King manages to create a gripping story. He slowly brings together the past and present of Billy Summers. Intentionally awkward at the beginning but gradually becoming a smooth whole. Here, you can clearly see King's mastery and experience.

Furthermore, it's not an exceptionally outstanding book. A good story, a few hours of entertainment without pretensions.
4 stars.

A concise journey through the basic principles of mathematics.
I enjoyed this book. Strogatz can vividly explain abstract mathematical principles.
In the past, I had to solve integrals at a reasonable level without really knowing what I was doing.
A math teacher lik Strogatz would have made all the difference. Strogatz shows the principles behind Algebra and Calculus in a very understandable way without explaining how to do it.

I read it with pleasure.

Holly is one of the prominent recurring characters in King's books. Hollyberry is neurotic and inventive. She now takes center stage with a book that bears her name as the title. By the way, do not read this book if you don't want spoilers for the Bill Hodges trilogy, The Outsider, and If It Bleeds.

Stephen King actually employs the same setup as in Mr. Mercedes; the reader delves into the minds of both the ‘perpetrators' and the detective. It is absolutely not a who-dunnit. Everything is known from the first page. The cat-and-mouse game in Mr. Mercedes is better developed than in this book, but the right pace keeps your attention. The bad guys are an elderly couple. Both academics, which is a refreshing dynamic. And for the first time in a long while, I felt slightly nauseous reading certain passages. It's not true horror, but sometimes you just have to switch off your imagination...

This book is set in 2021, during the COVID period. King has a clear opinion on COVID, political policies, especially Trump, and vaccinations. Some readers may find this bothersome. Not me. If Stephen King wants to express his opinion (and to some, he may come off as preachy), he's entitled to do so in his own books. The theme is clearly present but, for me, doesn't overshadow the story. King is engaged, and I can only appreciate that.

Outside of the COVID theme, this is a fairly typical King book in terms of tension, pace, and size. In that regard, he doesn't surpass himself with this book, but the question is whether he needs to when he has published more than 75 books and still produces a bestseller every year. King's writing style is smooth, and it reads like a train.

4 stars

I am reading the Malazan series by Erikson and Esslemont in publishing order. This means that after book five of the Malazan Book of the Fallen, it's now time for the first book of Esslemont in the Novels of the Malazan Empire series. The book is not very thick; in Malazan terms, it's almost a novella.

I have mixed feelings about this book.

The good:
As Erikson mentions in the introduction, this is not fan fiction. It is clear that Esslemont and Erikson together invented this world and are responsible for the depth of the lore. This is clearly noticeable. It is also striking that despite being two completely different writers, there are no discrepancies between the different plots of both authors. Esslemont deserves as much credit for this fantasy world as Erikson. If you're a fan of the Malazan series, you get some interesting background stories.

The not so good:
I found the book messy; this could be due to me or the writing style. I found it particularly strange that I thought the book was too long, even though it's a relatively thin book and is full of action. A lot of people run back and forth on the Malaz Island at night, and it's not always clear why exactly. This was probably supposed to contribute to the suspense, but I found it a lot of hassle for ultimately nothing.

It's almost inevitable that Esslemont is compared to Erikson. And in this book, the comparison doesn't work out so well for Esslemont. 3 stars.

Snow Crash is, as they call it, cyberpunk. I'm not very well-versed in that genre, but when people say that this book is a parody and response to the genre as it developed in the '80s, I believe it. Everything is extreme—the society, the action scenes, the combination of low and high tech, and the characters.

This book is recommended as an introduction to Stephenson's work, and I understand why. For me, this is already the fourth Stephenson book. And I feel like that influences my judgment.

The plot revolves around a virus that affects both the real world and the virtual reality. Stephenson creates a virtual world in his book, which he calls The Metaverse. Does this sound familiar? Only it was the early '90s when Stephenson wrote this book.

Through a wild story, Stephenson explores virtual and augmented reality concepts and the importance of information and knowledge in the digital age. The central idea of a virus that can infect both the virtual and real worlds serves as a framework for philosophizing about the nature of our consciousness, the influence of language, and whether our brains are programmable or not. At the same time, he describes the influence of large corporations on society and the fall of the government.

If I had read this book in the mid-‘90s, it would probably have blown me away. But, despite finding it a very good book, it doesn't do that now. Ironically, his later books have already covered this ground. Of course, Stephenson can't be blamed for this; he wrote this book in the early '90s, and I recognize his foresight and brilliance.

I currently rate the book at 4/4.5 stars.

A note on the translation: Because this is one of the few books by Stephenson that has been translated into Dutch, I decided to read the translation instead of the original. Something I usually find annoying is the translation of names, but in this case, I must say that the translation of the name Hiro Protagonist to Hiro Hoofdpersoon is very well done. It roughly means the same, and it also alliterates better.

I am a caster of nets. Tyrants and emperors rise and fall. Civilizations burgeon then die, but there are always casters of nets. And tillers of the soil, and herders in the pastures. We are where civilization begins, and when it ends, we are there to begin it again.

Midnight Tides is the fifth book in the Malazan Book of the Fallen series, but despite that, it can almost be read as a stand-alone. The plot unfolds like a classic tragedy.

The book explores various themes. The most prominent is the theme of imperialism, but not through the Malazan method, rather through the Letherii method. It depicts an extremely capitalist society where almost everything is expressed through debts. Erikson holds a mirror to the current capitalist society without being very specific in his allegory.

Furthermore, the book delves into family, family ties, loyalty, and fidelity. This is evident in the storylines of the Sengar and Beddict brothers. Simultaneously, it explores deception, influence, use, abuse, and power. This dynamic is expressed on multiple layers.

In addition to these rather heavy themes and sometimes extreme violence in the book, it is also very humorous. Erikson weaves a very funny storyline, in the style of Terry Pratchett with a Wodehousian touch to it. There have been several moments when I laughed out loud. In between the cyclones of bones.

All of this is tightly composed into a very focused story, with minimal digressions. The pacing is immaculate. The ending may not be what you would expect from a high fantasy book with aspects of military fantasy, but it is fitting. It leaves the reader with the question of whether, despite everything changing, anything has actually changed. Very well-written book. 5 stars.

Rostov, a fictional count, is placed under house arrest at the luxurious Metropol Hotel in Moscow after the Russian revolution. He stays here for decades. This is the plot.

It's admirable that Amor Towles was able to write such a captivating book with such a simple plot. The book is a remarkable mix. It's heartwarming, at times emotional with a hint of sadness. Through it, a picture is painted of Russia from Lenin to Khrushchev. As a reader, you feel like a spectator, just like Count Rostov. The events pass before your eyes without significantly impacting the world within the Metropol.

The scenes are, without exception, interesting and lively. The language is to the point. Very well done. The entire book maintains a subdued humorous tone, sometimes bordering on absurdism. One of my favorite scenes is when Rostov discovers that all the labels on the wine bottles have been removed because in the new Russia, there's no distinction even in wine. Only red and white are served.

With Andrey a few paces behind him, the Count began walking the cellar's center aisle, much as a commander and his lieutenant might walk through a field hospital in the aftermath of battle. Near the end of the aisle, the Count turned down one of the rows. With a quick accounting of columns and shelves, the Count determined that in this row alone, there were over a thousand bottles—a thousand bottles virtually identical in shape and weight.Picking up one at random, he reflected how perfectly the curve of the glass fit in the palm of the hand, how perfectly its volume weighed upon the arm. But inside? Inside this dark green glass was what exactly? A Chardonnay to complement a Camembert? A Sauvignon Blanc to go with some chèvre

I can recommend this book to absolutely anyone, regardless of genre preferences.

5 stars

The second part of the first trilogy about Thomas Covenant. The book itself also consists of three parts. In the first part, we meet TC again, just like in the first book, in his own world. After a decent opening, he once again finds himself in the world of The Land. In The Land, 40 years have passed during TC's absence. For me, the first part was a continuation of the first book, with a Thomas who is insufferable and full of self-pity. Some interesting characters are introduced, such as High Lord Elena and Troy, who also comes from TC's world.

In the second part, we take more distance from TC and see much from the point of view of Troy and Lord Mhoram. This greatly improves the story. The preparations for war, tactics, and the eventual battles are reasonably well done by Donaldson.

The climax in the third part seemed a bit messy, just like in the first book. TC and High Lord Elena have a separate mission that takes them away from the final battles. The ultimate resolution had a hint of a philosophical undertone, which, perhaps intended as a layer in the plot, felt rather cheap to me. Philosophy on the surface, if you will.

TC finally undergoes some slight character development. While the second book may be slightly better than the first book, it doesn't go higher than a maximum of 3.5 stars.

When I came into your life your life was over. It had a beginning, a middle, and an end. This is the end. You can say that things could have turned out differently. That they could have been some other way. But what does that mean? They are not some other way. They are this way. You're asking that I second say the world. Do you see?
Yes, she said, sobbing. I do. I truly do.
Good, he said. That's good. Then he shot her.

No country for old men tells the story of a violent cat-and-mouse chase between a Vietnam veteran, a ruthless hitman, and a sheriff in the desolate landscape of West Texas. The novel seems modeled after a modern western, with its themes of justice, morality, and fate, and its sparse and gritty style. The author creates a vivid and realistic atmosphere with his descriptions of the settings and the characters, and his use of dialogue that reflects the Texan accent and dialect. However, this can also make it difficult for non-native readers to follow the story, especially combined with the writing style that often omits punctuation marks and quotation marks.

The plot of the novel explores the consequences of greed, violence, and chance in a changing world. The novel raises questions about the nature of evil, the role of law, and the meaning of life. The characters are complex and conflicted, each with their own motivations and perspectives. The novel also has a surprising and unconventional ending, which fitted the story perfectly I think.

Cormac McCarthy created a bleak harsh world, where chaos and violence are integrated parts of this world and seems to be inevitable.
For now I rate this as 4 stars, but this might change after a reread.

Are we going to die now?
No.
What are we going to do?
We're going to drink some water. Then we're going to keep going down the road.

There are few books that have left such a deep impression as The Road.
A man, a boy, a desolate post-apocalyptic world, and The Road.
That's all.

McCarthy's writing style is just as desolate as the world he writes about. It never becomes entirely clear what has happened; brief, fleeting flashbacks are all the reader gets.
You can feel the despair of the world in which the man and the boy live.
The man is cynical, and survival is his top priority. The boy, on the other hand, has great compassion.
This gives rise to highly emotional situations.

A beautiful story that is heart-wrenching.
5 stars

Because we're the good guys.
Yes.
And we're carrying the fire.

The father of Stephen Donaldson was a medical missionary in India, where he worked extensively with leprosy patients. This undoubtedly served as inspiration for the character of Thomas Covenant. Thomas, the hero, or anti-hero if you will, is a writer with leprosy. Because of this, his wife left him, and he became an outcast. Survival is his key word.

Covenant finds himself in a fantasy world, where he is seen as the chosen one. He himself is convinced that everything is a dream or hallucination and chooses not to believe his new reality, hence his self-chosen title “unbeliever.”

The first two chapters are excellent. Thomas Covenant could easily be a character from Stephen King. A troubled writer, an outcast, strong character traits, vivid descriptions of the local setting. A very captivating opening.

Then the fantasy part begins. The way Thomas ends up in another world reminded me a lot of the Dark Tower.

Next, there's a first introduction to Lord Foul, which was a big monologue about how evil he is. Almost literally with an evil laugh at the end. Very caricatural. I couldn't reconcile this with the strong opening.

Now a fairly classic fantasy story unfolds, with the difference that Thomas is absolutely not a hero and not likable at all. Donaldson explores questions about reality and mortality, which is interesting in itself. But I didn't find the story itself and the quest very interesting. As the book progressed, it became a bit annoying. After 400 pages of self-pity, it gets old.

Nevertheless, this book is interesting within the fantasy genre. They say that this trilogy is the basis for the current grim dark fantasy genre. And I understand that label. Because of this and the strong opening, it's still a 3-star rating.

In this novella, Neal Stephenson truly embraces his signature style, delving into a plethora of technological concepts, all compacted within a mere 100 pages. I found myself thoroughly impressed, especially considering Stephenson's reputation for crafting weighty tomes like “Seveneves.” Here, he weaves a visionary narrative, incorporating high-tech concepts and a handful of characters to fashion a compelling story.

What sets this novella apart from Stephenson's other works is its brevity; you can easily read it in just an hour and a half. It exceeded my expectations.

4 stars

The Whirlwind's rage had never before been so fierce, leading him suspect that the Malazan army was drawing close, that the final clash of wills was fast approaching. This was, in truth, a convergence, and the currents had trapped other powers, pulling them along with relentless force.

And behind it all, the whispers of a song...

House of Chains is the fourth installment in the Malazan Book of the Fallen series. Like its predecessors, the book is divided into four sub-books. In the first book, “Faces in the Rock,” Erikson introduces a new set of characters and writes the book from a single point of view. While Erikson frequently introduces new characters, dedicating an entire sub-book (250 pages) to the same point of view is a departure from his usual style. In the subsequent part of the book, Erikson returns to his “usual” style.

It's not entirely clear to me what the purpose of the single point of view opening is. While it can allow for quicker character development, this could apply to any character. Erikson often employs specific literary devices to support the story and plot intentionally, but in this case, it seems like he wanted to try something different—perhaps flexing his literary muscles and showcasing his capabilities. However, it didn't fully convince me.

The plot of House of Chains is characterized by the concept of “convergence.” Multiple storylines converge around Raraku as the central point. Considering the other books in the series, I expected a grand climax. Without the context of the previous books, it would have been a satisfactory ending. However, with that context, it was somewhat disappointing. While there are still significant and emotional events, they have less impact compared to the first three parts.

It's a good book, but not exceptional. I would give it 4 stars.

Anekdotes in een typische ‘t Hart stijl. Ik heb er enorm van genoten.
De toon is vaak ironisch, sarcastisch en bij tijd en wijle een vileine steek onder water naar zijn collega schrijvers.
Sommige personen lijken zo uit een fictieve roman weggelopen te zijn zoals de vrouwelijke dominee in Amsterdam die er een SM kelder op nahoudt om het inkomen van de kerk wat te ondersteunen.
Maarten maakt heel wat mee voor iemand die beweert dat hij het liefst met rust gelaten wil worden op een zolderkamer.
Of het nu allemaal werkelijk zo gebeurd is of dat sommige verhalen lichtelijk zijn aangedikt maakt mij eigenlijk niet uit.
‘t Hart kan smakelijk vertellen met een onderkoelde humor. Ik heb er openlijk om moeten lachen.

I'm not a big fan of short stories and novellas. Often, they lack depth and a well-developed plot. I often find that a good story is better served when it's flashed out in a full-size novel. This is one of the reasons why, in general, I avoid story or novella collections. With this, I'm trying to justify why I hadn't read this book yet, even though I've consumed a significant portion of King's body of work by now. A novella is a snack; four novellas make a thick book.

How wrong can someone be when it comes to this bundling of four separate stories by Stephen King? Although each of these stories could have had the potential for a full-fledged novel, especially in the skillful hands of King, I never felt that depth was lacking anywhere.

Rita Hayworth and Shawshank Redemption:
It's a well-known story, of course, due to the world-famous adaptation. The story is masterful, but what struck me in particular is how good the adaptation actually is.

Apt Pupil:
Perhaps I found this to be the best, most gripping story. There is a film adaptation, but I haven't seen it. King brilliantly portrays how fascination can transform into an obsession that then has gruesome consequences. The characters of an elderly man and a schoolboy entangle themselves and hold each other in a stranglehold.

The Body:
King at his best when it comes to a group of outcast friends, coming of age, and us against the world. IT vibes all over.

The Breathing Method:
Maybe this is the only story that I found too short. It's the shortest of the four. And within it, the actual story is framed within a storytelling context. The mystery surrounding it calls for elaboration. Stories are told in a mysterious club. Hints are given about the secrets, but ultimately, it's about a story being told in the club. I would love to see a novel built around this club.

Normally, I don't quickly give novellas 5 stars. Novellas are not entirely my thing, but within this genre, this book is the absolute top. So, full marks after all, I can't deny it.

Still funny, but the series slowly is starting to lose its magic.
The Shakespeare quotes shouted out randomly (because it makes you look mysterious) are really funny. There are some real gems in the chapter numbering and there is a fun reference to one of the mysteries in the Wheel of Time series.
The story is slowly getting a bit darker and I think Sanderson slipped in shades of grey regarding the morality of the characters. This is cleverly done.
But the constant addressing of the reader has its limits. Re-using jokes starts to be annoying.
As mentioned, some of the jokes are clever and funny, but dosing the humour is an art.

Lichtelijk absurd en kleinburgerlijk zoals alleen Maarten ‘t Hart het kan beschrijven.

Monward, een klein dorpje in Zuid Holland, wordt opgeschrikt door een fotografe die dorpsbewoners op de foto zet voor een fotoboek over de mensen in het dorp. Aanvankelijk is er afgunst onder de bewoners waarom anderen wel interessant genoeg zijn om op de foto te mogen en zij niet.
Dit slaat echter om als blijkt dat de mensen die in het boek staan één voor één sterven. Het loodje leggen. Het hoekje om gaan.

De hoofdpersoon, een wegbezuinigde bioloog met één bestseller, vindt het allemaal lariekoek. Statistisch prima uit te leggen allemaal. Maar toch...

Het moge duidelijk zijn dat Monward het dorp is waar Maarten ‘t Hart (de ik persoon) woont: Warmond.
Alle typische ‘t Hart elementen zijn aanwezig, deels autobiografisch, deels fictie. Zo is het boek doorspekt met bijbelteksten, al dan niet gerecycled uit andere boeken. Klassieke muziek, kerkorgel, piano en onbeantwoorde liefdes.
Meestal zijn bij Maarten ‘t Hart de gereformeerden, uit zijn jeugd, het haasje, maar in dit boek neemt hij op speelse wijze de Rooms Katholieken de maat. Onder andere met flauwe woordgrappen als “Paapse Kracht” in plaats van “Kaapse Pracht”.

Daarbovenop speelt het boek zich af vlak na de MKZ-crisis en tijdens de vogelgriepepidemie die daarop volgde.
‘t Hart maakt zich nogal druk over de manier waarop toen der tijd de evenhoevigen en pluimvee geruimd zijn. Dit komt ook heel erg naar voren in zijn columns die gebundeld zijn in “De groene overmacht”. Hij neemt geen blad voor de mond.
Er komen overigens best veel elementen uit zijn columns terug in dit boek.

Voor mij is het thema van het boek “waan”. Een van de personen in het boek begint letterlijk aan wanen te lijden. Het hele dorp is op een gegeven moment in de ban van een “waan”.
En zoals vaker bij ‘t Hart eindigt het boek gewoon. Geen uitleg, geen whodonit. Alleen een verhaal.

3,5 ster

Vengeance yielded a mirror to every atrocity, where notions of right and wrong blurred and lost all relevance.

“Memories of Ice” is the third installment in the Malazan Book of the Fallen series. And so far, each book is getting a bit bigger.
We are once again back on Genebackis, the continent from “Gardens of the Moon.” Most of the main characters from the first book return in the third book, along with some additional characters.
From “Deadhouse Gates,” readers may already know the vivid imagination that Steven Erikson has when it comes to violence, torture, and perversions. He once again uses this ability to full effect in this book.
The fact that he even conceives of it is remarkable, but he describes it with a detached perspective that makes the impact even greater.

Fortunately, this is not the only thing worth mentioning; nowhere do I, as a reader, get the impression that the author is trying to shock for shock's sake. Multiple storylines unfold, layer upon layer, and they come together masterfully in a truly epic conclusion.
Although it is clear that Malazan does not follow the pattern of the “chosen one” on a quest for redemption, Erikson suddenly incorporates a Christ theme into this book. And not even in a subtle way, but rather “in your face.” While it is not clear to me whether this is intended as a nod, it does create a very emotional plotline. One of the many deeply emotional storylines in this book.

When you, as a reader, finally reach the epilogue, it's a moment to catch your breath. However, when the dust settles, there are still some rough edges for me, which is why I'm not giving it a full 5 stars.
Just like in “Gardens of the Moon,” the first book, there are plot twists that seem a bit too convenient. This may be a result of the structure that Stevenson employs, where nothing is explained, and the rules of the ‘game' only become clear as the story progresses. This carries the risk that some ‘rules' seem to suddenly emerge. Is this now a Deus Ex Machina, or an Erikson ex machina, if you will? Or was everything thought out in advance and seamlessly fits into the overarching story without plot holes? I'm not entirely sure, hence deducting half a star.

Ik kan me herinneren dat er best veel publiciteit rondom dit boek was toen het uitkwam. Ik kan me ook herinneren dat er wat kritiek op was. De zeven vinkjes zouden uit het brein van Joris zelf komen en ziin arbitrair; het boek is een soort ego-document geworden, als dat een woord is. En waarom moet nou juist hij, succesvolle witte man in de 40, dit onderwerp toeeigenen? Het is voornamelijk oud nieuws wat hij brengt. Ik heb het mede daarom ook maar even laten liggen.

Nu ik het toch heb gelezen ben ik eigenlijk wel gematigd positief. Het is vlot geschreven, leest goed weg en stemt tot nadenken.
Toch was het me niet helemaal duidelijk wat het doel van dit boekje is. Is het een analytische beschouwing? Is het een pamflet? Is het een oproep? En voor wie dan?
Ook zat er in dit, toch relatief dunne boek, veel herhaling. En het blijft anekdotisch.

Maar toch...Luyendijk had dit boekje ook niet kunnen schrijven en dan had ik het niet gelezen. Dan had ik niet getriggerd geweest om toch ook eens verder te lezen over dit onderwerp. Luyendijk noemt in dit boek het Lubach effect, maar het is ook het Luyendijk effect.

3,5 ster