Category Archives: 1970-79
A teenage boy loses his family in a car crash and is taken in by his grandparents. Some months later he loses so much more – everyone. An unusual disease breaks out in Europe, first affecting the old, but then causing rapid ageing in the young. Attempts are made to contain the disease, but due to the fact that the symptoms don’t show up until days after infection, it spreads across continents, eventually wiping out the world. There are a tiny fraction of survivors, all in their early to mid teens – an age where the immune system and the development of the human organism are in a sort of optimal balance.
This sounds like a fairly typical apocalyptic tale, but the strength is in the telling. It’s the story of one teenage boy and his struggle to survive and find companionship. This may be marketed as a children’s book, but there is nothing cotton-wooly about the events that transpire. You would be hard-pressed to find a children’s movie as harrowing as this. Christopher portrays life with a keen sense of realism, examing loss, the hostility of life, and the relationships between young people that have been freed from the restraining guidance of adults. In the end, what wins – our humanity or inhumanity? A short, strong novel – one of my favourites by this author.
Back in school, we read (or were forced to read) various novels as part of English class. Mostly, I found them incredibly boring, and a drudgery. How Many Miles to Babylon, I Am David, Of Mice and Men, etc. – books that were, for the most part, too sophisticated and intellectual for a boy in his early to mid teens. These book choices no doubt contributed to me being unable to view reading as a pleasurable past-time. That all changed when Z for Zachariah became the class novel. I credit this book as the catalyst that got me into reading, and I’ve never looked back.
Ann Burden lives in a secluded valley with her family, when a nuclear war happens. Her mother and father head out in the car, to see what’s going on in the neighbouring town, and they never return. Beyond the valley, all is dead and lifeless. For some reason, the valley is untouched by the nuclear fallout – not a miracle, but a meteorological mystery. Ann now lives alone, thinking that she might be the last person in the world – except for the farm animals. Then one day, months later, she sees a column of smoke in the distance – a camp-fire. Someone is coming. Who is this mysterious traveller? How can he move about unaffected? And will he be friend or foe?
What a terrific set-up for a rivetting story. This is the third time I’ve read Z for Zachariah. It’s still great. Athough marketed as a children’s novel, it’s a very grown-up story that doesn’t pull its punches. At times, I wanted to shake Ann, for her excessive fear and her inability to be ruthless when something needed doing. But this only served to illustrate how much the author really drew me into the story, and how well he was able to portray the predicament of a sensible, moral girl whose whole world had been turned upside down.
Interestingly, I learned that the author died while writing the final chapter of this novel. His family finished it for him, and the book was published posthumously. Highly recommended.
Herbert weaves another complex tapestry of religion, politics and magic in this third installment of the Dune series. Dune Messiah ended with Chani’s death during childbirth and a blind emperor Paul Atreides wandering off into the desert to die. Children of Dune begins a decade later, with the focus upon the offspring of this couple, the twins Leto II and Ghanima. Although a mere ten years old, they are not truly children, but are able to access the memories of countless generations from their genetic past.
The control of the empire has been left in the hands of Paul’s sister Alia, who has the same gift. But it is a gift with a price. The memories of those past lives can attempt to overrun the present personality. Alia is at risk of being possessed by none other than her grandfather Baron Harkonnen. Alia’s mother, Jessica, is on route from Caladan, concerned about this very possibility.
To make matters worse, House Corrino, after its defeat at the hands of Paul Atreides in the first novel, is about to hatch a subtle plot to assassinate the twins. The planet Dune is also in the midst of an ecological transformation from desert to green pastures. But what will this mean for the worms, who produce the spice? For without spice, space travel is impossible – which would mean the end of the empire.
That’s a rough summary of the main threads of the story. As if that wasn’t complicated enough, remember that this is the Dune mythos, where characters possess skills of analysis and prescience that are unheard of in the real world. This adds a whole new dimension to human relations and political intigue. These novels are not the most relaxing read; you really have to be paying attention or you can quickly get lost in the complex tapestry.
One of my favourite aspects of the novel was the religious and philosophical overtones. I’m well versed enough to be able to connect much of what Herbert says about space, time and consciousness to esoteric ideas that have their basis in the real world – ideas that are often close to my heart.
So, I’ve now completed the first three books in Herbert’s six-volume epic. The first is unquestionably the best, but the saga hasn’t lost much momentum. I am certainly keen to continue reading. But not just now; I need a rest after this one.
It’s also worth checking out the television adaptations of Dune (2000) and Children of Dune (2002). The latter is actually a combined telling of Dune Messiah and Children of Dune. But don’t spoil the books by watching the episodes first. The televised story is fairly faithful to the original, but not nearly as deep.
Stephen King started writing Rage when he was only nineteen years old, long before he wrote his first published novel Carrie. It was originally titled Getting It On. In fact, King attempted to get this novel published prior to Carrie, but it was rejected. It would later see the light in 1977 under the pen-name Richard Bachman. King would later release several more novels under this pseudonym. When the secret finally got out, interest in these books skyrocketed, and the publishers decided to release an omnibus edition of four of them, entitled The Bachman Books, under King’s own name.
I used to be an avid fan of Stephen King in my teens and twenties, but somewhere along the line I got tired of all the huge tomes of 700 plus pages. There’s nothing worse than plodding through a massive book only to discover that it ends up as nothing more than an average story, as is often the case. But Rage is of special interest to me, because it’s the one book that Stephen King ended up withdrawing from publication. Notoriety like that inststantly piques my curiosity.
The subject matter of this 150-page novella concerns a high school boy, Charles Decker, who shoots two teachers in his school then holds his classmates hostage. School shootings, as we know, occasionally happen in real life, Columbine being the most famous example. Unfortunately, after one such real-life incident, the perpetrator was found to have a copy of Rage in his locker. King, and his publishers, agreed that it was best to remove the book from sale indefinitely.
The novel is written in the first person and Decker is the protagonist. At no point is the reader asked to rationalise Decker’s actions, only to take a peek inside his head at the mitigating circumstances that might lead a person to do what Decker did. One prominent theme of the novel is the abuse that adults to do children – specifically parents and teachers. This abuse is sometimes unconscious and even well-intentioned in a warped sort of way. Decker tells of an occasion when he was younger and his mother forced him to attend a birthday party dressed up in his Sunday best, when he knew that all the other kids would be in casual clothes and he would look foolish. But no amount of protesting would change her mind. He also recounts the story of going camping with his dad and his dad’s drinking buddies, where he overheard his father talking about how he would slit his mother’s nose open if he ever caught her in adultery.
The story is set in a time period when the education system allowed teachers to get away with way too much. I went to school at a time when the system was starting to emerge out of this, to put teachers on a shorter leash. I could tell you some stories. I recall my junior high mathematics teacher walking up behind me and whacking me across the back of the head hard. I was stunned; didn’t see it coming. All I had done to deserve this was skip a line of my sums because I had been smart enough to work it out in my head. I recall botching a question on my biology examination. Afterwards, in class, the teacher was going over the paper, and he decided to bring the whole class to fits of laughter as he described how “some moron” had answered question 5. Then there was my high school PE teacher, the man who made me hate PE. Do the slightest thing wrong and you were ordered to do ten push-ups in front of everyone. He took perverse pleasure if you were overweight like me and couldn’t do the exercise properly. I get a little angry even now, thinking back. I didn’t know it then, but these were adults who brought their anger issues and perverse character traits into work with them and took them out on the children in their care.
So I instantly empathised with Charlie Decker’s stories. Rage is about what happens when the abuse gets to the point where the abused person says, “Enough.” But this is not a tale about a boy losing himself in violence; it’s a strangely controlled explosion. Once Decker has his classmates in isolation, he begins something that he calls “getting it on” – a thing that appears to mean getting to the heart of the matter, stripping away the bullshit and being properly honest with each other.
He begins by recounting tales from his childhood, and soon his classmates are joining in, supplying stories of their own. A strange rapport ensues between captor and captives. Meanwhile the police are gathering outside, wondering about what Decker’s demands will be. But the class have come to realise that Decker has no intention of harming them. Most of them sense that something important is happening; they are all undergoing a transition, where pent up emotions can finally be released and healed.
This was not an easy book to read, because it was filled with so much pain. But identification with that pain made it impossible to leave the story unfinished. The plot suffers a little bit from melodrama in a couple of places, but for something written by one so young, it is surprisingly honest about life. The danger, I suppose, is in identifying so much with Charlie Decker that the reader justifies his actions and turns them into something heroic. But in the story, even Charlie admits that he’s losing his mind.
A sober and insightful story about human nature. There is more worth in these 150 pages than in many a novel four times the size. Well worth hunting for a second-hand copy.
When I was fifteen, in high school, we had one period of Religious Education per week. For about half of the school year, this lesson consisted solely of our class reading through From Witchcraft to Christ, chapter by chapter. Today, revisiting the book two decades later, I’m amazed by how much of the story I remember. You might say it had something of an impact on me originally; it certainly reinforced Christianity and coloured my opinion of the occult.
When I was fifteen I was completely naive, and when I became a Christian at age seventeen, I wasn’t much brighter. Now, however, as an adult who survived the brainwashing exercise of religion and came out the other side with a razor sharp intellect, my memories of Doreen Irvine’s autobiography take on quite a different light. My intention in re-reading this book is to either confirm or deny my suspicion that what we are dealing with here is a liar.
The problems begin with the author’s note at the beginning. “I have of necessity omitted many details of my former life, the people I was associated with at this time and other personal details.” She explains that her intention “was to present a readable account of part of my life and to avoid having to relate definite dates and situations with known persons living or dead.” Unfortunately for the reader, such details could have corroborated Irvine’s claims, Without them we are left to simply wonder how much of what we are reading is fantasy. This is especially important given the fantastical nature of some of her claims, which we will come to shortly.
Nevertheless, the early part of book has an air of credibility; the reader gets the feel of someone relating direct experience. Irvine was a disadvantaged child, living in a council estate in Britain during World War II, with her mother, alcoholic father, and younger sisters. She was mischievous and a ringleader to the children of the neighbourhood, continually getting into trouble. Home life got worse when her mother upped and left and her father brought home a mistress. In her early teens, a local charity worker decided to help Doreen by getting her a job as a maid for a local upper class woman. Doreen stuck it out for a while, but naively longed for the idea of a better life in London. After saving some money, she left on the train without a word to anyone. In the big city, she quickly found work as a prostitute, then as a stripper, calling herself Daring Diana. In this profession, she made some serious money, and was able to afford a classy flat for herself. Despite material success, her main problem was loneliness, for which she turned to drugs. Heroin addiction ended up ruining her ability to do her job, so she returned to prostitution and also indulged in shoplifting. One day she was caught stealing jewelry and got three months in prison, which at least served as a withdrawal clinic for the drugs.
You can tell that this is shaping up to be one of those sensationalist Christian testimonies where the author revels in telling the audience how rotten she was, and how great God is for saving her. In all honesty I have nothing but contempt for such screw-ups. If you’re dumb enough to invite a man to stick a heroin needle into your arm, then you deserve whatever consequences befall you; I have no sympathy. The only time I felt any sense of respect for Doreen was when she was getting it together as a stripper (something she no doubt looks back on with disdain). Not the most respectable of jobs, but you’ve got to salute a woman who brings about material success for herself using whatever assets she has. That said, for the most part, this is the story of a young girl who squandered the opportunities given to her and whose recklessness brought about her undoing. The message of the book is basically: “God rescued me from my stupidity.” Am I being too harsh? Frankly, the people I have respect for are those who have the sense not to ruin their lives, or those who bring themselves back from the brink of disaster by their own determination. Doreen Irvine, however, belongs to the self-pity school of thought: “Poor me. Help me, Lord.” You ever notice how such testimonies are always about acceptable sins: “I was an alcoholic, but God redeemed me!” “I was addicted to heroin, but by the grace of God I’m now free.” “I was an IRA hitman, but by God’s mercy I am forgiven!” “I was a Satanist, but the might of Jesus freed me from the power of the devil!” You never hear anyone say, “I used to rape little boys, but through the blood of Christ my sins are washed clean!” That’s why I can’t stand these big boastful displays of past sin, because there’s sin that’s trendy to parade, and there’s SIN that isn’t.
You may have noticed that From Witchcraft to Christ hasn’t yet included any witchcraft. That’s because there’s not a lot of it, only a couple of short chapters worth. And it’s these chapters where Irvine’s credibility falls asunder. The believable detail of the early chapters is replaced with the sort of summarising brevity that is indicative of someone who wasn’t really there doing what she claims to have been doing. But that’s only a minor criticism. The details that she does give are enough to damn her.
When she came out of prison, she went back to her life as Daring Diana the stripper. One night, she overheard two girls talking about a “Satanist temple.” She asked them about it. At first they were reluctant to say anything, but with a quick nudge, they conceded to take Doreen to their Satanist meeting place. Doreen was blindfolded and taken by car to a secret location. There were about five hundred people in the hall, which was draped in black. A Satanic ceremony takes place, involving the sacrifice of a cockerel, people dressed in robes, and lots of chanting. The ceremony is said to last two hours, but Irvine gives practically no detail. Afterwards, she is asked by the chief Satanist if she would like to join their religion. And she does.
Anyone who has done some research into the occult will see that Irvine has no more knowledge of the subject than you would gain from a few Hammer movies or Dennis Wheatley novels. She refers to her religion as “the order of Satanism,” not seeming to realise that an order is a subdivision of a religion – a religion that is never named. Perhaps it’s the order of Satanism of the religion Satanism? On another occasion she refers to it as “the most ancient order of Satanism.” If so, you would think that the leader would be called by a legitimate occult title like “Ipsissimus” or “High Priest.” No, Irvine has no familiarity with occultism, so in her limited imagination she continually refers to the leader as “the chief Satanist.” Often, she erroneously refers to Satan as Lucifer, something that crept into Christian tradition through a mistranslation of the Old Testament into Latin. You would think the real Prince of Darkness would know that he isn’t a minor Roman deity. Irvine is also fond of calling her master Diablos; it’s unfortunate that the devil can’t spell (correct rendering “Diabolus”).
Irvine furnishes us with some of the rules of Satanism that she was required to obey:
1. Secrecy is the keynote for all Satanists. They must never reveal the whereabouts of the temples to an outsider or the things that go on inside the temple.
And yet somehow all it took for Doreen to be transported right into the heart of the most secret organisation (one whose existence isn’t even known today in the internet age) was to ask a couple of its members in a stripclub?
3. Satanists must never enter a Christian church unless sent in to spy by the chief Satanist.
Why not? What would a Satanist be afraid of? The power of the Christian Gospel? I think not.
4. Satanists must never read the Holy Bible for their own edifiction.
Again, why not? What self-respecting Satanist would be afraid of a book he thinks is full of lies? Compared to Anton LaVey’s “Nine Satanic Statements,” Irvine’s rules of Satanism seem rather infantile.
Lies are compounded upon lies, as Irvine thoroughly insults the reader’s intelligence in her tale of how she became initiated as “the queen of black witches” (another title that has no existence in occult lore). She had to walk through a bonfire, and as she did so, the devil walked with her, visibly as a black figure. On several occasions she talks about seeing Satan physically, hearing his voice audibly, then later as a Christian she makes the same claims about Jesus. Of course, there’s not a shred of evidence, and the reader is simply expected to take her word for everything. One night Irvine is with her witch chums on the moor when several men come over the hill. She uses her Satanic powers to make the witches invisible, and avoid getting caught. Brimming with occult power, with zero esoteric knowledge. How does she do it?
In the two brief chapters about Irvine’s experiences with Satanism and witchcraft, she had opportunity to completely blow the lid off this. But she refains. Details are scant, events are summarised, locations remain unknown. She talks about how the meeting places used as Satanist temples change regularly to maintain secrecy, but after she becomes a Christian she doesn’t seem to have any trouble getting in touch with her old pals and attempting to convert them.
Irvine’s conversion to Christianity is fraught with difficulty, as apparently she is possessed by numerous demons. Rev. Arthur Neil exorcises her over a period of many months. The demons that leave her have names like Doubt, Deceit, Lust, Lies, Pride, Witchcraft, Tormentor. That’s right, folks, if you’ve ever experienced doubt, that’s not your brain’s way of making sure you have a robust enough reason to believe in something; that’s an infernal demon from the pit of hell gnawing at you! There’s even a demon called Lesbian. Yes, all you rug-munchers; you are possessed!
Once Irvine is on the “right path,” the final quarter of the book is taken up by sanctimonious, melodramatic stories of her early ministry as an evangelist. Oh, now we get the detail. I had to smile when she sprained her ankle and had to cancel one of her appointements, for she believed that to be Satan’s doing. This reminded me so much of the silly damaging ideas that used to occupy my own brainwashed mind in another life.
It’s difficult to know how much of Irvine’s story is deliberate deceit and how much is down to over-enthusiatic evangelists preying upon a psychologically unstable woman. In any case, it is clear that Irvine’s witchcraft experience is entirely bogus, or at best grossly exaggerated for dramatic effect.
Interestingly, there’s not a single mention of the Satanic ritual abuse (SRA) of children, something which became a staple of Satanic testimonies in the 1980s and 1990s (the period known as the Satanic Panic). Clearly, in the 1970s, when Irvine wrote her story, SRA hysteria had not become part of the zeitgeist. It’s omission makes From Witchcraft to Christ an important book historically, for it demonstrates how people simply accept sensationalist tales, regardless of their content or veracity. This book has become a big seller in Christian circles and is still in print today. That depresses me, because the material is easily debunked by anyone with a healthy sound mind. Sadly, the success of this book only attests to the credulity of the general mass of humanity.
Let the honest Christian reader take note, you should be every bit as concerned as I am to expose people like Doreen Irvine. Liars in your ranks do you no credit.
If you would like to see this lady in action, telling porkies for Jesus, look her up on YouTube.
The Satanic Witch! An attention-grabbing title, if ever there was one. That said, occultniks and sensation-seekers may be disappointed to learn that the focus of this volume is not spell-casting in the supernatural sense, but in the entirely mundane manner of bewitchment by psychological manipulation – the effective use of feminine wiles, in other words.
LaVey appears to have undertaken a painstaking amount of personal research into typing human beings, the results of which he has condensed into what he calls the LaVey Personality Synthesizer. This is a clock diagram which places various body-types at points on the clock, then assigns various personality traits to each. In summary:
Twelve o’clock (the most male core) represents wide shoulders; long torso; narrow hips; short legs; hard, firm flesh; pioneer; domineering; aggressive; impulsive; always onstage; selfish; authoritarian.
Six o’clock (the most female core) represents narrow shoulders; short torso; long legs; wide hips; marshmallow flesh; fluidic movements; carries things out; consistent; dedicated; receptive; dependable; generous; steady.
Three o’clock (intellectual) represents narrow, stick build; sinewy; no wasist; translucent; social critic; technical; abstract; least social; dour; hair-splitter; clinical; thinker, not doer.
Nine o’clock (emotional) represents thick sausage build; resilient; rubbery flesh; social; sense of humour; agreeable; concrete; doer, not thinker; practical; resourceful.
The idea is to locate your own position on the clock. This then reveals your perfect partner of the opposite sex, who should be directly opposite you on the clock. That’s the theory, anyway. I see myself at somewhere between one and two on the clock, so my perfect partner should be between seven and eight, having a feminine core, with emotional and practical traits. There’s something to be said for that, actually. Being a single man, I am well aware of my own lack of domestic practicality, which would be compensated for by a partner who had those natural nesting instincts. Without reference to the synthesizer, I fancy the idea of a partner who shares my intellectual pursuits, but in reality this could mean that my home would end up as twice as messy as it is at present! (I am also dangerously close to be being pegged as a male chauvanist.)
The LaVey Synthesizer Clock is something unique to LaVey. It’s not in common usage in modern psychology, and testing the subtleties of categorisation in your own personal experience might require almost as much time as it took LaVey to synthesize them. As such, this element of the book was of limited value. Broadly speaking, it is valid to say that maleness and femaleness are different; they are different for reasons of compatibility; these differences are differences of body and temperament, both of which are interlinked; and that degrees of maleness and femaleness are present to varying degrees in males and females, extreme examples being the female tomboy and the effeminate male.
The primary strength of this book is its frankness. Sexuality is the main focus and nothing is considered taboo. Most interesting of all was LaVey’s discussion of what he terms the Law of the Forbidden. How a mere glimpse of something that’s not meant to be seen will be far more stimulating to a man than a full-frontal nude; the flesh of a woman’s thigh coming into view above the hem-line of her tights as she crosses her legs – this can be more exciting than a woman dancing on a stage with no clothes on.
The main disappointment of the book is that its view of sex and romance is entirely manipulative. “How to bewitch a man” is true to the book’s title and theme, but I think it’s tragic that male-female relationships are painted entirely in this hollow light. There’s even something a little hypocritical to the Satanic principle of “Responsibility to the responsible” (see The Satanic Bible) when LaVey includes advice on how a woman who wishes to seduce a married man should go about it.
While the main focus of the book is “lesser magic” (psychological ploys), there is a chapter towards the end on “greater magic,” which reveals many fascinating additions to the information already presented in The Satanic Bible.
LaVey has been known to be dishonest about the details of his past (see The Secret Life of a Satanist by Blanche Barton). The Satanic Witch provides some insight on why he has indulged in myth-making about himself. In a section called “How and When to Lie” from the chapter “Bitchcraft,” LaVey states:
There is nothing wrong with saying you sang at Carnegie Hall and you could have stood in the doorway at midnight and hummed a few measures, but if you open your mouth to sing at the next party and it sounds rotten, you have, as they say, blown it. If, however, you have sung the lead in your local civic light opera production of Naughty Marietta and were acclaimed as an exceptionally talented singer, and you happen to be at an affair where your quarry will be suitably impressed and possibly arrange for you to go on tour with an important new show, a Type II lie is in order. Tell him you have sung wherever you’d like – before crowned heads, etc., because when he asks you to sing, if you can back your contrived pedigree up with action, those very lies you told will not be questioned and will pay off. If you hadn’t told him, he might never have asked to listen to you.
A fascinating book from which a measure of insight about human nature can be drawn, whether the reader is a woman or man. As always, one to read with a critical eye.
I advise readers to consult my review of The Satanic Bible before reading this one, first to familiarise yourself with what Satanism actually is (in direct contradiction to Christian propaganda) and also so that my personal motivations in researching this subject are not misunderstood by people who would take great delight in condemning me.
Briefly, LaVeyan Satanism is a philosophy of individualism, recognising no higher authority than the self. To the Satanist, there is no God and no devil; no one to worship but yourself. Satanists choose Satan as their symbol because the name means “accuser” or “adversary,” and Satanists see themselves as the enemies of all the spiritual religions. In wearing the badge of the very enemy those religions typify, you declare your freedom from any necessity of being seen as righteous in the eyes of others. Satanism celebrates carnality and sees man as just another animal. It can be viewed as atheism minus humanism. The Satanic Bible was chiefly concerned with expounding a philosophical viewpoint, a Satanic morality. Satanists are not amoral, nor are they in favour of loving everyone indiscriminately. Satanic morality is rational, pragmatic and at times brutal. Satanism recognises that all of nature is adversarial (Satanic), and so it develops a moral stance in line with that principle.
Then we come to a strange little thing called Satanic ritual. This topic was given a brief treatment towards the end of The Satanic Bible and is more fully expounded here. Satanists view ritual as “self-transformative psychodrama.” The main reason for ritual is to affect the self. For instance, a Black Mass is not a form of devil worship (for there is no devil, Satanists would agree), it is a mockery of Christianity designed to disintregate any lingering psychological attachment to it that is holding you back.
There is another, more occult, side to ritual that is acknowledged by the Satanist. There are three general types of ritual: a compassion ritual (where good is wished upon another), a destruction ritual (where harm is wished upon another), and a lust ritual (where you attempt to bring a sexual partner into your life). The ritual chamber can be thought of as a cooking pot for desire and emotion, where the rational self is left at the door for a time. Satanism acknowledges that our desires can sometimes permeate beyond ourselves and affect the world. This is the essential understanding of a magical ritual. LaVey doesn’t pretend to know how and why this works, he only asserts that it does, that there are forces beyond our understanding that can be called to our aid. These forces are not acknowledged to be personal in any way, and most magical lore is thrown in the trash. LaVey places no importance on the drawing of protective circles, pentagrams and hexagrams. He views the spilling of blood as completely unnecessary and the real science of it is the power inherent in the discharge of the adrenal and bio-electrical energy of the sacrifice. Hence, the Satanist recognises he can draw such energy from within himself through ritual, without the need for killing animals (or human babies!). I have to say, I found all of this to be a fascinating re-evaluation of magical lore. But it strikes me that LaVey could be closer to a scientific understanding of magic than his occult predecessors.
One thing still baffles me, and it’s the question I really wanted answered after reading The Satanic Bible: if we are dealing with impersonal forces, why the constant reliance on the Enochian Keys? Many rituals are included in this book, and the one thing you learn is there are no actual Satanic rituals. They are all borrowed from other non-Satanic sources and sometimes modified; there’s even a bit of H.P. Lovecraft thrown in. And yet all of these rituals begin with the reading of specific Enochian Keys. It’s as if the content of the ritual itself isn’t terribly important, but the Enochian Keys are vital to success. I asked this question in my review of The Satanic Bible, and I have to ask it again here: who or what is listening when you speak the Enochian Keys? Surely something more personal than a force of nature.
Now, it could be that John Dee’s Enochian language is pure gibberish and LaVey is yanking our chain. Call me superstitious, but I’m not inclined to put that to the test. My understanding of “magical” forces comes from a psionics perspective. I have enough experience (specifically through experiments with telekinesis) to know that there’s a reality to this. I am far too cautious to dabble in Satanic ritual, although I am endlessly fascinated by the workings of it, because I think there is ultimately a scientific framework for everything in reality, as long as you don’t take the word “science” to mean classical physics alone.
Sapphire and Steel is one of the strangest and most fascinating television dramas that I remember from childhood. Sapphire (played by Joanna Lumley) and Steel (David McCallum) are agents of a mysterious sort of inter-dimensional police force. Where they come from is never quite made clear – only that they are not human, and they appear to know a great deal more about the world than we do. They arrive on our dimension at certain times and places, to contend with a mysterious malignant force that is regularly attempting to break into time. Each agent has his/her own unique paranormal abilities with which to do battle.
There were six seasons of Sapphire and Steel, and this short book is a novelisation of the first season. It concerns a family who live in a big house filled with clocks. The reading of a nursery rhyme becomes a “trigger” that causes all the clocks to stop and the parents to vanish into thin air, leaving two bewildered children behind. Then two strangers appear at the front door, a steely-eyed man and a woman in a blue dress. The children have no clue whether they are friend or foe, but Rob, the boy, quickly learns that if he is ever going to see his parents again, he must put his trust in them.
These words of mine can’t quite convey the spooky feel of the show. The writer, P.J. Hammond, had a real knack for unnerving the viewer that was almost Lovecraftian – giving us nothing more than quick glimpses of a dark and terrifying reality just beyond the range of human sight. I think this was billed as a children’s show back in the late 1970s, but it’s anything but. I remember having childhood nightmares about being trapped in time, and when I finally revisited the series when it first came out on videotape in the early 1990s, I was able to connect the dots.
I don’t normally read novelisations, because they tend to be mere cash-ins on a successful series or movie, but I made an exception this time because it’s written by the series’ creator P.J. Hammond. I thought it might offer fresh insights into the bizarre mythology, but sadly the book reads almost like a word-for-word reconstructions of the script, fleshed out with descriptive detail. Most of the book is told from the point of view of Rob, and so, nothing more is learned about the characters of Sapphire and Steel than what was already on display on the television screen. I feel this was a missed opportunity to go deeper than what the visual medium allowed.
I can understand how a book like this would have been a worthwhile purchase back in the late 1970s, before the era of videotapes and DVDs, when we there was no opportunity to revisit your favourite programmes other than waiting for re-runs which might never come. But nowadays, you would be better served by picking up the series on DVD. If you have a taste for sci-fi that’s a bit “out there,” I recommend you check it out. As for the novelisation, its only value is as a collectible.
Certainly no ordinary pulpish vampire yarn here. You can tell Anne Rice has thought long and hard about what she’s writing. These vampires are believable characters with their own philosophies and ways of life. The book begins in the latter end of the 20th century, with a vampire by the name of Louis preparing to tell the story of his life to a young interviewer. And so we are transported centuries back in time, where we learn of Louis’ transformation from human to vampire, of his moral struggle with his need to kill, of his search to find others of his kind.
It’s a gripping read, and has some genuinely funny moments, including a great section which they left right out of the movie. Rice paints a picture of vampiredom that is very attractive in its sheer irresponsibility of lifestyle. In fact, dissatisfaction with life is the ultimate the theme of the novel, and the ending leaves the reader with some real food for thought.
The Guardians is set in a near-future society which has two class divisions: you either live in an area called the Conurb or the County.
Life in the Conurb is fast. People work hard for a living and play hard. Rioting is a common sight on the streets, and the primary means of entertainment in this overcrowded society is holovision (presumably what television is destined to become). Reading is largely a thing of the past.
So we come to the County. People live in quaint houses surrounded by acres of lush grassland. Transportation over distances is largely a matter of horse-riding; there’s not a car in sight. People live in luxury and have time to pursue hobbies of one sort or another. A tall, electrified fence separates the County from the Conurb, stretching across the entire country, and no one on either side lives within several miles of it. There aren’t many attempts to cross this border. Most people are content in their differing ways of life. So why rock the boat? you might ask. Why seek to change the world when everybody’s happy with things the way they are?
This is the question which faces a boy called Rob, a young Conurbian whose father has recently died. Also motherless, and faced with the harrowing prospect of life in a children’s home, Rob sets off on a journey for the County, where he hopes to make a better life for himself. After a few minor scrapes, Rob manages to get across the border, and is taken in by a kind family. No sooner has he had a taste of the good life, when he hears of plans to storm the fence and end the division.
I love adventure stories that involve a journey. Christopher’s The White Mountains stands out as a wonderful example. Where The Guardians fails is in Rob’s motivations. Travelling across the country selfishly seeking a less larsh life can hardly compare to The White Mountains, where three boys seek flee from a society that is intent on stripping them (and everyone else aged fourteen) of their humanity by means of a mind-control device. Actually, this theme of mass mind-control is visited in the closing chapters of The Guardians, and the more of Christopher’s novels I read, the more that I realise that this is a theme which is close to the author’s heart. However, I have to say The White Mountains does it much better.
Another problem with The Guardians is that Rob takes a back seat for much of the story, merely observing the actions of others rather than carrying the story forward himself.
I struggled with this novel. It just didn’t have the pace and excitement of some of Christopher’s other writings.