Showing posts with label Aesop. Show all posts

Thursday, December 29, 2022

In brief /The Man Who Died Twice; Aesop’s Animals; Breathtaking – reviews

In brief: The Man Who Died Twice; Aesop’s Animals; Breathtaking – reviews

Richard Osman’s second novel doesn’t disappoint. Plus, the science behind Aesop’s fables and on the Covid frontline with Dr Rachel Clarke

Hannah Beckerman
Sunday 12 September 2021

‘His characters are beautifully drawn’: Richard Osman. Photograph: Antonio Olmos

The Man Who Died Twice

Richard Osman
Viking, £18.99, pp432

TV presenter Osman’s highly entertaining second novel revisits the quartet of septuagenarians that made his debut, The Thursday Murder Club, a runaway hit. Ex-spy Elizabeth is visited by her former husband and colleague, Douglas, in need of help to escape the clutches of MI5 and the mafia, sending the pensioners on their next sleuthing adventure. Osman’s characters are beautifully drawn, perfectly balancing humour and pathos, and the result is a novel that’s pure pleasure to read.

Aesop’s Animals: The Science Behind the Fables

Jo Wimpenny
Bloomsbury, £16.99, pp368

Jo Wimpenny, a zoologist, questions whether there is any scientific reasoning behind Aesop’s depictions of animals in his collected morality tales. Her canvas is wide-ranging, incorporating personal reflections and research. In one chapter, The Dog and Its Shadow, she sweeps from Darwin to modern neuroscience by way of her own childhood desire to be a canine. Engaging and comprehensive, this is highly readable popular science.

Breathtaking

Rachel Clarke
Abacus, £9.99, pp240

Dr Rachel Clarke’s award-winning 2020 book Dear Life established her as a compassionate and lyrical voice within medical literature. With Breathtaking, the palliative care specialist turns her attention to Covid, in a raw and unflinching portrayal of life on the frontline of the pandemic. There is her fury at the government’s ineptitude – here we understand the terrifying reality of insufficient PPE – and an intimate portrayal of her colleagues on Oxford’s Covid wards. And there is her grief for the patients, and co-workers, she loses. Deeply humane, Breathtaking is a book replete with courage, resilience and empathy.

THE GUARDIAN

Sunday, November 6, 2022

Aesop’s Fables / The Cruelty of the Gods review: A welcome feast of fables for our times

Aesop’s Fables: The Cruelty of the Gods review: A welcome feast of fables for our times

Carlo Gébler’s book is a wonderful, gloomy and welcome addition to the Aesopic corpus “The nest of mice lived in an empty old house, bothering nobody.

One day a cat climbed through a broken window and got into the kitchen.

‘I say . . . ‘Paradise.’

The Fox, the Cock, and the Dog

by Aesop

One moonlight night a Fox was prowling about a farmer’s hen-coop, and saw a Cock roosting high up beyond his reach. “Good news, good news!” he cried.

“Why, what is that?” said the Cock.

“King Lion has declared a universal truce. No beast may hurt a bird henceforth, but all shall dwell together in brotherly friendship.”

“Why, that is good news,” said the Cock; “and there I see some one coming, with whom we can share the good tidings.” And so saying he craned his neck forward and looked afar off.

“What is it you see?” said the Fox.

“It is only my master’s Dog that is coming towards us. What, going so soon?” he continued, as the Fox began to turn away as soon as he had heard the news. “Will you not stop and congratulate the Dog on the reign of universal peace?”

“I would gladly do so,” said the Fox, “but I fear he may not have heard of King Lion’s decree.”

Cunning often outwits itself.

Aesop / The dog and the Wolf
Aesop / The wolf and the lamb
Aesop / The sick lion
James Salter's Top Ten List
The Dog and the Shadow by Aesop
The Dog in the Manger by Aesop
The Fox, the Cock, and the Dog by Aesop
Aesop’s Fables / The Cruelty of the Gods review: A welcome feast of fables for our times

The Dog in the Manger by Aesop

The Dog in the Manger

by Aesop

A Dog looking out for its afternoon nap jumped into the Manger of an Ox and lay there cosily upon the straw. But soon the Ox, returning from its afternoon work, came up to the Manger and wanted to eat some of the straw. The Dog in a rage, being awakened from its slumber, stood up and barked at the Ox, and whenever it came near attempted to bite it. At last the Ox had to give up the hope of getting at the straw, and went away muttering:

“Ah, people often grudge others what they cannot enjoy themselves.”

The Dog and the Shadow by Aesop

The Dog and the Shadow

by Aesop

It happened that a Dog had got a piece of meat and was carrying it home in his mouth to eat it in peace. Now on his way home he had to cross a plank lying across a running brook. As he crossed, he looked down and saw his own shadow reflected in the water beneath. Thinking it was another dog with another piece of meat, he made up his mind to have that also. So he made a snap at the shadow in the water, but as he opened his mouth the piece of meat fell out, dropped into the water and was never seen more.

Beware lest you lose the substance by grasping at the shadow.

Saturday, December 10, 2016

James Salter's Top Ten List

James Salter

James Salter's Top Ten List

BIOGRAPHY

Hide

Reader Bio

James Salter (1925-2015) was an American writer who flew more than 100 missions as an Air Force pilot before publishing his first novel, The Hunters(1957). His celebrated prose style – sometimes described as a cross between Ernest Hemingway and henry Miller – earned him the reputation as a writer’s writer. His most celebrated work is, A Sport and a Pastime (1967), an erotic novel set in post-war France about an American student and a French girl. His other novels include Light Years(1975) and All That Is (2013). In 2013 his Collected Stories were published. His nonfiction works include the memoir Burning the Days (1997), There and Then: The Travel Writing of James Salter (2005) and Life Is Meals: A Food Lover's Book of Days (2006, written with wife Kay Eldredge, 2006). He was elected to The Academy of Arts and Letters in 2000. In 2012, the PEN/Faulkner Foundation selected him for the prestigious PEN/Malamud Award for lifetime achievement.

1.The Bible. (See appreciation below).

2. Aesop’s Fables (c. sixth century b.c.e.). Though their origins are vague —Aesop may have been born a slave in Asia Minor in 620 b.c.e.—these tales use talking animals to personify human virtues and vices. Fables such as “The Hare and the Tortoise,” “The Lion and the Mouse” and “The Fox Who Lost His Tail” show that “slow and steady wins the race,” “appearances can be deceiving,” and “misery loves company.”

3. The Arabian Nights: Tales from a Thousand and One Nights (c. 1450). Scheherazade receives the grim honor of marrying her King, who executes his wives on the day after the wedding night. Sche herazade delays her death by at least one thousand nights by telling tales that grow out of each other like the designs in a Turkish rug. Those childhood familiars, Sindbad, Ali Babba, and Aladdin, are all here.

4. The legends of King Arthur and the Knights of the Round Table. These tales of medieval chivalry, romance, and high adventure composed primarily from the twelfth through fifteenth centuries feature a host of iconic characters: Sir Galahad, Lancelot, Mordred, Guinevere, Merlin, and the Lady of the Lake. These are stories that gave us Camelot, the Round Table, and the search for the Holy Grail. Versions abound but the best place to start is with Sir Thomas Malory’s Le Morte D’Arthur.

5. Henry IV, Parts I and II by William Shakespeare (1596–98). These plays follow the rise of Prince Hal, son of Henry IV, from wastrel cavalier to powerful King Henry V, who would lead the English army to victory over the French at Agincourt in 1415, as dramatized in Henry V. Hal’s maturation from rioting prince to deadly serious king is not without complications, however, as he renounces a festive underworld of great verbal richness, unparalleled wit, and creative energy for a ruthless, sinister, and murderous world of Machiavellian politics where might equals right. The most famous casualty of this transformation is Shakespeare’s greatest comic creation, Sir John Falstaff, Hal’s boon companion in Part I, whom the prince summarily rejects in Part II.

6. Madame Bovary by Gustave Flaubert (1857). Of the many nineteenth-century novels about adulteresses, only Madame Bovary features a heroine frankly detested by her author. Flaubert battled for five years to complete his meticulous portrait of extramarital romance in the French provinces, and he complained endlessly in letters about his love-starved main character — so inferior, he felt, to himself. In the end, however, he came to peace with her, famously saying, “Madame Bovary: c’est moi.” A model of gorgeous style and perfect characterization, the novel is a testament to how yearning for a higher life both elevates and destroys us.

7. Dead Souls by Nikolai Gogol (1842). Gogol’s self-proclaimed narrative “poem” follows the comical ambitions of Chichikov, who travels around the country buying the “dead souls” of serfs not yet stricken from the tax rolls. A stinging satire of Russian bureaucracy, social rank, and serfdom, Dead Souls also soars as Gogol’s portrait of “all Russia,” racing on “like a brisk, unbeatable troika” before which “other nations and states step aside to make way.”

8. Anna Karenina by Leo Tolstoy (1877). Anna’s adulterous love affair with Count Vronsky —which follows an inevitable, devastating road from their dizzyingly erotic first encounter at a ball to Anna’s exile from society and her famous, fearful end —is a masterwork of tragic love. What makes the novel so deeply satisfying, though, is how Tolstoy balances the story of Anna’s passion with a second semiautobiographical story of Levin’s spirituality and domesticity. Levin commits his life to simple human values: his marriage to Kitty, his faith in God, and his farming. Tolstoy enchants us with Anna’s sin, then proceeds to educate us with Levin’s virtue.

9. Stories of Isaac Babel (1894–1940). “Let me finish my work” was Babel’s final plea before he was executed for treason on the orders of Josef Stalin. Though incomplete, his work is enduring. In addition to plays and screenplays, some in collaboration with Sergei Eisenstein, Babel made his mark with The Odessa Stories, which focused on gangsters from his native city, and even more important, the collection entitled Red Cavalry. Chaos, bloodshed, and mordant fatalism dominate those interconnected stories, set amid the Red Army’s Polish campaign during the Russian Civil War. Babel, himself a combat veteran, embodied the war’s extremes in the (doubtless autobiographically based) war correspondent–propagandist Kiril Lyutov and the brutally violent Cossack soldiers whom he both fears and admires. Several masterpieces herein (including “A Letter,” “My First Goose,” and “Berestechko”) anticipate Hemingway’s later achievement, and confirm Babel’s place among the great modernist writers.

10. Grimm’s Fairy Tales (1812–14). Where Hans Christian Anderson was sweetly folklorish and gentle, the German folk tales collected by Jakob and Wilhelm Grimm are gritty and fearless. Their legendary stories —among them Hansel and Gretel, Snow White, and Sleeping Beauty —are as violent as they are enchanting. Though versions of the Frog Prince abound, the Grimms reject sentimental romance to tell a moral tale about keeping a promise. Their princess is a brat who throws the frog against the wall rather than kissing him to turn him into a prince. Grimm’s Fairy Tales deliver enchantment and moxie.

Appreciation of the Bible by Andrew Hudgins

The Bible is both a holy book and a work of supreme fiction; those of us who read it both ways are doubly blessed. One does not need to believe in God to hear the majesty of the story that begins, “In the beginning, God created the heaven and the earth. And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters. And God said, Let there be light: and there was light.” A great story itself, the Bible is also the source of great stories, by geniuses from Dante to Dostoevsky, Faulkner to Thomas Mann, and the poetry of the Psalms echoes through great poetry from William Blake to Walt Whitman to T. S. Eliot.

One does not have to believe Jesus is the Son of God to understand that his parables are penetrating works of fiction that embody complex truths about human nature. One need not believe Adam and Eve existed to see Genesis is, whatever else it is, a philosophically sophisticated and psychologically acute story about people’s innate response to authority, even loving authority. And it is perfectly possible to believe Moses and King David are fictional, and yet find true to life the Bible’s stories of these flawed men who succeed greatly, if only partially, while failing God time and again.

And what of Jesus —a god entering history as a man and living as a mortal? True or not true, “the greatest story ever told,” in the majesty of its telling and the power of its message, has taught an entire culture how to think about love, suffering, and transcendence, and it has fundamentally colored the language by which we talk about everything.

THE TOP TEN

Wednesday, September 26, 2012

Aesop / The sick lion

Aesop

THE SICK LION

A Lion had come to the end of his days and lay sick unto death at the mouth of his cave, gasping for breath. The animals, his subjects, came round him and drew nearer as he grew more and more helpless. When they saw him on the point of death they thought to themselves: "Now is the time to pay off old grudges." So the Boar came up and drove at him with his tusks; then a Bull gored him with his horns; still the Lion lay helpless before them: so the Ass, feeling quite safe from danger, came up, and turning his tail to the Lion kicked up his heels into his face. "This is a double death," growled the Lion.

Only cowards insult dying majesty.

Tuesday, September 25, 2012

Aesop / The wolf and the lamb

Aesop

THE WOLF AND THE LAMB

Once upon a time a Wolf was lapping at a spring on a hillside, when, looking up, what should he see but a Lamb just beginning to drink a little lower down. "There's my supper," thought he, "if only I can find some excuse to seize it." Then he called out to the Lamb, "How dare you muddle the water from which I am drinking?"

"Nay, master, nay," said Lambikin; "if the water be muddy up there, I cannot be the cause of it, for it runs down from you to me."

"Well, then," said the Wolf, "why did you call me bad names this time last year?"

"That cannot be," said the Lamb; "I am only six months old."

"I don't care," snarled the Wolf; "if it was not you it was your father;" and with that he rushed upon the poor little Lamb and ate her all up. But before she died she gasped out:

"Any excuse will serve a tyrant."

Monday, September 24, 2012

Aesop / The dog and the Wolf

Aesop

The Dog and the Wolf

A gaunt Wolf was almost dead with hunger when he happened to meet a House-dog who was passing by. “Ah, Cousin,” said the Dog. “I knew how it would be; your irregular life will soon be the ruin of you. Why do you not work steadily as I do, and get your food regularly given to you?”

“I would have no objection,” said the Wolf, “if I could only get a place.”

“I will easily arrange that for you,” said the Dog; “come with me to my master and you shall share my work.”

So the Wolf and the Dog went towards the town together. On the way there the Wolf noticed that the hair on a certain part of the Dog’s neck was very much worn away, so he asked him how that had come about.

“Oh, it is nothing,” said the Dog. “That is only the place where the collar is put on at night to keep me chained up; it chafes a bit, but one soon gets used to it.”

“Is that all?” said the Wolf. “Then good-bye to you, Master Dog.”

Better starve free than be a fat slave.