“The End of Night” is a great piece of nonfiction detailing the technological changes in artificial light, and how we’ve introduced some pretty severe changes to our surroundings in just the last century.
I found it as informative as I did moving, even poetic at times, as Bogard makes his case for a reduction in the amount of artificial light we project into the dark. There are environmental concerns as well as an impact on our own physiology.
It’s a book that merits discussion and I would encourage you all to take a look at it.
This is a bit out of the norm for me. I generally try to avoid politics online these days, mainly because here in the States, nobody is solving anything. Social media can generally be boiled down to
- The “ZOMFG THIS IS JUST LIKE HARRY POTTER ONLY THE BAD PARTS AND WE’RE IN THE #RESISTANCE BECAUSE WE’RE TOTES HEROES” camp
- The “THIS IS WHY TRUMP WON #MAGA #MAGA #MAGA” camp
- And finally, the “STFU THEY BOTH SUCKED” camp.
I more or less belong to the third one. We have the government we deserve because we keep falling for stupid, divisive garbage and patting ourselves on the back for being better than the other guy.
The problem is, when you’re the biggest gun on the block, and everyone else is kind of counting on you to keep that thing in working order, and then you neglect or abuse that gun and let it fall out of working order, suddenly a gang of renegades moves into the neighborhood and starts doing whatever they want.
For those of you not following the metaphor, the gang is ISIS.
For the umpteenth time in a few short years, some ISIS a–hole committed a terrorist attack because of his backwards, Stone Age beliefs, that people of his kind are better and people not of his kind are not even people, and should be slain for it.
A sensible response would involve hunting these clowns down, along with everyone who ever financed, aided, or abetted them, and permanently removing their ability to organize and harm other people. Maybe that means seizing their assets. Maybe that means destroying their infrastructure. Maybe that means catching and executing them. The point is, we’d do it.
But we’re not. We keep allowing things like this to happen. Somehow, the status quo wherein peaceful citizens in peaceful cities get killed all the time is preferable to hunkering down and actually solving the problem.
We have two ruling political parties who don’t want to solve that problem. They want the problem blamed on the other side, in exchange for power, so that they can…keep the problem going. A cultural and media behemoth works at the beck and call of these parties to keep them in their frenzied state of pride, contention, and mistrust.
The lives of our military don’t matter to them. The lives of civilians don’t matter to them. All that matters is power, and capital, and whatever they can generate from ongoing news coverage of the carnage.
We’ve had these attacks stateside, we’ve had them all over the world. For the first time, I’m seeing the aftermath of an attack in a city where I lived, if briefly. I served an LDS mission in Barcelona, Spain. While I was only in Barce proper for a month, I visited frequently for numerous reasons. I’ve walked that Rambla. I’ve shopped at those stores, eaten at those restaurants, mingled with those tourists, tossed coins to those street performers. I’ve sung in a plaza not five minutes from there, surrounded by other missionaries from all over the world.
The Spanish people are my people. I’ve been among them as they’ve dealt with this before. In March of 2004, terrorists attacked a train station in Madrid, roughly 200 miles from where I was living (Zaragoza.) It was 9/11 all over again, with some cultural differences.
Later, while we were weathering a recession in the USA–and then slowly coming out of it–Spain was hit with one twice as hard. In fact, if you were under 30, you had a 50% chance of being flat-out unemployed. To this day, it’s still close to that bad. One of my friends just moved back to the States (dual citizen) to find work here because of how hard it is over there.
My point is, Spain is like my backyard, or the next neighborhood over. They’re not just foreign names on a map on the news. This particular attack…it hits me in a way that the others haven’t. Part of that is the fact that it’s about the fifteenth attack since 2014, when ISIS came into power.
And there’s no end in sight.
We’ve become comfortable with this. Somehow we’ve reached a point where this is better than solving the problem.
I’m used to that from the government. I wish we here on the ground were better, though. I thought we were. Thought I was.
I hope we can, as a nation, as a species, as a planet, get our crap together before anyone else has to suffer like this.
Or, we can go back to our stupid hashtags and backpatting, and watch some other insane whackjob do this in another country.
So hey, the Colts got pwn’d by the Lions yesterday. Not shocking, considering that after Luck, they don’t have a viable option at QB, plus the starting center was out, and most of the backup O-line combinations were really rough together.
On the plus side, the year the Colts won the Super Bowl, they went 0-4 in the preseason, so this is a good omen.
The embedder sucks on my page, sorry. Click HERE for the video.
The ineffable folks at HISHE worked their magic on what is so far my favorite movie of 2017, Guardians of the Galaxy Vol. 2.
No movie is bulletproof, and I suppose you can always find a hole in a plot. Still, none of this stuff occurred to me as I was watching it, because the writers and actors did such an ace job of pulling me into the story. The characters really drove this tale, which was ultimately about fatherhood and family.
I could go on all day about the brilliance of James Gunn’s artistic choices, or how much heart he brought to a bottom-of-the-barrel roster of characters. I learned a lot as a writer by watching this movie, mainly that I really need to focus more on my characters, their wills, and their interconnected conflicts.
Quill had a competition with Rocket, a resentment with Yondu, a skeptical approach to Ego, and a romantic entanglement (with obstacles) with Gamora. Gamora had a slight power struggle with Rocket, a familial conflict with Nebula, and a different brand of contention with her own father. Yondu stole the show with his own story, showing that he was more than just a hired thief, and had made decisions in the past he was not comfortable with–decisions that revealed his own complex humanity.
It’s easy to put that stuff on paper, but the actors brought it to life with great skill. Three months later I am still jamming out to the soundtrack because it evokes so much feeling.
These Marvel movies might never have been intended to be as good as they’ve been–and we’re lucky the directors and creators decided to go for broke, because by and large they’ve succeeded.
Except for you, Thor Movies. You suck.
TMRGB is a series of posts wherein I, a bearded truck driver in the mining industry, recommend effeminate fiction to the masses.
Today I posted one of my worst drive times ever between Clark County, Nevada and Salt Lake County, Utah. Partly this was due to me being in a convoy including another truck and two cars, and partly this was because our trucks were governed, heavy, and somewhat underpowered.
We moved my Mom up to Utah with us (oh yeah, by the way, I moved to Utah, hence the lack of posting…been busy) so today’s Girly Book was literally read/listened to whilst driving a truck. Even with the long drive time, I had to amp up the playback speed so I could finish it as we rolled into my neighborhood.
This book has come across my radar a handful of times, given its NYT bestseller status. One of Han’s other audiobooks is in my TBR pile but I grabbed this one after hearing the recent announcement of a movie adaptation. It’s about Lara Jean, a high school junior, who has had crushes on five different boys in the past, and overcame her crushes by writing letters to them and then hiding them in her room.
Then one fateful day, all of the letters somehow get…delivered.
This obviously sets off a chain reaction of events that throw Lara Jean’s life into a state of emotional chaos. One of these boys is the School Hottie! Another one is her Sister’s Ex-Boyfriend! The rest are…
…well admittedly the rest are pretty inconsequential, at least at first. There are two other books in the series and this first one seems to focus mostly on Peter and Josh. And that’s fine, because there’s enough going on between just a few characters to keep the whole thing moving without bogging it down in a car crash of conflicting wills.
As this book wrapped up, I had definitely enjoyed it, but there was a snag I couldn’t put my finger on at first. I think what it came down to was that it seemed to be less plot-oriented and more an exploration of the numerous characters involved, and the things they did to each other as the story progressed.
Obviously the story had some important things to say and show–about love, loyalty, honesty, and bravery–and it showed them very well. It was just a lot of cause-and-effect and maybe my brain was dialed in to expecting something else. I’m glad there are more to come, because I’d like to spend more time with these characters and see how they grow.
Han has taken an authentic approach to writing modern teenage relationships, walking a line between authenticity and propriety with respectable skill. Issues like teen sex came up (especially in the third act of the book, as it were) but not in a cavalier or flippant way. Likewise there was a bit of PG-13 language throughout, including a brace of F-bombs, both times used to express anger and disgust. As I said–authentic, yet she managed not to overdo it.
At the end of the book, Han’s talent was clearly on display, and I will definitely read another one of her books. I look forward to seeing where she goes from here.
Over and out.
Marvel’s been putting out movies and TV shows in its connected universe for almost a decade now, to generally high acclaim. They’ve had a few misses here and there, but their worst movies are still better than half of DC’s offerings, so let’s not get too worked up about it.
For the purposes of this list, I’ve put some parameters in place. First of all, I’m only ranking the theatrically-released Avengers movies, and the full Netflix series of the Defenders characters. I’ve watched 3 seasons of Agents of S.H.I.E.L.D., with varied enthusiasm, but ultimately decided against ranking those seasons. Likewise, I only watched a handful of episodes of Agent Carter and didn’t care for it, so I didn’t finish it. Inhumans and Cloak & Dagger both look interesting but I’m going to put them in the same camp. I think the level of their production quality (the TV shows) is beneath the threshold of the Netflix properties or the big screen films.
If you’re still reading, here’s my ranking.
- Captain America: The Winter Soldier. The more I think about it, the less of a contest it is. So far, TWS is the best Marvel movie. No plot is airtight, and the idea that half of S.H.I.E.L.D. is composed of Hydra soldiers presents some logistical problems, but the delivery and reveal of that twist blew me away on the big screen, and was executed to perfection. On top of that, we see Cap realize that he’s not exactly allied with the good guys, and he had the courage to go after both factions when they were wrong. A timely lesson indeed.
- Guardians of the Galaxy: Vol. 2. Just wow. Marvel took a barrel full of lesser-known characters and gave them more heart than almost any other roster in the MCU. The graphics, the humor, the music, and the ultimate story centering on the meaning of fatherhood and love…I’m sorry but I’ve never seen that in a space opera before, and had it hit me so hard. Superb.
- Captain America: Civil War. My post-theatrical impression was AHHH, THE PERFECT MOVIE! I’ve felt this way before about other Marvel films, which speaks to the skilled execution by the cast and directors. Once the high wore off, I would figure out some of the flaws. I think the plot was tighter than a lot of critics claim, and made a lot of sense. It just gets bumped down on the list because it’s slightly less of a Cap film and slightly more of a broad-roster Avengers film wherein Cap just gets the most screen time. Still immensely epic.
- Iron Man. With The Dark Knight still looming on the summer schedule, I didn’t expect this one to seize my attention as much as it did. It was our first taste of a well-rounded character with a healthy serving of humor, mixed in with the elements that would eventually make the hallmarks of the Marvel Cinematic Universe. The guys at Marvel probably didn’t even know what they’d unleashed at this point, but 9 years later, this film still holds up.
- The Avengers. Like Iron Man, it holds up even five years later, with its mix of all the right elements. To top it off, it pulled off a highly ambitious achievement with soaring colors, and solidified crushes on Tom Hiddleston the world over.
- Captain America: The First Avenger. An excellent period piece that introduced one of the lesser-liked (if still better-known) comic characters, and turned him into a widely emulated icon for his traditional patriotic values. Despite following the initial Marvel movie mold (good guy and bad guy have the same powers, but different values) it still found its footing and made a name for itself quickly, setting up the best trilogy (so far) in the entire MCU.
- Guardians of the Galaxy. There is nobody who expected this movie to be as good as it was. An entire generation discovered a mixed tape of rock hits from the 1970s, and even though the zealot villain and MacGuffin plot were nothing super original, the characters and execution definitely were.
- Daredevil (Season 1). Honestly, the bar wasn’t very high after the Affleck debacle from 2003. Still, the present-day MCU operators took this property and breathed new life into it with vigor, to the point where a large portion of its viewers were almost disappointed when Matt Murdock shed his DIY costume for the more iconic armor of the comics. Add in Vincent D’Onofrio as the villainous Kingpin, and you have an on-screen powerhouse. My only knock was that it went overboard on the violence several times in the first half of the season.
- Spider-Man: Homecoming. Finally! It only took 13 years, but we got another great Spider-Man film, and with a villain we’ve never seen before! Not only was the teenaged Peter Parker highly believable, the Vulture was an excellent, grounded, blue-collar villain with whom I could actually sympathize…right up to the part where he decided he didn’t give a crap about killing people. And come on…the state-mandated Cap videos at school stole the show.
- Doctor Strange. This was among Marvel’s more ambitious attempts, and without Cumberbatch, I think it would have fallen flat. That said, he played the character to near perfection, and even though the plot followed the formula of bad-guy-has-same-powers-but-is-evil, Kaecilious’s motivation was more profound than other cookie-cutter villains in the franchise.
- Luke Cage. This one worked on a lot of levels, as an insight into both a location and a demographic of which I have never been part. One of the other parts that worked well was the fact that I didn’t know much about it going into the pilot, beyond Luke’s appearance in the first season of Jessica Jones. If I have any complaints, it’s that it moved slow, and while that worked often, it really needed to pick it up in a few parts. The jazz music was rich and used well, much like the rock music in Guardians. Diamondback was another unique villain, even if his costume at the end was a little bit…weird.
- Daredevil (Season 2). I was really revved up for this after season 1, and while I still liked it, I think it bit off more than it could chew. It was almost two seasons in one, with the Punisher arc and the Elektra arc, even though they intersected a few times here and there. While the ninja stuff was cool, I felt like later in the season it struggled to find its identity, and the decay of the hero’s personal life is never a fun journey to watch, even when it’s credible. Still, the characters shined, especially the Punisher. Much like the first season, the violence went overboard more often than I would have liked.
- Ant-Man. Like Guardians, this is among the more humorous entries in the MCU, even if the plot is really pedestrian, and the villain was little more than a beardless Obadiah Stane who lived farther up the California coast. But it set up a lot of really good stuff, including the WASP in a future volume.
- Avengers: Age of Ultron. This was another film that I thought was wonderful after I left the theater, only to spot its flaws later. It still works as an awesome spectacle, but falls victim to corporate control as Disney forced Joss Whedon to shoehorn a ton of stuff into it that distracted from the central story. I admit to being a little confused and even annoyed when Vision showed up. He was almost the hardest part of this to accept, but the Russo brothers put him to good use in Civil War. I liked it, but it had problems.
- Iron Man 2. Another one that I liked because it was fun and cool, despite getting a little big for its britches. Whiplash was a bad villain, but Mickey O’Rourke did a good job with him, and of course Sam Rockwell plays an excellent corporate tool. It worked a little bit as a sequel to its great predecessor, though its function was clearly to help segue the franchise into a future Avengers conglomeration.
- The Incredible Hulk. I liked this one better than a lot of people gave it credit for, and Edward Norton was far better in the Bruce Banner role than Mark Ruffalo. What started as a cerebral story later devolved into a smashfest, which was fine and fun to watch, but did very little to advance Banner’s personal arc.
- Iron Man 3. I feel like Tony Stark’s story here was a little bit of a rehash from the first two, as well as what he did in Avengers. We get it Tony, you’re a mess. This is a story about a guy you were mean to coming back for revenge. Like the HISHE video points out, it’s pretty much an MCU version of The Incredibles, with slightly less hard than its predecessors. The change of directors really showed.
- Thor. What a perfectly average installment whose only purpose was to get one of the three pinnacle members of the Avengers on the big screen, so that they’d have an excuse for him to be in the real movie next summer, along with that movie’s villain.
- Jessica Jones. This one had flashes in the pan, real moments of greatness from a good number of its characters (like Jessica, Kilgrave, Trisha, and Luke Cage). Then it went off the rails, focusing on Jeri Hogarth’s pointless affair and divorce arc, or giving far too much screentime to the incestuous ginger twins who lived in Jessica’s building. Kilgrave was a top five Marvel villain, and Jessica definitely had her hands full dealing with him. That part of her story was great. The rest of it (seriously, how many scenes to we need of her and Luke power-boinking her bed into splinters?) was trying too hard to be edgy or dark, and lost its purpose. Where Daredevil was often over-violent, Jessica Jones was in equal measure over-sexual.
- Thor: The Dark World. Wow. This movie only got made because it had to. And about the only relevant part of it for the MCU at large was the fact that the villain was using an Infinity Stone, which won’t be relevant on screen for a few more years. Boring story, boring acting, and only a few laugh-out-loud moments…all of which were sparked by side characters whose main career work is on TV sitcoms. To date, this is the only MCU movie I didn’t bother to see in the theaters, because it just didn’t look like it was worth it from the trailers…and I was right.
- Iron Fist. If Thor 2 was boring and pointless, Iron Fist stands alone on an island of awful. It was mooning-the-crowd-at-a-preschool-graduation bad. This thing had no idea what it was trying to be, trying to accomplish, or trying to go. I can’t give you a solid breakdown as to why, without outright parroting Larry Correia’s shakedown of it, which is pretty detailed. They really dropped the ball with this one.
So that’s my rankings so far. In a few more months, we’ll get another Thor movie, which so far looks like it’s carved from the same stuff as the Guardians flicks. Then we get another Avengers movie next year, plus Black Panther and Ant-Man and the Wasp. I’m revved up. I’ll update this as they come out.
Recently the world celebrated the 20th anniversary of the release of Harry Potter and the Sorcerer’s Stone. (Yes, it has a different title in the UK. No, I don’t care.) Obviously it’s been a huge literary success and a cultural bulldozer, and for good reason.
I, like many people, resisted the craze for a number of years. The mania hit my hometown of Henderson around 1999/2000. That’s when I noticed friends and family feverishly consuming the first three books, which were out at the time.
I couldn’t go anywhere without seeing someone reading these childish books about a magic kid who flew on a broom at wizard school and went to weird places called “Azkaban” or whatever. That sounded like a fake Middle Eastern place. I was more interested in reading Michael Crichton at the time, because I was a Grown Man.
My parents tried to persuade me to read them, to no avail. This was my “rebellious” phase. If my parents and sister liked it, it must be stupid, right? Then my Mamaw tried to persuade me, and I more kindly turned her down, because what kind of savage ingrate sasses his Mamaw? She even mentioned that my super-cool tough guy Uncle Paul thought they were great. Nevertheless, I resisted.
Two more books came out before I went on my mission in 2003. Near the end of my time in Spain (where the books were still everywhere), a family gifted me a copy of Harry Potter y la Orden del Fenix, because they knew I was collecting books in Spanish to read at home. (I had already acquired a complete set of The Lord of the Rings and Las Aventuras del Capitan Alatriste.)
As much as I wanted to hold on to my stubborn pride, I couldn’t rightly turn down this generous gift of a 900-page hardcover, so I accepted the book and didn’t tell them that I hadn’t yet read the previous four novels even in English. I went home, started reintegrating into American/English-speaking life, and dug into books again.
My then-girlfriend was, like most people, over the moon for Harry Potter, and her persuasion was the final nail in the coffin of my obstinate desire to resist this cultural wave. Like Wesley Crusher, I gave in and plugged into The Game.
After the first few chapters of Sorcerer’s Stone, I was intrigued. By the end of the book, I was quite impressed. Chamber of Secrets picked up the ball and kept running with it. Prisoner of Azkaban nuked the last shreds of my will, and I started to have dreams about being in the wizarding world, wielding a wand, casting spells and whatnot…
This was a new sensation for me. I never got into books like that. Dreams just didn’t happen, not even with books I was obsessed with. I killed the first six books in about a three-week span, and read the Spanish version of book five the following summer. Then began the long, drawn-out wait for Deathly Hallows, which would release on my 23rd birthday.
In the years since, I’ve re-read the whole series twice, and now my nephew is on his (third or fourth) trip through the books. For a kid who wasn’t even born until the seventh book had already come out, that goes to show their staying power.
But what is it about these books that makes them so magnetic? And can those parts persuade those who resist, as I once did?
- The Harry Potter books take something that young readers generally dislike–school–and make it impossibly cool. Any kid who hates getting up and going to school in the morning would gladly transfer to Hogwarts to learn magic. I think this is one reason why the series was so successful with an otherwise impenetrable demographic: young boys.
- Throughout the entire series, Rowling bowls you over with well-hidden twists. This, if nothing else, is a hallmark of the HP novels. While the villain reveal in book 1 might have been somewhat visible, the methodology of it was hidden well, and this trait continued throughout all seven books. Each of them had one huge twist–and several smaller ones along the way–that constituted a huge payoff for everything to come before it.
- The characters are quickly identifiable and convincingly real. If the school component makes the series accessible to young readers, the development of the adult characters is what makes it click for older readers. It’s a multi-generational series, with just as much weight for the parents and caretakers in the story as for the younger characters. While young readers identify with Harry’s displacement, Ron’s poverty, or Hermione’s nerdiness, older readers can relate to the burden on Professors Dumbeldore and McGonagle, the missed opportunities and stolen years of Sirius Black, or lifelong grudge held by Severus Snape.
- The world is a dangerous and heavy as it is cozy and inviting. Yes, there are dark wizards all over the place, and while the overtones of fascism, zealotry and ethnic purity can be all too real at times, they’re offset by the safe places in the book, like Hogwarts, the Burrow, Hogsmeade, and even #12 Grimmauld Place. This is why our world spends millions of dollars every year to go to Universal Studios and sit in a Harry Potter-themed restaurant, drinking butterbeer out of a keg and soaking in the ambiance. You’re transported there and it feels almost palpably real.
- Each new book dumps a fresh load of problems into your lap, as well as new places, new history, new conflicts, new magic, and new creatures. As a writer, I found this highly impressive, that a read-through of all seven books demonstrated Rowling’s mastery of her own world, and her ability to keep building on it in such a way that it stays clear and structured in the reader’s imagination. Over three thousand pages of fantasy fiction, and every spell, every scene, every interaction between these characters stays fresh in the mind, as if you had been there yourself to experience it.
Ultimately, I can’t twist anyone’s arm and make them read something they don’t want to. That’s not my aim. There are plenty of authors out there who are widely successful and enjoy the admiration of my peers, but I don’t particularly like their work or understand the hype. (Full confession: I don’t think Neil Gaiman’s books are all that great. I’ve started 6, finished 4, and liked 2. Granted, those two were brilliant, but the rest…I don’t get it.)
But, if any of the people who proudly celebrated #HP20 by announcing their longstanding resistance to it–and their decision to maintain that resistance–read this and finally decide to take a crack at it, well…hopefully they like it as much as I did. I’m glad I finally caved in the end.
I was perusing old drawings in my folder and found this one from several years ago–maybe 2012, I unfortunately didn’t put a date on it–and realized I had forgotten about it.
It was one of my first attempts at combing a few regular images I’d traced in CorelDRAW, which was the poor Canadian attempt at re-creating Adobe Illustrator at a lower price and higher bug count. For reasons I cannot feign to recall, I attempted a fusion of Clint Eastwood and a Teenage Mutant Ninja Turtle, called (wait for it) “Clint Eastwood Ninja Turtle.”
But Graham! Why did you do this? You monster!
The manuscript I was working on at the time was, I think, called RESOLUTE. It was about high school football in Oklahoma…with gargoyles. (I have scrapped this idea and occasionally think of ways to salvage it, but I am not hopeful.) Anyway, I kept coming to certain scenes that got wildly distant from the story I was trying to tell, and I had no idea how to corral them back together. So I drew for a while to clear my head.
C.E.N.T. was the eventual product of one of these brain-clearing sessions, and suddenly I had a thought: I knew where I wanted the story to go, I just didn’t always know how to get there. When I reached those junctions on the story-map, Clint Eastwood Ninja Turtle would arrive on the page, take my main characters by the hand, and escort them through that scene or chapter (with a brief paragraph, highlighted in red so I could find it) and tell them where to go from there.
This is a terrible thing to do in final drafts, but a very nifty trick for early drafts. Good Old Clint hasn’t shown up in any of my early drafts for a while now, but he was there in spirit when I worked on THE KORBADELL JOB a few months ago.
Since Clint Eastwood is a real person and the Ninja Turtles are a copyrighted property, there’s no way in hell I can lay any sort of legal claim to either of these figures, nor do I really care to. I’m just putting him out there for my fellow writers to use as needed. If you’re bogged down in an early draft, let Clint Eastwood Ninja Turtle save the day! Write him into that paragraph!
Fade in. “And then C.E.N.T. showed up to grab Bella by the hand and said ‘You’re gonna keep trying to hook up with that sparkly, wimpy vampire, even though that hot shirtless wolf-dude isn’t trying to kill you, punk.’ And he led her to Edward, for…reasons. ‘We’ll come back to that. Cowabunga.'” Fade out.
Or, more likely, you’re a better writer than I am and this doesn’t happen to you in draft one. So leave him here and go enjoy your uncomplicated, unfrustrating writing life, you terrible demon you.
Sylvain Neuvel’s SLEEPING GIANTS is like the book version of a found-footage film, written almost entirely in dialogue, as though from transcripts of recorded interviews. My wife read the ebook and I listened to the audiobook; I frequently found myself wondering if I would have properly read the inflection and tone in print, given how well the narrators performed their different characters.
Premise: A young girl falls into a hole in the ground near the mining town where her family lives. The hole is actually an underground cavern, and she lands in the middle of a giant metallic open palm, like that of a huge statue. It’s alien in origin and defies everything scientists know about metallurgy, and the government wants to know where “the rest” of the statue is. 17 years later, that girl is a scientist heading a project to find those pieces all over the world.
Also it’s not a statue…it’s a machine.
Honestly that’s all I can bring myself to say about it, for fear of spoiling any of the really cool developments of the story. As far as the audiobook goes, the cast really brought it to life. Neuvel proves that he’s a daft hand at withholding and revealing, giving you questions and then handing you answers before you get frustrated…then walking right into a new development or new angle to keep you burning through the story. I for one am glad that I didn’t read it until the sequel was already out, because now I don’t have to wait for the next leg of the story.
Content Warning: Some of the characters share romantic entanglements in their interviews (which are actually relevant to the story) and while none of these scenes “go pink,” sex is a topic in multiple chapters. As for language, there is a small handful of S-bombs and B-bombs throughout the book. Not done to excess, but they’re there.