Martin's Booklog

Sleutelmomenten: Joost Swarte — Ward Wijndelts

Published on April 27, 2025Leave a comment

Cover of Sleutelmomenten

Sleutelmomenten: Joost Swarte
Ward Wijndelts
223 pages
published in 2024

Joost Swarte is the Netherlands’ internationally most famous cartoonist, whose work has been translated from Dutch into English, French and other languages since the seventies. His Modern Papier series was, together with Tante Leny Presenteert the first Dutch underground comic, but he also did work for Dutch school magazine Jippo at the same time. Organiser of the 1977 Herge exhibition in Rotterdam, he coined the term “De Klare Lijn/Ligne Claire/Clear Line” for the art style practised by Herge and similar artists like Bob de Moor and Edgar Jacobs. This is also the style Swarte uses for his own comics, in a more ironic, satirical fashion that fitted the more cynical seventies. Not just content with being a cartoonist, he designed a series of charity stamps for the Dutch post office in the eighties and later on would collaborate with an architectural office to design a new theatre building in Haarlem. There he also founded the bi-annual Haarlem Stripfestival. In more recent years he started working for The New Yorker. More than enough material to write a biography about him therefore.

Yet as the title, Sleutelmomenten (Key Moments) already indicates, this is not a true biography of Joost Swarte. Rather, it’s a guided tour past the defining moments of his life, as put to paper by a sympathetic and largely uncritical writer. As he explains in the post-script, Wijndelts has based this book almost exclusively on a series of conversations with Swarte, so it’s his perspective and memory we see this moments through. Which means that what Wijndelts writes about is not necessarily what happened, but rather what Joost Swarte remembered happening, or even what he wishes to remember about what happened. Some of the moments represented here are also so well known and oft retold that what we get here is Joost Swarte retelling events that have become well worn anecdotes. But is this a problem?

If you read this as uncritically as Wijndelts has seemingly written it, it might be. But if you treat it as what it is, a semi-autobiographical trip down memory lane by Swarte there’s still a lot of value to be found in this. Especially in the first half of Sleutelmomenten, which is about Swarte’s youth, his first steps into making comics himself as well as the people who inspired him. Swarte across over as somebody who was only ever good at doing the things that genuinely interested him, intelligent but without the temperament to do well in school. He has a supportive family who encourages him to take art classes as a child. Once he finishes high school and becomes a student, there was still the liberty to, well, faff about at university without needing to finish your education according to the strict timelines that would’ve been expected today. Without this support from both family and society as a whole Swarte may have never become the artist he was.

Once the book moves into more familiar territory, as Swarte debuts as a comics artist, things become a little less interesting. Most of what Wijndelts writes about you’d already would’ve known if you’re interested in Swarte and his career, largely following the line I sketched in the introductory paragraph above. The exception is with his later, non-comics work, like his design of the Toneelschuur building in Haarlem. This is an aspect of Swarte’s career that’s less well known, especially outside of the Netherlands, so it’s good to see it included here. Wijndelts is a good enough writer that even the chapters retelling already well known stories remain entertaining and occasionally unearth a new nugget of information. New to me e.g. was that in 1983 Swarte was asked by Martin Lodewijk to develop a detective series for a Dutch magazine; nothing in the end came of it.

Sleutelmomenten therefore is a slight, entertaining look at the life of one of The Netherlands greatest comics talents. Worth reading, but a true biography of Swarte is, as Wijndelts himself also admits, still sorely needed.

Inherit the Stars — James P. Hogan

Published on April 26, 2025Leave a comment

Cover of Inherit the Stars

Inherit the Stars
Thomas Waters
188 pages
published in 1977

While idly browsing a certain manga site, I discovered somebody had made a manga out of James Hogan Giants series. That got me interested enough to start reading it, having read the original novels and liking them. As I was reading though it didn’t feel quite right. While it had been a long time since I’ve read them (as I never reviewed any of them on here, it must’ve been twenty-five years ago at least), but it seemed more action orientated and conspiracy minded than I remembered. Which of course led me to reread the original novel that started off the series: Inherit the Stars.

For once the cover on a seventies science fiction novel actually more or less accurately depicts a key scene from the story: the discovery of a dead astronaut clad in a red space suit on the Moon, though in the story he’s found in a cave rather than on the surface. It’s sometime in the twenty-first century and unlike with most Disco Era space exploration novels, we do not have an eternal Cold War going on. The world is a bit utopian even, compared to the actual 21st century so far. The world is rich and at peace, with military budgets slashed as nation states had matured. Profiting from that is the UN Solar System Exploration Program, which explains why there were people on the Moon in the first place able to find that dead astronaut. An astronaut that turns out to be 50,000 years old…

Unravelling the mystery of how there could be an astronaut ont he Moon at a time when the biggest leap in technology was the invention of fire is what drives the story. Key to this unravelling will be Dr Victor Hunt, a British polymath who has been hired by the people who found the astronaut to do just that. He doesn’t do this alone though; entire teams of scientists from multiple disciplines are working on this. Being the nominal protagonist however he will though be the one to find the missing piece of the puzzle. His antagonist is biologist Christian Danchekker. Where Hunt is able to think outside the box and make intuitive leaps, Danchekker is very methodological, plodding, only willing to accept things if they can be proven beyond doubt. You could see Inherit the Stars as an exercise in Hegelian logic: thesis followed by antithesis as Hunt and Danchekker spar, followed by synthesis as their duelling leads them closer to the truth.

To start with, their are two conflicting problems in explaining where “Charlie”, the astronaut corpse, came from. From examining the corpse, Charlie is clearly a modern human, so he has to have come from Earth, because as Danchekker puts, believing convergent evolution could’ve lead to the exact same people arising elsewhere is absurd. Yet clearly he cannot come from Earth as no evidence of a civilisation advanced enough to send people to the Moon existed before the twentieth century.

A new piece of evidence then comes in from further explorations out in the Asteroid Belt, establishing that it’s the remnants of a destroyed planet, one that was destroyed roughly 50,000 years ago… At the same time, further excavations on the Moon find more evidence of the civilisation Charlie was part of, confirming that this civilisation existed on Minerva, as the destroyed planet is christened. This evidence also suggest Minerva was in a state of war at the time of its destruction, between two superpowers armed to the teeth and not afraid to use nukes. Even the Moon was littered with armed camps, Charlie binging a survivor of one.

This of course explains where he came from, but not how he could be the same as a modern human. Convergent evolution is still ruled out even if it would’ve taken place on Minerva. Another mystery is how Charlie could get from Minerva all the way to Earth’s Moon, when his diary, once decoded, reveals it took him only three days. One suggestion is that the Minervians colonised Earth, but the Minervians didn’t seem to have spaceships capable of interplanetary travel and certainly not on such short time scales. Nor is there any evidence found on Earth itself that could be proof of said colonisation, leaving the debate at the same stalemate it was before.

the final clue comes from Ganymede, where an alien space ship is found that’s not 50,000 years old, but twenty-five million years, which was crewed by people that were clearly alien, but which did come from the same planet as Charlie did. At first this only confuses matters further, but when it turns out the ship had a cargo of Earth animals, it suggests that Charlie and the other Minervians were originally from Earth before having been transplanted to their new planet. Remains the question of how Charlie could’ve gotten to the Earth’s Moon from a planet that no longer had the technology to reach it but ah, what if it hadn’t been the Earth‘s moon when he did?

So that’s Inherit the Stars: a scientific puzzle story that slowly and methodologically establishes a ludicrous answer to its stated mystery, but it works. The science behind the fiction even at the time was complete bunkum. There never was a missing fourth planet, it was already known the Moon must’ve been around for billions of years, resulting from the collision of the Earth with another proto planet during the Solar System’s early history and Homo Sapiens definitely evolved on Earth, not elsewhere. But as a story it works. The science being wrong has never stopped science fiction after all.

It’s a pity that this science wasn’t just a neat tool for Hogan; he actually believed in Immanuel Velikovsky‘s theories about how the now existing Solar System was formed in historic times. Worse, he later became a Holocaust denier. None of this is fortunately present in Inherit the Stars and if you like a neat scientific puzzle story with little action but lots of conversations that bother on monologue, it’s still a good read.

Van Feldgrau naar Kaki en Olijfgroen — J.J.J Hoogeboom

Published on April 9, 2025Leave a comment

Van Feldgrau naar Kaki en Olijfgroen

Van Feldgrau naar Kaki en Olijfgroen
J.J.J Hoogeboom
201 pages including notes and index
published in 2023

It’s a sad fact that during World War II many more men served in the German feldgrau than they did in the Allied khaki or olive green uniform; estimations ranger from roughly 25,000 to over 50,000, mostly volunteers. Most notoriously these men fought in the various Dutch Waffen-SS units, but others also served in the Luftwaffe, Kriegsmarine, Wehrmacht and various local auxiliary German army units. Post-war all these people should have lost their Dutch citizenship and civil rights for serving in a foreign military at war with the Netherlands. This would’ve included being eligible for military service, yet both during the Indonesian decolonisation wars and in Korea, there were examples of ex-Waffen-SS volunteers and others fighting on the Dutch side.

How was this possible? Did these men just slip through the net or did the Dutch military know their histories? And if so, were they deliberately recruited for their aupposed military prowess? Was there an element of (unofficial) rehabilitation going on perhaps? And how were these men treated once their past became known to their comrades and the military as a whole? Were they discriminated against or were they valued for what they brought into battle? These are the questions Hoogeboom tries to answer in this short book. He does that largely based on three different sources: autobiographies where available, the archives of the special prosecution service that processed the men who served in the German army and the information the Dutch army itself had about those who served for them. Together these three sources give an insight into the careers and motivations of some of these men. What this book is therefore is a selection of case histories, Which Hoogeboom then puts into context. He looks at how these men got to serve again, whether or not their past was known and how they were treated during their service.

The tentative conclusion he draws is that there was no evidence of any official policy to recruit these volunteers, neither for their supposed prowess in warfare nor as a means to rehabilitate them. Furthermore, that there’s little to no evidence of any special treatment of these people while in service, either positive or negative.

That these men were able to serve is due to a number of elements. First is the lack of coordination between the armed services and the offices responsible for the prosecution of war volunteers. Quite a few managed to enlist as volunteers for service in Indonesia and Korea because the army didn’t know their past. Others were drafted even though they should’ve been ineligible. Second, some volunteers, especially younger ones, were treated more lenient than the law proscribed. Depending on their circumstances they kept the right to serve in the army and therefore were called up legitimately. Third, the prosecution against some was not yet started or only finished after they had been drafted or had volunteered. Finally, as the war years started to recede in memory, the zeal to prosecute these men abated; some escaped prosecution altogether.

Their treatment in service differed too depending on circumstances. There were no official policies to discriminate against them or even remove them from service once their past became known. Some were send back home from Indonesia on request by the prosecution; others were kept by their commanders requesting so. A few were harassed and bullied by their comrades once their status became public, but most seemed to have either managed to keep it hidden or were treated no different once it became known.

An interesting book. I knew already that ex-Nazi sympathisers had served in Indonesia, but I would’ve guessed there would’ve been some from of semi-official government policy to recruit them for this dirty war. What instead seems to have happened is that only accidentally these men managed to serve, in low enough numbers that it’s plausible that this was all accidental. This wasn’t anything like the rehabilitation of Nazi commanders and officers that happened in the 1950ties in West-Germany, to provide a cadre for the newly established Bundeswehr.

Hyperion/The Fall of Hyperion — Dan Simmons

Published on August 25, 2024Leave a comment

Cover of Hyperion

Hyperion/The Fall of Hyperion
Dan Simmons
482, 517 pages
published in 1989 & 1990

No book, whether fiction or non-fiction is truly neutral or can truly stand on its own. Like it or not we always judge a book in the context of when you read it, what you know about it and its author, what others have told you about either. It’s rare that you get into a book truly knowing nothing about it or its writer; even then what you have read before will partially determine how you will respond to it. Especially in SFF we tend to pretend that context shouldn’t matter and we should evaluate a novel on its merits without taking in account its writer’s politics and opinions, but it doesn’t work that way in reality. Knowing that Roald Dahl was an antisemitic arsehole made me never want to read any of his books again even though I loved James and the Giant Peach as a child even if his antisemitism didn’t impact his novels. Not to say good art cannot be created by bad people, nor even that good art cannot be made in service to evil causes (Ezra Pound’s poetry springs to mind). Just that your enjoyment of such art can be indelibly tainted by this knowledge even when the creator’s awfulness has no impact on their art. Often though a creator’s bad opinions or politics do bleed through into their art and knowing about them can retroactively spoil their work.

All of which is to say that I reread Hyperion and The Fall of Hyperion after realising how much of a raging islamophobe Dan Simmons really is and it completely ruined any enjoyment I had of these two novels. They were mind blowing when I first read them from my local library in the early nineties, the first modern space opera I had read. Dependent on said library as I was growing up, most of its science fiction was either Golden Age stuff by the usual subjects like Heinlein, Asimov and Clarke, or seventies New Wave and literary minded novels. In that context Hyperion was a revelation. Not just space opera, but aspiring to be literature at the same time, being deliberately structured like the The Canterbury Tales and with the resurrected Romantic poet John Keats as one of the main characters. For a teenager with little interest in proper literature this was heady stuff.

But that was before Dan Simmons wrote this:

“I mean the Century War with Islam,” interrupted the Time Traveler. “Your future. Everyone’s.” He was no longer smiling. Without asking, or offering to pour me any, he stood, refilled his Scotch glass, and sat again. He said, “It was important to me to come back to this time early on in the struggle. Even if only to remind myself of how unspeakably blind you all were.”

“You mean the War on Terrorism,” I said.

“I mean the Long War with Islam,” he said. “The Century War. And it’s not over yet where I come from. Not close to being over.”

“You can’t have a war with Islam,” I said. “You can’t go to war against a religion. Radical Islam, maybe. Jihadism. Some extremists. But not a . . . the . . . religion itself. The vast majority of Muslims in the world are peaceloving people who wish us no harm. I mean . . . I mean . . . the very word ‘Islam’ means ‘Peace.’”

“So you kept telling yourselves,” said the Time Traveler. His voice was very low but there was a strange and almost frightening edge to it. “But the ‘peace’ in ‘Islam’ means ‘Submission.’ You’ll find that out soon enough”

Almost twentyfive years on it’s hard to understand how deeply 9/11 and the following War On Terror fried the brains of a lot of Americans, Simmons being one of them. The 9/11 attacks angered and upset America like nothing else had done since Pearl Harbour and it’s not hyperbole to say the nation lost its mind for a few years. In retrospect, Simmons already had an xenophobic streak in him, most noticable in his horror novels like Children of the Night (set in Romania) and Song of Kali (India), but 9/11 put it in overdrive. And once it was out in the open it became noticable in his Hyperion novels too.

I had originally wanting to reread Hyperion and The Fall of Hyperion because reading Excession had put me the mood for a similar but different book, not necessarily another Banks one. Hyperion came closest to what I was looking for. Part of the the space opera revival of the late eighties I talked about in my review of Eternal Light to which you could see Excession as a capstone, it won the Hugo Award for best novel the year after it came out. Despite now knowing about Simmons politics I wasn’t sure it would impact my reading, but sadly it did. There were certain plot elements that looked a lot more sinister now in context: the background detail that Israel had been destroyed in a nuclear holocaust and the description of a Shite uprising on one of the colony worlds and how Fedmahn Kassad, a Palestinina soldier had put it down.

But even before I got to them Hyperon disappointed me with its opening chapter, in which the Consul, the nominal protagonist, sits in his spaceship on a primitive planet playing Rachmaninov on his Steinway piano while outside a thunderstorm rages and dinosaurs bellow. It’s such an overwrought, b-movie villain cliche it made me laugh rereading it. Completely destroyed any respect I had for Hyperion as a novel. Some of which had already been lost by the late nineties, much dumber sequels to the series, Endymion and The Rise of Endymion, neither of which had been necessary nor good. Reading that silly prologue set the tone for me. Any goodwill I had for the series was definitely lost by it.

As said, the plot of Hyperion is structured like that of The Canterbury Tales. Seven pilgrims on their way to the so-called Time Tombs on the planet Hyperion, outside of civilised space, where the monstrous Shrike stands guard. During their journey each of the pilgrims in turn tells how they are connected to the Tombs and the Shrike. Meanwhile Hyperion is under threat of invasion by the Ousters, barbarian hordes from interstellar space who exists outside civilisation as represented by the Hegemony, who control the Farcaster teleportation network binding true civilisation together. While Hyperion tells the stories of each of the individual pilgrims as they journey to the Tombs, The Fall of Hyperion details what happens once they arrive. This is much more of a conventional space opera as all the various back stories and plot lines come together.

Even though I was very hostile going in, I could still see what had first appealed to me in these two novels. He may have nasty politics and a tendency for the purple prose, but once he got going, he still sucked me into the story. The world he created in Hyperion and The Fall of Hyperion has fascinated and inspired me ever since I first read them; at some level these are still what I judge any new space opera stories I read on.

Fun fact: I started writing this review in 2006, after I had finished rereading both Hyperion and The Fall of Hyperion. For various reasons I never completed them, even though I tried again in 2014. It’s only thanks to Sean Eric Fagan’s Bluesky post about Simmons and the short discussion of Hyperion there that I got a handle on how to finally complete this post.

Shock and Awe — Simon Reynolds

Published on August 25, 2024Leave a comment

Cover of Shock and Awe

Shock and Awe: Glam Rock and Its Legacy
Simon Reynolds
687 pages including notes and index
published in 2016

Shock and Awe came out the same year David Bowie died, which seems fitting. Bowie after all being glam rock’s most enduring legacy. He had only been a one hit wonder with a couple of unsuccessful albums before he went glam. Ziggy Stardust was what made him famous. Playing a fictional rock star lead to becoming a real rock star, something of a theme in glam rock if Simon Reynolds is to believed. Fake till you make it, something Bowie’s biggest rival, Marc Bolan, also did. Glam rock as make believe, artificial, fake, camp and proud of it. Music for a new generation of pop fans, tired of their older brother’s “Beatles and the Stones” and looking for something more fashionable and cool than earnest long hairs in jeans doing interminable guitar solos. As its name implies, glam rock bought the glamour and excitement back to pop music, brought back a certain sophistication that was more rooted in European music traditions than American blues. An element of snobbery and intellectual disdain certainly was present too with Bowie and Bolan and especially with Bryan Fery’s Roxy Music.

Yet the defining image of glam rock is probably something like this: ugly old blokes in outlandish costumes doing well choreographed danceable foot stompers. Mud, Sweet, Suzi Quatro, Gary Glitter, Slade, Alvin Stardust and Wizzard all fit that profile. Artists that had been around the block already, plugging away with little or no success, markedly older than their audience unlike the previous generation of rock stars, who realised that what Bolan and Bowie were doing they could do as well. The image was as important as the music and the music was often somewhat interchangeable, not helped by the fact that e.g. Mud and Sweet shared the same song writers. Intensely popular in the early seventies, it all looked incredibly naff afterwards as punk hit the UK.

Yet there was more to glam rock than this, as Reynolds attempts to show in Shock and Awe. The starting gun for the whole glam rock movement was T.Rex’s first appearance on Top of the Pops in February 1971 and Reynolds also starts his book there, with Marc Bolan, chronicling how he evolved from a fairly standard hippie rocker into the most glamorous pop star of the seventies. Bolan started it, but it’s his friend and rival Bowie who is the red thread holding Shock and Awe together, his evolution as an artist driving the evolution of glam rock in a certain sense. Every third or fourth chapter he pops up again with the next stage in his development, from Ziggy Stardust to the Thin White Duke and finally his Berlin period.

In between there are chapters on the other strands of glam rock. Not just the foot stompers like Mud and Sweet, but also Alice Cooper, the New York Dolls, Sparks, Queen, Roxy Music, Steve Harley and even The Sensational Alex Harvey Band are examined. There are also the David Bowie proteges: Iggy Pop, Lou Reed, Mott the Hoople, already established artists getting a glam makeover courtesy of Bowie and finding some success through it they lacked before. A diverse bunch of artists, who outside of the Mud-Sweet-Glitter axis have little in common musically, yet certain elements can be found in all of them.

The fashion and the image consciousness of all of them is the most obvious of course. Each rejected the long hair and jeans looks of the older bands, going for a more glamorous, more outre look. A certain androgyny was part and parcel of this. Makeup and glitter, feminised clothing, a bit of sexual ambiguity can be found in most of these bands, though actual gay or even bisexual artists were rare. A sense of nostalgia, or looking back at older forms of rock music was also there, getting away from the ‘heaviness’ rock had evolved in by the early seventies. Ironically, this while their main audience was the so-called third generation of rock fans, young teenagers who hadn’t been alive for that first wave of rock they reached back to. There is also a heavy influence of older European music forms in many of these artists, especially with Roxy Music and of course Bowie.

Reynolds follows the story of glam rock until the late seventies, ending with David Bowie’s Berlin triology of albums: Heroes, Low and Lodger, in the process tracing the influences glam had on punk. The last chapter is a collection of moments in pop music showcasing glam’s continuing influence on pop and rock. This is the least convincing or interesting part of the book to be honest. At some point glam just becomes another part of the whole rock tradition and I’m not sure you could call Lady Gaga ‘glam’ just because she also dressed up or whatever.

The real test of any music book is always if it makes you want to listen to what it is about and Shock and Awe certainyl managed that. I’ve been on a Bowie/T.Rex/Roxy Music/New York Dolls kick ever since I started it. A good, very readable look at a perhaps still underestimated part of rock history.

More Simon Reynolds: Rip it Up and Start Again on the post-punk revolution.