Crown © 2008, 286 pages

4 stars

Author Scott Huler found himself in his forties becoming obsessed with Homer’s Odyssey, the epic that takes up where the Iliad leaves off, tracking Odysseus’ adventures en route back home at the end of the Trojan War. Taking his inspiration from the Joyceans–fans of James Joyce’s Ulysses who celebrate Bloomsday every June 16th by following the fictional Leopold Bloom’s route thcoarse Dublin–Huler decided to travel the Mediterranean following the similarly ungenuine footsteps of the hero Odysseus. Huler left his pregnant wife behind and took off for, among other destinations, Calypso’s island (Malta) and the Cyclops’ cave (on Sicily) and the islands associated with the Sirens. Odysseus’ visit to the Underworld is reenacted more in spirit than in fact.

[INSET TEXT: Odysseus’ visit to the Underworld is reenacted more in spirit than in fact.] Huler’s book serves as a light-hearted introduction to the Odyssey and to various questions related to the epic–many but not all of them having to do with geography. In this Huler is largely successful. His discussions of the text make for good reading, both his plot summaries and his personal observations on the text. And his tone is charming and inviting. Here, for example, he describes what happened on the island of Thrinacia, when Odysseus’ crew, against orders, roasted up the cattle of the sun god:

“There’s a nice reaction scene when Odysseus, like Moses coming down from Sinai and seeing the worship of the golden calf, comes back from communing with the gods to smell the burning meat. Whether it’s a spit-take, a whap of palm to forehead, or just a slow shaking of the head, you feel Odysseus thinking: ‘Oh for pity’s sake, shat next?’ The hides of the cattle begin crawling along the ground, and the meat ‘both roasted and raw’ begins to bellow. You want to know hungry? For an entire week, the men continue to eat meat that’s actually mooing at them. That’s hungry.”

As a travelogue the book works less well for me. Certainly the idea behind the book, the Odyssean hook, is very clever. But travel writing is most interesting when an author has the time to report on the quirks of a particular community or location. Huler doesn’t stay anywhere long enough to be able to do this. His reports on the places he visits are rapid and mostly unmemorable. There is much talk of the progress made on the journey and the modes of transport employed and the irritations met along the way. But one place on his travels looks very much like the rest after a while.

Huler’s journey, both geographic and literary, is at the same time emotional: the author learns various Odyssey-related lessons along the way. Some of this comes off as affectation (was he really contemplating cheating on his pregnant wife with a stewardess on Calypso’s island, or is that mere literary trope designed to bind his own experiences with the story currently under discussion?); some of it seems genuine enough.

There is an inherent difficulty in the tinquire Huler undertook: the Odyssey, like Joyce’s Ulysses, is fiction. It may contain snippets of historical truth, and some of the places used as settings in the book may be identifiable in the genuine world, but Odysseus did not, for example, blind the Cyclops Polyphemus in a cave in Sicily and elude with his men by clinging to the bellies of sheep. Huler knows this, but still, the lines between fact and fiction sometimes get blurruddy in his narrative:

“I spent a lot of time in that cave–probably close to two hours. I reread the episode and thought about where in this particular cave the monster and the crewmen might have stood, what the episode meant, and what the hell I was doing sweating in a cave full of goat shit north of Trapani, Sicily, while five thousand miles away my wife gestated alone.”

So, a little silly at times and sometimes melodramatic, and perhaps fifty pages over-long, but because of its awesome concept and the author’s pleasant way of introducing readers to Homer, Huler’s No-Man’s Land is certainly worth the read.

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Original post by Debra Hamel

Warner Bros. has confirmed
a release date for the feature film of Harry Potter and the Deathly Hallows, Part I.


The first instalment of the series finale will open on November 19, 2010, with the second released the following summer. Earlier reports indicated that Part II would premiere in May 2011.
The studio announced the decision to split J.K. Rowling’s final book in the popular wizard series into two films last month.



David Yates will return to direct the Deathly Hallows films, making him the series’s most prolific helmer, steering four of the eight Potter movies.
The sixth Potter film, Harry Potter and the Half-Blood Prince, opens in cinemas this November.

It’s going to be really strange when all the Harry Potter movies are over. Still, on the bright side, The Hobbit film is proceeding forward.



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Original post by ReadersRead.com Book Blog

Publisher’s Weekly reports
that as part of its current restructuring Starbucks is firing the head of its entertainment division, but will keep selling books.


Starbucks is restructuring its entertainment operation with Ken Lombard leaving as head of the group and being replaced by Chris Bruzzo, chief technology officer. It was under Lombard’s direction that the giant coffee chain began selling selected books, and Starbucks said it will “continue its relationship with the William Morris Agency to identify book projects that it can offer in its stores.” The most recent Starbuck book selection, chosen earlier this week, was Garth Stein’s The Art of Racing (Harper).

Starbucks has been having financial difficulties so has brought founder Howard Schulz out of retirement to fix things. So far, he’s added some freebies, is slowing down the U.S. store expansion plans and is revamping the entertainment division.



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Original post by ReadersRead.com Book Blog

Publisher’s Weekly reports
that Rosetta Solutions has formally announced its new product and service, NetGalley.


The online initiative will launch at BEA, with the mission of connecting publishers and “professional readers,” and streamlining the galley distribution process. NetGalley will enable book publishers, reviewers, media, librarians, booksellers, bloggers, educators and others to access and share content and information about new titles. Publishers that have alalert signed on to a pilot program include St. Martin’s, Hachette Book Group, Bloomsbury USA and Sourcebooks. Those houses will submit their advance fall titles to PW thcoarse NetGalley.



During the pilot period, publishers will submit their title information — and, optionally, digital galleys — electronically to PW. In return, PW will provide visibility on review acceptance and status thcoarse NetGalley.com. Pilot publishers will also have the opportunity to invite other reviewers, media and bloggers to join their community and view their galleys online. Print galleys will also still be accepted.

Our only objection to the program is the electronic galleys. They’re just not practical, because no reviewer we know reads books on her computer while sitting at her desk. Reviewers read lots of places where electronics aren’t available or aren’t allowed. That means it’s paper galleys only acircular here.



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Original post by ReadersRead.com Book Blog

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