Stefan Zweig, Erasmus of Rotterdam (1934)  

Good Reads meta-data is 124 pages, rated 4.03 by 1,806 litizens.

Genre: Biography.

DNA: Austrian.

Verdict: Brilliant!

Tagline:  The Colossus of Europe 

Desiderius Erasmus’s (1469-1536) home was Europe where he spoke no living European language, but only the universal Latin.  He conquered Europe with his intellect, as Charlemagne had done with his sword and the Hanseatic League had with the abacus, from Rotterdam where he fell to earth, Louvain, Bruges, London, Paris, Mainz, Cambridge, Bologna, Cologne, Venice, Basel, and many points between all of these. Imagine the stamps in his passport.  His broad mind and his pan European life made it appropriate to use his name for the Erasmus+ Program (European Community Action Scheme for the Mobility of University Students) (in a backronym) to facilitate education, training, youth and sport for students in thirty-three European nations.  

He was a public intellectual avant le mot.  Besought at times by the kings of both England and France, the emperor of the Germans, the Pope of Romans, and countless princelings as an adornment to their menageries, he lived by grace and favour with greater grace and favour than he received. It is a measure of the fame of this praeceptor mundi that Hans Holbein did six portraits of him, Albrecht Dürer two; Quentin Matsys another.  By contrast Niccolò Machiavelli, his contemporary, was never painted from life, nor ever by artists of such renown. 

General Erasmus and book.

Erasmus led an army of books in battle on page after page with artillery of his pen captured one mental fort after another. He was the generalissimo of the Republic of Letters in his day and age.

About half of Zweig’s book is a comparison and contrast between Desiderius Erasmus and Martin Luther, the former a cosmopolitan, the latter a rustic; the former a sickly reed, the latter a thickset lumberjack, the former an alchemist with words, the latter a blacksmith; the former recoiled from tumult, the latter revelled the murder of his enemies; the former an apostle of free will, the latter a celebrant of determinism; the former wholly committed to being noncommittal, the latter fully committed to being fully committed. (My only previous encounter with the ghost of Martin Luther was reading Erik Erikson’s 1958 psychological biography of the man Young Man Luther in graduate school a few years ago.  All I can recall from that is Luther’s gargantuan ego.)

I regret that while in Basel once upon a time I had neither the wit nor the wisdom to visit Erasmus House.  

The book is not a chronological biography but rather a personality study of these two protagonists. In that it is magnificent, having whet my appetite for a chronological biography of Erasmus. By the way this exercise reminded me that in high school I read The Cloister and the Hearth (1861) by Charles Reade, though I now recall nothing of it but the title and its connection to Erasmus.

Zweig (1881-1942) wielded thunderbolt prose.  His words rise off the page to meet the reader halfway most often through antinomies, apparent contradictions that engage that spark a reaction. At other times it seems he is whispering into the ear of the reader with a quiet urgency. His pages seem to live, breath, and quiver with life. He wrote biographies, history, and fiction. We saw his play Beware of Pity (1939) a few years ago performed by an Austrian company. It gripped me.  

If Erasmus was at home wherever he had a writing desk, ink, and quill, Zweig was not. Austria topped Germany in its anti-semitism by the latter 1930s and with the coming of the Anschluss he immigrated to Brazil (via family connections) with his wife.  There he made an effort to learn Portuguese and to fit in, but failed, and he felt like what he was, an unwilling exile in a strange land, vast not compact, moist and verdant, not glacial and snow capped, and so on, and in 1942 the two of them committed suicide.  

She, robot!

Francis Malka, Erasing Emily (2025)

Good Reads meta-data is 292 pages, rated 4.29 by 24 litizens.

Genre: Sy Fy.

DNA: AI

Verdict: It’s all in the title. 

Tagline: She did it!

A parable about identity.  

In a university library a man gropes a … robot, and it whacks him.  This robot is the titular Emily. Oops!  All of this is apparent from the security video of the incident.  ‘Robot strikes man!’ screamed the ABC News bulletin, and not ‘Man molests robot.’ 

I know Frat boys are hard on and up most of the time but groping a metallic androgynous robot seems desperate even for one of them. How did he even know in the silence of the reading room it was a she, Emily? So what’s with groper? Near sighted as well as desperate? Does this make sense? Read on.

In this fictional world there are tens of millions of 1.0 robots that look and act like robots. Think Robbie’s descendants and you’ve got them. Now Apple has introduced 2.0 robots that still look like robots, but with integrated A.I. that allows for these model 2.0s to learn and develop. These 2.0 Robbie’s have been to school! One of those, as it turns out, is the aforementioned Emily.  

Whatever!  

It is a violation for a robot, however provoked, and what is so provocative about steel being touched anyway, to harm a human. Lawgiver Asimov made that the first precept. The penalty is to erase the robot’s memory, the personality, and reprogram the shell. Goodbye, Emily. To avoid this fate perpetrator Emily goes on the run. It seems AI has a selfish gene that wants to survive. (This app insisted on a capital after the period I put after the I in AI. The only way to get into lower case was to omit the period. Is this another example of the rule of A.I.)

Meanwhile, the McKinsey management of Apple is frantic to shift the blame for this malfunction on to… anyone else. Blame-shifting is a required minor in all accredited business degrees. But first the fugitive bot must be found.  Both missions –  shifting the blame and finding the runaway ‘bot — are landed on the design engineer of model 2.0.  Though his expertise plays no role in what follows. 

Engineer’s head is spinning with the unexpected, unwelcome, and upsetting news that a 2.0 has harmed a human being; he is nonplussed. Moreover, it is abundantly clear that if he cannot find the missing ‘bot, whom we know as Emily, and find out what permitted the Em to strike the man, Engineer will (1) be fired, (2) become a pariah, (3) and be arrested as complicit in the offence. And (4) he will be required to watch endless speeches from that idiot whose name shall never cross my keyboard.   

Meanwhile, the free press beats the story to death with the sense of proportion and social responsibility we now expect: none.  Pitchforks in hand, brandishing torches vigilantes turn on robots. Just for fun Pox News stokes the fire by calling them socialist robots! (Makes as much sense as anything else on Pox News.

If you were a runaway robot, where would you hide?  Yep. Right. Where there a lot of other robots, because, well, they all look alike.  

Now we take a sharp turn away from the mystery of finding the rogue to discover that all of this is only preliminary.   

What follows is a court case to decide what a person is, and whether Emily has the rights of a person. Is she the Rosa Parks of metallic A.I.?  A non-person who might be gavelled into being one by a judicial ruling?  Discussing these points occupies more than half the book.

But wait! 

Enter Perry Mason!

If Em goes to trial it would have to be a jury of peers.  Yes?  But she has no peers.  She is no Shylock – neither tickled nor bled.  There is nothing about this obvious point in the book  but it came to my mind.  Why isn’t the jury made up of robots?  Good question, Mortimer.  Collect the law degree on the way out.

Nor did I fathom why Engineer showed zero interest in Emily’s library assault.  Indeed why was Em sitting in the library? One of the best ways to find out something is to ask. Why didn’t he? The voltes faces of first the lawyer and then the judge were too easy. However I did like the shelter for unwanted bots.  

Here’s a new twist for me.  I finished the book, and when I did a message arrived on the Kindle screen telling me there was an additional chapter if I wanted to read it.  Big decision, right.  I read it. How does that work in the printed book?

It resolves into a take on the Isaac Asimov story ‘Evidence’ (1954) for the cognoscenti that is a spoiler.  In this context it undermines just about the whole book. 

Francis Malka

Not sure what to make of the idea of two endings.  Seems the author should decide on one, not me. 

Quibbling aside, it is an inventive book that kept me reading.  

Before Mel Brooks there was Jack Benny!

To be be or not to be (1942)

IMDb meta data is a runtime of 1h and 42m, rated 8.1 by 48,344 cinematizens.

Genre: Dramedy or Comdram.

DNA: Poland via Hollywood.

Verdict: Satire stings.

Tagline: A sea of troubles!

A Warsaw acting company gets caught up in the German invasion of Poland, and the more its members try to wriggle out of the net, the more deeply enmeshed in it they become.

Betrayal, espionage, treachery, mayhem, torture, suicide, murder, all have a lighter side in this offering.  The Nazi’s are so preoccupied with being Nazis they fail to notice details. 

Whatever is made of that, as theatre it is pitch perfect. When Jack Benny (yes, you read that right) has to imitate a dedicated Nazi he reiterates the nonsense he has heard another Nazi say, and is relieved, though surprised, to find that it works.  

Released in January 1942 the makers saw it as a contribution to war effort to mock and belittle the enemy as Charlie Chaplin had in The Great Dictator (1940). Yes Mel Brooks reprised it. 

We went to see it on the wide screen at the Ritz in Randwick.  What a treat.  

I knew it!

Irving Belateche, Alien Abduction (2016).

Good Reads meta-data is 437 pages rated 4.01 by 242 litizens.

Genre: SyFy.

DNA: SoCal.

Tagline: Cyclopes.

Verdict: Less than meets the eye.

A creative take on the evergreen trope of alien abduction that I had first thought was to be played for laughs. Nope. Indeed that trope was buried in a soap opera family drama: husband loses his job, wife has cancer, truculent teenage children rebel, mortgage payments overdue, and so on, and on. Had they a dog, it would have turned rabid or something. 

I didn’t turn the pages for that, but in a page count it is bulk of the book.

Oh, the A2 is there and it is well told and in a novel way.  No spoiler on that except to say it confirms a nostrum of SyFyism, the aliens want our women!

There is a lot to like: Some insights into the changing world of journalism, basics of composition, DNA testing technicalities, characterisations, the to’ing and fro’ing in the urban agglomeration of Los Angeles, the way the writer avoided explanatory details, say about the curvature drive.  Refreshing to read something by author who knows what a topic sentence is.  

Irving Belateche

What I didn’t get is where the cash money came from in $100,000 units, how the drug was marketed, what happened to the boy Mason who so preoccupied Hero’s thoughts and then drops off the page.  Did I blink?

Beware the elevator!

María Angélica Bosco, Death Going Down (1954).

Good Reads meta-data is 160 pages, rated 3.10 by 379 litizens. 

DNA: Argentine.

Verdict: Meh.

Tagline: Not sure I care.

Winter in Buenos Aires is wet and windy, when a resident of a small apartment block returns home late at night from the pub, well and truly tanked, to find the lift occupied by…a corpse. Befuddled he does some stupid things.

There follows a police procedural confined largely to this building where each apartment occupies a floor. Several of the residents are European flotsam and jetsam from the war. The corpse was not a resident and yet seemed to have had a key to the front door. Does the European past hold the key to this mystery.  Doh!  

I chose it for the setting but, well, I got little of post war Buenos Aires since the story unfolds mainly in the building. The translation was cryptic, or perhaps that is the original, and this reader found it hard to follow and hard to develop an interest in, or to keep straight, the characters. Ergo, be your own judge.   

María Angélica Bosco

It is one of eighteen or so in a series from this writer who is described as the Agatha Christie of Argentina.  I couldn’t see why.  But then one of the other Good Readers compared her Raymond Chandler and that seemed idiotic for even a Good Reader.  

Move over Mrs Hudson!

Emily Brightwell, Mrs Jeffries Stands Corrected (1996).

Good Reads meta-data is 233 pages rated 3.99 by 1,204 litizens.

Genre: krimi; Species: period.

DNA: England; Victorian.

Verdict: Cute but slow.  

Tagline: He did it!  What a surprise.  

Mr Obnoxious is stabbed in the back during a party celebrating the opening of his new very posh pub. Since he was universally disliked, despised, and hated as everyone from his wife, brother, sister, and the family dog is quick to say, there is no shortage of suspects.  In addition there are all the people whom he has shortchanged, cheated, and stole from in his pursuit of free marketeering.  

By a quirk of fate a not very sharp tool at Scotland Yard has inherited, not only a grand house, but a housekeeper and her staff.  While Inspector Dull bumbles around, Mrs Jeffries and her associates get to work and uncover clues to place in his path, some of which he notices.  Others not.  Some he understands, others not.  

With this invisible help he meets with success, a surprise to him and to others, and so he muddles through. 

However, in this outing the worm turns.  Slightly.  There is a nice plot twist at the end, but it was a tedious trip to get there.  I all but drowned in the blue herrings.   

This is number nine (9) in the sequence which has, sit down, more than thirty titles. I bought in Canowindra in 2025.

There a similar spin on Sherlock Holmes with Mrs Hudson, see Martin Davies, Mrs Hudson and the Malabar Rose (2005) and more.

It’s her, er, he!

Giulio Leoni, Crusade of Darkness (2007). 

Good Reads meta-data is 560 pages, rated 2.84 by 87 litizens.

Genre: Krimi; Species: Period (Medieval).

DNA: Italian.

Verdict: Suffocating detail. 

Tagline:  Spoiler: she Pope.  

October 1301 the Florentine Council sends Dante (Durante) Alighieri to Rome to assess and, if possible, negotiate with Pope Boniface, who was busy redefining papal corruption.  An uneasy peace exits in Florence between the Little-enders and the Big-enders, while Rome is seething.  While he waits for an audience Dante falls into company of an affable, wealthy Senator with a comely daughter.  Dante often has trouble keeping it in his robe.

In this heady atmosphere, strange things emerge.  Very strange.  That a representative of the Inquisition wants to hush things up, stimulates Dante to find out more with a great deal of to’ing and fro’ing in ruined Rome. Much. Too much. 

A fantastic plot is slowly revealed.  

Giulio Leoni

This is the third and final instalment of the English translation of this series.  There remain several untranslated titles in the original Italian.

I delitti della Medusa (Book 1)

The Mosaic Crimes (or I delitti del mosaico) (Book 2)

The Kingdom of Light (or Los crímenes de la luz) (Book 3)

La Crociata delle Tenebre (or La croisade des ténèbres) (Book 4)

La regola delle ombre (Book 5)

L’ultimo segreto di Dante (Book 8)

Read a book, if you dare!

The Library Wars (2013) Toshokan sensô 

IMDb is a runtime of 2h and 8m, rated 5.9 by 1,001 cinematizens.

Genre: SyFy.

DNA: Japan.

Verdict: More, please! (And less.)  

Tagline: Ripped from today’s headlines! 

In the near future of 2019 (!) the book burners are masked, armed, and dangerous. Welcome to Florida!  

Why?

Villains read books.  (Do they?) To eliminate villains, eliminate books, because it is too hard to eliminate villains.  Blaming books for what readers do is an old, sad song we are hearing again today.  (It is only a matter of time before this logic leads to eliminating authors, as one character observes.)

Over-reach soon follows as the masked thugs enjoy creating mayhem, and in response a political compromise emerges that makes public libraries an asylum for all books.  Bookstores on the other hand are not protected and they become the battleground of the thugees.  The line between bookstores and libraries is blurred by both sides, and to ensure that exception libraries recruit a defence force. The  inevitable happens when boys play with guns: innocent bystanders get killed, and each side blames the other. Check the headlines today for proof.

By the way an abridged version of the statement on intellectual freedom figures in the story. For the complete text click here: https://www.ifla.org/wp-content/uploads/2019/05/assets/faife/statements/jlastat.pdf 

This statement forbidden in much of the world.  

In this maelstrom we have a candy-coating of a romantic comedy.  Believe it or not, Mortimer. The players are charming, the situations far-fetched and yet…well, watch the television news tonight.  Maybe not that far fetched.

One of the web sites that guides my viewing, completely missed the point on this film. This blogger devoted most of his comments to the unlikely proposition that municipal libraries would have the funds to create an armed force or that the national government would permit it. ‘Hello! It is fiction.’  But even short of that realm, political compromises are often contradictory.  The National Guard may confront local police forces. It has happened before, and now it is again in the offing.   

This film has spawned sequels which I may pursue.   But this one was attenuated with way too much shoot ‘em up.  Way too much. So less of that, please, and more about the books, and why they are important. 

Though there were many nice touches salted away.  I liked the comment that the Book Burners wanted to censor the history of censorship to conceal it. But there were also loose ends, like who was the murderer influenced by reading and what was in the archive that had to be rescued.  Maybe I blinked.

Of course I thought of Fahrenheit 451 and also the more obscure short but powerful Phoenix – A Science Fiction Short Film (2014) from Warnuts Entertainment, 19 August 2016 on You Tube.  I commented on the latter elsewhere on this blog. Click on.

Sweep it up!

Space Sweepers (2012) Seunriho

IMDb meta-data is a long runtime of 2h 16m, rated 6.5 by 30,001 cinematizens 

Genre: Sy Fy

DNA: Japan.

Verdict: High octane.

Tagline: Slam, bam, wham. Reset. Repeat. Redo. 

In 2092 rocket powered bin divers stumble onto a treasure in the debris and try to profit from it, but they encounter a clone Elon Musk – vacuous, soulless, mindless, destructive, and solipsistic. There is the usual corporate corruption, the usual political connivance, and the usual general stupidity.  All the lazy scriptwriters’ crutches.   

One chase after another follows, each loud and colourful, but the pace is slowed by too many back stories.  It seems everyone has one, except the villain-in-chief and his endless robotic minions.

The multi-lingual international characters are cartoon cardboard. About one hour too long for the story.

What did W. C. Fields say about working with children? Don’t! 

I opted for peace and quiet and turned it off.  

Much similarity to Cosmic Rescue (2003) reviewed earlier.

En terrains connus

En terrains connus (2011) Familiar Ground

IMDb meta-data is a runtime of 1h and 30m, rated 6.6 by 553 cinematizens.

Genre: Sy Fy; drama.

DNA; Québécois.

Verdict: Odd. 

Tagline: Another ‘film without a gun’ from Stéphane Lafleur.*

She is trapped in a loveless marriage while her brother cannot grow up. The inertia in their lives is manifested in a backhoe à vendre sitting on the snow-covered lawn.  We never do learn how they came to possess this totem.  

An accident at the paper factory where she works jars her from somnambulance, while her drifting brother is likewise disturbed by a brief conversation with a man who claims to come from the future. Both are freed, perhaps only briefly, from the inertia that has governed them. Together sister and brother embark on a road trip into the eternal north of Québec and change the future.  

It is that man who claims to be from the future that triggers the label Sy Fy, and that claim is never developed, but it stimulates the brother to action. Though he might as well have had a premonition, and stirred himself to act on it.  

All in all it is laconic in a genre of Québec films that focus on the working stiffs, usually absent from Hollywood, and combines that with a soupçon of wintry magic realism. The cinematography of winter tells a good part of the story of these hibernating people. 

Oh, and no, I can’t explain the title. Let me know if you got it. 

Stéphane Lafleur

*You either get it or you don’t.  There is no explanation here.