It’s funny how two things can have all the same basic ingredients and yet end up wildly different. A Maclaren MP4-12C and a Fiat 500 are both cars: yet few would disagree that they’re worlds apart.

Similarly, even though Emery Borka has – in Steve Santa and the secret of the Last Parfait – succeeded in producing a novel that combines all the classic airport novella ingredients with a home-spun accidental-hero vibe, I’m sad to say that the result is less like The Da Vinci Code than a long series of knowing nods to (and in-jokes for) the writer’s family and friends combined with Internet research.

The reason I’m reviewing it here is that the Voynich Manuscript makes a solid Macguffinly appearance in it, the idea being that it is written in the Dongba language. Though, technically speaking, Dongba is a set of ideographic (and, indeed, very idiosyncratic) pictographs developed ~1000 years ago in parallel with the Naxi language, whereas I suspect Voynichese is rather more similar to the Geba syllabary more typically used to write Naxi. But that’s by the by. 🙂

If I mentioned that Borka’s story also has various modern-day Knights Templar factions, the Daughters of Tsion, Cathars, Paris, Xiamen, GulangYu, Rennes-le-Chateau, Carcasonne, Toulouse, Rocamadour, Padirac, and (yes) Black Madonnas, you’d get the idea: but even that fails to do justice to arguably the book’s best (and simultaneously worst) feature – the food.

You see, everywhere in the world that Borka’s retired, divorced, cashed-out hero pinballs onwards to, he gets to eat (and describe in depth) the most authentic-sounding regional dishes possible, while simultaneously being given high-velocity touristic mystery history by some implausibly well-informed Wikipedia page local expert. It’s a bit like being strapped to a wall and having the world’s food fired at you by a rapid succession of international chefs.

So, I have to say I’m not sure the world is quite ready for Borka’s historical mystery food tourism proto-genre: treating it as airport fiction and trying to read it too quickly would probably give you indigestion. But all the same, it is what it is and there’s no point hiding it: as Popeye said to the sweet potato, “I yam what I yam“. 😉

Sometimes you read a book by an author still finding their writing feet: lively ideas, but clunky characterization and occasional phrases that make you blink and read them a second time for all the wrong reasons. So it is with Glenn Cooper’s “Library of the Dead”, with its anti-(ish)-hero Will Piper, the FBI’s soon-to-retire forensic profiling star: if you bear all those first-novel-nerves in mind, you’ll probably enjoy the book. Having said that, easily the worst-turned phrase of the book comes on page 93:

He studied the annals of sex crime sedulously…

Is there a spelling mistake in there? It had me completely foxed, but perhaps you’re wise to all that. 😉

With “write what you know” apparently ringing loudly in his ears, Brad Kelln constructed his fictional protagonist Jake Tunnel to be, just like him, a Nova Scotia-based psychologist (and is Kelln married with young kids too? Almost certainly). But probably unlike Kelln, Tunnel’s best friend at college Benicio Valori constantly globetrots on behalf of the Vatican’s Congregation for the Doctrine of the Faith on the lookout for claimed miracles, in a very Gabriel-Byrne-in-Stigmata (1999) kind of way.

Hence when an autistic boy on a primary school tour of the Beinecke Rare Books & Manuscripts Library is shown the Voynich Manuscript in a permanent glass display case [this never actually happens, but never mind] and is miraculously able to read it, Benicio is sent by the CDF’s morally-suspect-yet-self-harmingly-devout Cardinal Espinosa to check it out. Once again, all very Alfred-Molina-in-The-Da-Vinci-Code (2006), though of course this is no more than a slightly updated version of the centuries-old ‘wicked Jesuit’ trope for whom the (holy) end always justifies the (unholy) means. Oh, and the autistic kid is pretty much Simon Lynch in Mercury Rising (1998), who goes on a similarly mad road trip with Bruce Willis. La-di-da.

Rapidly, the boy is revealed to be the last of the Nephilim, a race of (what X-Files scriptwriters would term) ‘human-alien genetic hybrids’ fleetingtly mentioned in the Bible and about which Erich von Däniken has spent the majority of his life writing phantasmagorically imaginative historical nonsense. And hence the Voynich Manuscript is revealed to be the Nephilim Bible, a document so earth-shattering it would Rock The Very Foundations Of The Church If Anyone Were To Read It And Reveal Its Secrets etc.

Complicating the plot are Shemhazai and Azazel, the two cursed ‘Grigori’ aliens / angels who landed on Earth seventy generations ago and whose intergalactic miscegenatory misdeeds quite literally spawned all this trouble. Despite having awesomely glowing megatronic powers, the pair mooches around the book, languidly chasing after Benicio and the boy in an almost Rastafari laid-back stylee. And complicating the matter yet further are the CDF’s dysfunctional twin thugs Maury and Jeremy, who are also tasked with chasing after the protagonists.

Kelln’s book covers a lot of ground and tells its story briskly, but I couldn’t help but feel a bit cheated by it in two main ways. Firstly, even though it’s written by a hard-working forensic psychologist, none of the characters presents any noticeable character depth or development: sure, they move around the board rapidly enough, but they basically remain Ship, Boot, Dog, Iron, Hat, and Car for the duration of the game. Secondly, there are so many parallels between “In Tongues of the Dead” and Kevin Smith’s thoroughly enjoyable (1999) film Dogma that it’s hard not to see Kelln’s book as a dourly humourless anagram of the latter. For example, Shemhazai and Azazel are basically Bartleby (also a Grigori) and Loki crossed with Jay and Silent Bob; Maury and Jeremy are basically the Stygian Triplets; Metatron and Bethany Sloane are basically Harold Grower and Jake Tunnel; and so on.

As you can probably tell, I’m getting a huge screenplays-circa-1999 buzz off Kelln’s book, and not in a particularly good way: ultimately, it seems like he has fallen into the old trap of writing not about what you know, but about what you have seen at the movies. Brad writes perfectly well – but given that he’s a psychologist, where did all the psychology end up? 🙁

Now here’s something that doesn’t pop up every day: ex-Mormon cipher fiction. In “Latter-Day Cipher“, Latayne C. Scott has crafted quite an interesting piece of work, combining the US police procedural genre (where in this case the main protagonist is a female journalist parachuted in from outside) with a kind of veil-lifting piece on the inner workings of the Mormon Church. It’s populated by a cast of characters so tortured by their own doubts about the, let’s say, veridicality of the gospels, history, and practices of the Church of Latter Day Saints (‘LDS’) that they behave in extreme ways (thus driving the plot), with some of them leading double lives.

The “cipher” of the book’s title doesn’t refer to our old favourite the Anthon Transcript: rather, the notes left with the (near-inevitable) series of dead bodies are written in the Deseret Alphabet, a late 19th century phonetic alphabet constructed at the University of Deseret (which morphed into the University of Utah – “Deseret” is a term supposedly used in the Book of Mormon to denote “honeybee”, and in fact Utah’s state symbol is still a beehive) to help immigrants learn English quickly and reliably. The real thing looks like this (from 1868, courtesy of Wikipedia), which begins “W-u-n / ah-v / thee / w-u-r-s-t…”)

Sample Deseret text from 1868

Given that this is a phonetic alphabet, and only one of the Deseret Alphabet notes in “Latter-Day Cipher” is written in a slightly encrypted way (I don’t think it’s a huge spoiler to say that it’s phonetic Spanish), Scott’s book isn’t really historical cipher fiction per se. But all the same, she’s clearly achieved her writing aims, and her story moves along briskly. She paints pictures of the troubled internal dynamics of people wobbling either side of the edge of the Mormon doctrinal line, interleaving its contradictory paradoxes (polygamy, racial purity, blood atonement, etc) with a ticking bomb and lines from Tennyson and T.S.Eliot.

With all these different themes running through it, you may well ask, is “Latter-Day Cipher” any good? Well, yes it is, actually. It would probably help if you knew a (very) little about the whole Mormon thing beforehand, but I do so enjoy getting to read nicely-written novels that aren’t all testosterone, flashy editing and world-renowned Harvard academics solving historical ciphers at gunpoint. Enjoy!

PS: in the great pantheon of literary attacks on the LDS, this is no more than a fly bouncing off an almost entirely indifferent whale, and I somehow doubt that it will manage to steer a single person away from the LDS’ comforting weltanschauung bosom. Still, wouldn’t it be awesome if South Park was right, and God is a Buddhist presiding over a Mormon-only heaven? Ummm… probably! 🙂

I hate to admit it, but Brett King’s new book “The Radix” has very nearly pushed me over the edge as far as Voynich-themed novels go. OK, if you like your cipher mystery fiction spiced up with implausibly steel-chinned Secret Government Agency action heroes with PhD-level history credentials and who the US President just happens to owe a favour (basically Cotton Malone or Daniel Knox on overdrive), then maybe you’d like it. M-a-y-b-e. But if not, I strongly suspect you won’t, sorry.

It’s completely true that Dan Brown’s books leave me wanting to shoot the fumblingly-drawn main protagonists by the end of Chapter One, all the secondary characters by the end of Chapter Two, and the publisher by the end of Chapter Three (given that I see Dan as closer to Gavin Menzies than to Machiavelli, I’d rather cut his hands off than shoot him): and compared to that particular cultural nadir, I’m delighted to say that The Radix is at least reasonably well written. But all the same, I can’t think of a single book where I so badly wanted the bad guys – in this instance, Renaissance conspiracy fans, the evil Borgias’ evil descendants (did I mention they were evil?) – to kick John Brynstone (King’s hero)’s unbelievably buff butt down the road to Hell so very quickly (specifically, by page 17).

But then I thought, hold on a mo’… could it be that “The Radix” is actually some kind of postmodern-ish reversal-of-expectations gag – by which I mean, did King consciously make the protagonist so unlikeable, so implausible, and so unsexy because he wanted the bad guys to be, ummm, the good guys? Historically, it’s true that (for example) Lucrezia Borgia has been demonized for so long that even now it’s desperately hard for historians (even Sarah Bradford in her 2004 biography of Lucrezia, which I’m still halfway through) to untie every Borgia-damning knot that partisan writers have tied over the centuries: so could it be that King’s novel is merely Part I of some bizarre rehabilitatory Borgia anti-history?

Achhhhh… try as I might, I can’t really believe that King has a uber-revisionist angle in mind, given that his “Radix” is so close in spirit to a comic-book escapade (and not one of dear Alan Moore’s sardonic club-sandwich plots, with a beard-hair delight in each multi-layered bite) crossed with an airport novella, with John Brynstone so utterly 2d that his action sequences practically jerk from static box to static box. All of which makes it perfect for a Jason Statham vehicle for 2011, then? Alas, yes – which alone is probably a damn good reason why the film-of-the-book shouldn’t be made. Despite King’s agent’s best attempts, let’s all just hope divine justice prevails, shall we?

Though “The Radix” has doubtless been pitched at the cipher mystery beach brigade, my worthless personal opinion is that Cipher Mysteries readers looking for 2010 summer holiday fiction should instead plump for Enrique Joven’s completely antithetical “The Book of God and Physics: a Novel of the Voynich Mystery”, which manages to tell its own Voynich-themed story with nary a jutting jaw or a laws-of-physics-defying stunt. Of course, please feel free to read both and tell me if I’m just plain wrong – comment below, I don’t mind. 🙂

(I’ll declare my hand: back when my 2008 History Today article on the early history of the telescope came out, Enrique Joven very kindly translated it into Spanish for the magazine Astronomia, so I know Enrique pretty well. That said, Cipher Mysteries reviews don’t have star ratings & I’m not one to hide what I’m thinking, so this connection shouldn’t affect the following in any significant way.)

A thing I hear again and again from Cipher Mysteries readers is that they just aren’t into buying novels: for the most part, they’re non-fiction addicts hooked on the subtle adrenaline rush of research and who mostly feel bemused (and possibly even slightly alienated) by my fiction reviews. What, they say, can we possibly learn from a novel?

My angle on Voynich novels has never really been that of a lit crit: which is possibly just as well, it ought to be said, because most are little more than medium-boiled airport novels. Rather, I’m interested in how the idea of the Voynich Manuscript (and/or other historical cipher mysteries) is perceived and passed on by non-Voynich-researchers. Do novelists and/or their research assistants just read the Wikipedia page and make up the rest (as per the basic ‘lazy writer’ stereotype), or do some of them actually engage with the VMs, with the messy Voynich research process, and perhaps even – shock horror – with the historical evidence?

To be honest, few VMs novelists give the impression of their even having reached halfway through the Wikipedia page (however understandable that is), while a surprising number give a strong impression of having relied on even less helpful VMs information sources (such as “The Friar and the Cipher”, ugh). Even in this glorious era of Internet research, the ancient ‘GIGO’ rule (“Garbage In, Garbage Out”) works the same as it ever did. *sigh*

Yet Enrique Joven falls squarely into the engagement camp with his novel “The Book of God and Physics: A Novel of the Voynich Mystery”, in that he has plainly done a lot of reading on the subject and is even well aware of the Voynich mailing list. His fictional treatment of the Voynich mystery is also pretty much the first one I’ve read that treats Jesuits in a fairly sensible, non-tokenistic way (doubly impressive given that his protagonist is a teacher at a Jesuit school), and he constructs his narrative around the VMs’ thrice-APODed page f67r1 and the astronomical sparks showered over the Imperial Court by the tense relationship between Brahe and Kepler (a subject I happen to know a fair amount about).

Yet curiously, the limitations of Enrique’s book arise not from the cipher or from the history, but instead from his treatment of those (fictional) Voynich mailing list members his protagonist gets caught up up with, many of whom apparently suffer from multiple-(virtual)-personality disorder. Now, I’m no great fan of the Voynich mailing list as it has become (has any genuinely useful research appeared there in several years? I don’t think so), and it is true that some listmembers post under deliberately false or whimsical names, as if they were secretly emo teenagers. But to make this aspect so central to the story has all the feeling of a false modern mythology, a kind of ‘Hollywood Internet’ where Everyone (apart from the straight-as-a-die protagonist) Is Online In Order To Hide Some Important Aspect Of Themselves That Will Be Revealed Later In The Plot.

That aside, Joven writes pretty well – and it was a pleasure to read a Voynich book where the Long-Hidden Secret Power It Contains is in fact not About To Destroy The World As We Know It, where the main character is not a charmlessly bionic version of Anthony Grafton, and where there are neither hordes of competing three-letter-agencies nor quasi-mystical Church-backed Conspiracies all fighting each other for ownership of the VMs’ boringly heretical secret.

Long-time (if not actually long-suffering) Cipher Mysteries readers may possibly point to my high opinion of Matt Rubinstein’s Vellum and Lev Grossman’s Codex (both of which have much the same kind of ambitions and restrained execution as Enrique’s book) as correlative evidence that I’m down on Voynich airport novels: but actually, given that Max McCoy’s “Indiana Jones and the Philosopher’s Stone” is still firmly my #1 (why don’t Voynich novelists ever read this first?) on the Big Fat List, it really is all a matter of personal taste. OK, I still think Enrique’s publishers should have dug deep inside themselves to find the sense to keep the rather nice original Spanish title “The Castle of the Stars” (which actually chimes nicely with the story on many different levels, while also being pleasantly reminiscent of the linguistic hack “The astronomer married a star”), but then again it is what it is, and perhaps a clunky title alone isn’t enough to make or break a book these days.

One slightly odd coincidence is that just about the time that the paperback version came out recently, an entirely new Voynich theory came out (courtesy of P. Han) linking Tycho Brahe and historical supernovae to the VMs by way of China (but more on that another day). All of which just goes to show that there really is, errrm, nothing new under the sun, and that the boundary between historical hypothesis and fictional supposition can be surprisingly thin!

OK, moving straight into confessional mode, I feel more than a touch ashamed that I haven’t reviewed Chris Harris’ Mappamundi loooong before now. But… even though I’ve read it twice, I still don’t really know what to say about it. Let me explain…

Sticking to the knitting, it’s a fairly trite starting point to note that it’s an historical adventure, with the main character Thomas Deerham seque(l)strated from the book “False Ambassador”.  In that first book, Harris had his hero travel from England to France to Greece (while trying to travel to the Holy Land) and onwards from there to Morea and finally back to Rome, meeting loads of interesting historical figures (such as Plethon) en route. “Mappamundi” continues in Rome with Deerham’s stealing a Toscanelli mappamundi from his only-just-dead boss (Pope Pius II), before heading fast away north across France. In Paris, he meets the vagabond / poet / trickster François Villon: they cross the Channel & end up in Essex trying it on with an eelwife (please don’t ask). Then they meet Christian Rosenkreutz (yes, really) and steal the Voynich Manuscript, which a thoroughly delighted Rosenkreutz calls one of the “Seven Tomes”. On from there to Cambridge, and Ipswich, and… off to find the lost wisdom of Atlantis, steered by the stars, the mappamundi, the VMs and Rosenkreutz’s clinical madness… and (without giving it all away) onwards from there.

Of all the Voynich novels I know of, you could reasonably argue that Mappamundi sticks closest to what we might expect of the VMs’ pre-1600 provenance. What with its Toulon-Occitan-like zodiac month names, and abbreviated longhand Latin quire numbering that Barbara B claims appears in a herbal rebound in England in the 15th century, and perhaps in England picking up its alleged connection with Roger Bacon; all these details tally reasonably nicely with Harris’ account, some intentionally, some not (I’d predict).

Of course, by now you’ll have worked out that Mappamundi is by no means an airport novel – the absence of (for example) millennia-long secret conspiracies, hidden mountains of ancient gold, mysterious powers over life & death that an unreadable book holds, but which only a Harvard Professor of Assyrian Stuff with eidetic memory can unlock, etc etc should be more than a bit of hint. Nor is it experimental literature (even though it plainly merges real historical figures with hallucinatory ones such as Christian RosenKreutz), nor even Umberto Eco-esque über-erudite historical musings masquerading as high literature.

Actually… when you strip it all back, it’s just a historical romp across Europe, in very much the same kind of line (and indeed roughly the same time-period) as Dorothy Dunnett’s well-known Niccolo Rising series. But whereas I alway got the feeling that Dunnett was trying not to re-write history but rather just to thread her own imagined saga through the countless empty holes in a genuine historical tapestry, the presence of Rosenkreutz and the VMs (and even Atlantis) in Mappamundi moves that book sideways into a rather less clear position.

I suppose what it all comes down to is that Harris’ admixure of the notoriously false with the notoriously uncertain with the manifestly true largely negates the effect of all his careful research: the reader stops trusting the author’s historical eye and empathy. Look, I’m not saying it’s as bad a pseudo-historical trip as Forrest Gump: but it did manage to consistently put me out of my readership comfort zone, which is something you could never accuse Dunnett of, for example.

The awful thing is that Harris’ book-writing craft is so spot-on in so many ways (I get to read countless books by authors whose skills aren’t a patch on his), which makes criticising him for what is only really a kind of implicit epistemological confusion foisted on his readers feel somewhat unjust. But many (if not most) of those same readers will likely have a keen eye for history, and that side of me really didn’t enjoy the ride here.

Ultimately, even though I’m supposed to balance up all these factors and finish the review by rotating my haughty Imperial thumb upwards or downwards, this time around I just don’t know what to do. I loved the Dorothy Dunnett side of it while simultaneously hating the Forrest Gump side of it (which included the ending): and it seemed to oscillate between these two extrema throughout. I guess you’ll have to read it for yourself and make up your own mind, sorry if that sounds like a cop-out. =:-o

Another day, another historical mystery airport novel to review, this time with Will Adams’ protagonist Daniel Knox exercising his “outcast Egyptologist” mojo in and around Alexandria, Siwa etc. Will Knox be able to solve all the clues and use his exceptional underwater swimming skills to find Alexander The Great’s fabulous (but lost) golden catafalque, or will the various people trying to kill him get there first?

<spoiler on>
Of course he bloody does.
<spoiler off>

And therein lies the rub. The problem with calling your novel “The Alexander Cipher” is that even though it pitches your book well to passing bookshop fingers, it pretty much flags the fact that Chapters 1-2 are going to be spent describing Alexander’s fabulous treasure, and most of the rest of the book is going to involve the main characters’ chasing flimsy clues to find it, culminating in a set piece finale. And Daniel Knox is really not a very likeable hero: even when he’s doing noble & morally correct things in difficult circumstances, you still want to give him a slap. And the cipher itself is just Greek written in Demotic characters, so isn’t really much cop.

Though The Alexander Cipher manages to compile nearly every questionable story ever told about Alexander T. Great and thread them neatly into the story (yes, Adams has manifestly done plenty of research), its character narrative only ever oscillates between first and second gear, never really getting any traction on the people. It’s as though Adams never wants to leave us alone in the room with Knox (or indeed anyone else) for very long, when there’s some questionable archaeological derring-do to be moved onto and done instead.

Really, even though Adams’ research and plotting all hit the right kinds of spot in a relentlessly metronomic kind way, what I ended up noticing most is the overwhelming lack of humanity that pervades each page. When you feel that the guiding force in the book’s universe is a curious stop-motion Newtonian pinball rather than the subtleties of chess or poker, it seems that only a single facet of the human condition has made the cut when the storyline was constructed.

Just to make sure I hadn’t missed something important, I then read Adams’ sequel “The Exodus Quest” (which again features Daniel Knox plus many of the same supporting characters). Same basic thing, but with less gold in play.

It would be easy to pin the blame on (say) Hollywood action flicks for somehow merging macho with Asperger’s Syndrome and for conflating urgency with sociopathy, both stylistic tics which I think Will Adams sometimes allows his protagonists to fall prey to. However Hollywood is (by and large) lazy and unimaginative, and prefers to appropriate shorthand cultural stereotypes of the day rather than to invent them afresh. So that would probably be missing the real point: which is that we moderns all have a bit of a void in our hearts as far as what our appropriate gendered self-image should be. Is being a ‘man’ really as politically jut-jawed and horrendously vacuous as these books portray? Is being a ‘woman‘ really all about beautiful complicity and self-destructive revenge? Perhaps it is better not to have any such self-image if these are all there is on offer on the cultural smorgasbord.

In the end, arguably the most awful thing about Will Adams is that he has written a series of books where the main character comes across as being more tenderly in love with his put-upon heap of a jeep than with anybody else. Though my guess is that he probably originally intended this as light relief, in the end Knox’s jeep became the female lead in the whole saga, the central love interest. OK, to me that’s just a bit wrong, but make of it what you will for yourself.

In my opinion, cipher mystery-themed airport novels tend (as I wrote here a few days ago) to be written by (1) “Rack Pack” writers, (2) “Domain Experts”, or (3) “Wannabe Screenwriters”. Having read Steve Berry’s book “The Templar Legacy” (2006) as a warm-up, I recently moved on to his “The Charlemagne Pursuit” (2008), where the serial use of the main character ‘Cotton Malone’ places Berry firmly amongst the Rack Pack. But is he Rack the Knife or Rack the Hack?

The first thing I’d say is that The Charlemagne Pursuit is definitely put together far better than its predecessor, whose cardboard Bond-world characters such as ‘Cassiopeia Vitt’ (who it seems unfortunately reappears in later Cotton Malone books) and ghastly Templar clichés reduced the art of reading from a pleasure to a struggle. Really, compared with the sparky horses-in-the-New-York-museum start to Raymond Khoury’s “The Last Templar“, Berry’s The Templar Legacy remained ungrippingly pedestrian throughout.

All the same, The Charlemagne Pursuit is no less stuffed with airport mystery fodder – beautiful Nazi-family twin sisters, ancient architectural hints, buried clues, castles, Atlantis, Ahnenerbe, secret submarines, Voynich Manuscript-style documents, professional killers, unlikeable protagonist, etc. Yet what I found most frustrating is that if you stripped out all the history / lost civilizations / Nazi / mad admiral guff, the raw core of the story – Cotton Malone hunting down his dead submariner father, with surprising success – would be basically OK. And so I felt at the end that I’d read a decent-enough 100-page book ripped into a 600-pager by a sustained ingestion of airport novel steroids.

For sure, Berry’s book fully deserves its place in my Big Fat List as probably the highest-profile Voynich Manuscript novel yet: but the VMs is mainly treated as a kind of codicological template to help generate the various mysterious books Berry’s narrative requires along the way, rather than actually engaged with in any interesting or intriguing manner – not actually disdain, but certainly something close to disinterest. And perhaps it’s just me, but there’s also something just a bit desperate about his scattergun constructional style, which comes across not unlike a neurotic parent grabbing every soft toy in turn to try to placate an unhappy toddler. Ultimately, I’d rather read a book with half (if not less!) as many themes weaved together but explored in a more engaging way: but perhaps that’s a grossly unreasonable expectation of the genre, you’ll have to make up your own mind.

In summary, I did enjoy bits of it: but most of it came across as a Nazi-themed rollercoaster ride where you don’t care much for any of the twists and turns, let alone the characters.

Here’s yet another cipher-tinged literary genre I wasn’t previously aware of – the ex-Mormon novel. As a just-released exemplar,  “Latter-Day Cipher” by ex-Mormon Latayne Scott (author of “The Mormon Mirage”, so her overall position should be no great surprise) appears to do a pretty good job of tackling contentious Mormon issues – along the lines of ‘if certainty is God-given, why do His interpreters on earth keep changing their minds?’

Her novel has a socialite killed with “strange markings carved into her flesh and a note written in a 19th Century code“: and so, of course, it is to the alphabet of the Anthon Transcript that her title appears to refer [Update: it actually refers to the phonetic Deseret Alphabet, developed in the 1850s to teach English to immigrants. Thanks for the correction, Latayne!] Sounds like quite a fun read to me (though perhaps 12 million Mormons may beg to differ).

Actually, this all reminds me of an unexpected parallel I forgot to mention in that previous post… between the golden plates and the Anthon Transcript (that signalled the founding of the Mormon Church) and the Golden Dawn Cipher Manuscripts (that signalled the founding of the Hermetic Order of the Golden Dawn). How similar yet dissimilar!

Incidentally, everyone knows about famous Mormons (such as the Osmond family, Matthew Modine, and Ted Bundy) but what about famous Golden Dawn members? Well… Aleister Crowley aside, the GD had as members [according to Wikipedia, so be ready with your pinch of salt] the poet Yeats, Bram Stoker, Gustav Meyrink, Arnold Bennett, and Edith Nesbit (yes, she of “The Railway Children” fame). Just so you’re prepared for the next pub quiz! 🙂