Here’s something you might like: a handy cut-out-and-keep map of historical conspiracy clichés, inspired (I’m sorry to say) by Peter Blake & Paul Blezard’s “The Arcadian Cipher” (2000). Of course, there were countless more conspiracy clichés I could have included (aliens, Roswell, MIB, etc), but seeing as the Elders of Zion paid me handsomely to leave many of those out, you’ll just have to figure them out for yourselves. 🙂

ConspiracyMap

Though these are grouped in a (vaguely) thematic kind of way above…

  • Redart conspiracies
  • Blue – political conspiracies
  • Yellowreligious conspiracies
  • Greyconspiratorial bodies / mechanisms
  • Greenarchitectural conspiracies
  • Purpleliterary / textual conspiracies

…please don’t imagine for a minute that there’s any real abstract / analytical structure to this – it’s just a bunch of stuff to bear in mind when picking up historical conspiracy mystery thrillers. Oh, or when constructing demented theories for well-known historical cipher mysteries (I’m sure you know the ones I mean). Enjoy! 🙂

German fans of Pater Castell and of the Voynich Manuscript have a treat in store coming up, with the episode due to be aired on 5th November 2009 at 20:15 called Das Voynich Manuskript (hopefully you can translate that from the German).

Here’s my rough translation of the programme blurb:-

16-year-old Ralf Hoffmann is found dead at Athanasius Kircher boarding school. Is it suicide? Father Castell, a former student himself, is asked in by his longtime friend Father Jonas Selby because a tragic event from the past seems to have exactly repeated itself. Marie Blank is surprised when she sees a youthful portrait of Father Castell on display and is even more surprised by what she finds at the scene. The two quickly decide to investigate the mystery together. Ralf Hoffmann was a misfit interested in encryption and anagrams – and especially in the undeciphered Voynich Manuscript. Crucially, Father Castells’ knowledge helps Marie in her investigation. It turns out that others in the in boarding school share Ralf’s interest in anagrams and encryption. A secret school club is active, even blackmailing a teacher – might Ralf’s death be linked to this “Voynich Club”?

In “The Lost Symbol”, Dan Brown takes his “symbologist” non-hero Robert Langdon on a high-speed twelve-hour tour around Washington. Broadly speaking, it’s like riding pillion on a jetbike driven by a demented architectural historian screaming conspiratorial travelogue descriptions into your ears via a radio-mike. But you probably guessed that already. 🙂

In fact, because you all thought your other questions exactly at the same time (which allegedly multiplies their power exponentially, asserts the book), here are the answers to them:-

  • Yes, it’s formulaic as hell (and po-faced throughout)
  • Yes, it’s a swift read (and for that I truly am grateful)
  • Yes, Dan Brown does flag his ‘big’ plot twist 300 pages too early
  • No, there are no sex scenes (which is probably just as well)
  • No, Robert Langdon is exactly as undeveloped as he was in the Da Vinci Code
  • Yes, the “Noetic Science” angle is just nonsense (and unlike most reviewers, I’ve read Lynne McTaggart’s “The Field”, which is what Dan Brown claimed as his inspiration)

The big reversal of expectations here is that, for a change, the Masons are not “The Conspiracy Behind All The Bad Stuff”. Actually, they’re the patsy good-guys, guarding some kind of mysterious symbolic treasure trove they don’t really understand, while All The Bad Stuff spirals out of control around them. In fact, because Dan Brown spends most of the novel stressing how darn nice the Masons are, and how they espouse a kind of universally-benign syncretist meta-religion (like apron-wearing Rastafari, De Trut’ In All Trut’s), his whole project comes over like a colossally misjudged Masonic recruiting handbook. Join us, we’re ancient and have obscure dippy rituals, but we Do Good Works, so that’s OK. Oh, and the Shriners are a joke, got that?

“So what’s your problem with that, Nick?”, I hear you saying. Well… even though Robert Langdon is notionally a “symbologist” (a made-up term that broadly matches iconographer / iconologist, if you don’t examine it too closely), he is still basically an academic historian, right? Hence, what I just don’t get from start to finish is how you can square his being a proper historian with his supposed near-obsessive interest in the kind of hallucinogenic pseudo-history clap-trap that Masonic historians have spent centuries punting out. For every one genuine story in the canon, there are a hundred fake ones: which is a lousy hit rate to be dealing with, even for a symbologist.

It’s true that the inconvenient truth behind the history of History is that it did start out as an exercise in adapting or falsifying marginal evidence to support otherwise untenable ideological claims… apologetics, by any other name. And it is also true that the various Washington monuments are indeed filled with a kind of cheerfully jaunty Man-As-Technological-God secular myth-making – mythopoiesis (if that’s not too scary a word). But as for Langdon buying in to any of it? Doesn’t work for me, sorry.

Actually, I think Langdon’s key attribute (his eidetic memory) is a ‘tell’ for what Brown uses him for – an historical memory machine, a robotic repository able to dredge up every wonky numerological / etymological / mythological fantasy ever devised, while remaining indifferent to all of them. Langdon doesn’t need to feel love, or loyalty, or lust: his mind is a blank canvas, doodled upon by X thousand years of cultural graffiti artists. Even though at one point Brown has a brief chuckle at the Wiki-esque shallow learning of modern students, Langdon himself functions as nothing more complex than a disbelieving walking Wikipedia of the occult and marginal… an erudite ‘conspirapedia’ to help fatten up the page count by a couple of hundred pages or so.

As for what Brown does with all those references… Cipher Mysteries readers should know by now that any time you see (say) John Dee, Francis Bacon, Isaac Newton, Robert Boyle, and (my personal favourite anti-subject) the Rosicrucians come up, you’re normally in the presence of someone fairly credulous – and sadly Brown (who namechecks these and dozens of other similar figures) never gives the impression of being alert enough to stay wise to the historical perils these present. Ghastly.

But what of “The Lost Symbol”‘s cryptography? Well… there’s a little bit of Masonic pigpen (though the fact that simple pigpens can be rotated seems to have been overlooked); the final “substitution” cipher is actually more steganographic than cryptographic; yet there’s some nice stuff on magic squares (no, not magic circles). And that’s about it. All the same, though fairly skimpy, this actually fills me with a deep sense of relief – relief that Brown didn’t try to be too clever-clever with the historical crypto side of things, for which (I’m sorry to say) he clearly doesn’t have much of a feel. Yes, the Dorabella Cipher, the Voynich Manuscript, and even the Kryptos sculpture get flagged: but these are not the main deal.

For me, the worst part of the whole book by a mile is the lack of any functional intimacy or closeness between any of the characters – even though I do appreciate that a lot of technical craft has gone into its plotting and overall construction, 500 pages is a long way to drive without any emotional attachments or transformation to help the reader along. This prolonged drabness caps even The Da Vinci Code’s sustained emotional superficiality: unfortunately… given how bad a film that first book got turned into, I truly shudder at the thought of how bad a film “The Lost Symbol” promises to be. Having done a fair bit of screenwriting myself, I can say that some story problems just can’t be fixed without major, major surgery… and this would seem to have plenty.

Apparently, Chapter 41 of “The Lost Symbol” namechecks a handful of cipher mysteries, which probably explains the Dorabella Cipher search query spike I noticed over the last few days. So, a minor mystery solved (for a change), I’d guess:-

“…after [Langdon’s] experiences in Rome and Paris, he’d received a steady flow of requests asking for his help deciphering some of history’s great unsolved codes—the Phaistos Disk, the Dorabella Cipher, the mysterious Voynich Manuscript.”

Of course, only a cryptological schmuck taking Elonka’s famous list of unsolved codes & ciphers at face value would put Dorabella right up there with the VMs – so that must have been added by the copy-editors, right?

PS: here’s a recent blog entry on a proposed solution to the Dorabella Cipher.

Here’s a Voynich Manuscript short story to sustain you through those long dark Northern hemisphere summer months (you know, that time when you have lots of things to do outside that don’t involve endlessly surfing the ‘net).

It’s called “I Am Darknesse” by Jez Thorpe, and is a fairly enjoyable stab at a drug-tastic horror-trip take on the VMs’ dark secrets. Sure, his characters are a bit cartoony and thin: but it’s nicely written, and (apart from a  “Frank Newbold” gaffe) manages to get the VMs side of things pretty much straight.

Just so you know, Jez is 36, married, lives near Cambridge, has taken at least one Creative Writing course, and recently found himself unemployed.

Words reaches Cipher Mysteries ears (via the Italian Wikipedia Voynich page) of a new Italian Voynich-themed novel called “Codex” by Roberto Salvidio. The story begins when an unknown person sends a manuscript to Mary Radclyffe’s family: from then on, she’s on the run until she can decode the Voynich Manuscript. There’s plenty of esotericism and a sprinkling of Leonardo in the mix – sounds like a bit of fun.

Naturally, I then contacted Roberto Salvidio via Facebook: he told me that he is currently looking for an English translator for “Codex”: if that sounds like something you might like to be involved in, please feel free to contact him.

Intriguingly, Roberto also mentioned that he put his own cipher challenge at the end of his book. Would you like to see it? Of course you would! So, here it is (with his permission):-

12 6 7 1 ­ 8 5 27 5 8 / 6 8 7 27 ( – 7 2 8 5 7 9 / 5 9 8 6 _ 4 33  4 3 23 7 ) 7 5 34 5 ­ 13 4 5 1 ( 7 1 7 4 5 _ 12 3 6 \ 3 15 8 9 5 4  ­ 16 ) 3 9 3 5 1 _ 8 9 4 3 1 7 5 ( 2 6 ­ 3 29 7 16 2  2 ­ 9 7 5 24 9 5 27 \ 4 7 5 8 _ 5 8 9 8 4 / 13 9 7 1 ) 4 5 6 7 8 5  12 \ 2 7 9 5 2 43 1 ­ 7 6 28 5 4 5 7 9 / 3 5 6 8 9 8 3 4 _ 3 21 3  26 3 \ 4 24 3 7 9 3 27 ( 5 9 7 13 2 8 2 7 6 _ 8 13 15 7 \ 8 5 4 ­  2 8 9 3 4 / 12 _ 4 9 3 23 ) 3 7 3 9 1 ­ 9 14 8 7 9 7 2 6 1 \ 8 16  8 6 3 1
2 7 44 9 ­ 5 7 28 5 – ( 3 8 4 4 9 _ 9 5 1 3 ) 3 26 7 9 ­ 9  9 8 13 1 5 4 \ 5 38 1 5 _ 5 89 8 4 ( 7 1 9 ­ 2 61 7 2 ) 4 9 3 6 7 _  6 89 49 8 36 8 9 5 ( 9 1 4 4 1 3 ­ 1 7 3 9 ) \ 81 ( 56 7 84 3 1 /  4 77 6 1 7 19 / 3 8 65 84 _ 76 94 9 3 2 ) 6 8 94 ­ 5 87 9  ­ 2 7 / 1 7 58 28 4 / 7 3 ­ 8 13 9 ­ 1 7 9 3 / 5 7  5 7 1 4 ( 6 2 ­ 51 7 3 ) 3 15 9 3 \ 4 91 7 2 ­ 9 8 75 8 4 / 3  3 65 8 _ 6 9 44 3 7 \ 5 4 3 15 ­ 32 6 7 9 3 / 1 5 49 8 ( 5 4 19 9 8  5 ­ 19 / 6 8 9 _ 8 5 3 44 7 ) 6 8 49 5 1 ­ 6 7 18 18 ­ 7 2 88 6 ­ 4 2 7 9 6 3 ( 9 8 5 8 4 / 4 6 1 7 9 ) 8 4 7  7 23 \ 8 7 7 1 6 – / 7 13 _ 2 45 8 7 4 \ 7 6 18 ­ 4 8 7 9 16  ­ 5 8 9 4 3 1 ( _ 5 8 5 9 3 1 _ 5 8 33 6 5 8 4 4 _ 4 9 6 7 6 32 \  7 4 24 7 8 9 ­ 23 9 16 ) 8 3 7 2 _ 7 5 8 29 8 1 3 4 _ 27 \ 13 4 5  1 ( 2 7 8 66 _ 4 9 6 7 6 3 2 )
– 2 6 7 14 9 ­ 9 16 8 5 1 7 5 4 ­ 5 18 8 7 8 9 ( 7 14 9 5  5 / 4 8 66 7 5 7 9 / 4 8 2 7 1 78 _ 4 8 7 \ 4 91 7 2 ­ 66 23 7 13 9  ) 15 3 9 _ 3 28 9 8 3 ( 4 23 6 9 7 2 ( 7 21 8 7 _ 23 24 9 3 ) 8 7 6 ­ 8 9 15 8 14 ­ 3 2 8 5 7 5 4 ) 1 8 \ 2 17 6 2 ­ 1 €“ 1 9 6 / 11 7 5 8 28 4 _ 8 5 3 4 7 2 _ 12 ( 2 4 6 7 8 9 6 2 ­ 1 7 3  19 3 / 4 9 5 8 7 12 _ 4 9 3 2 6 7 6 3 _ 5 9 8 82 1 72 9 4 ( ­ 9 8  7 5 48 ) 4 7 _ 6 3 9 8 6 5 _ 66 9 5 1 8 13 \ ( 6 5 7 6 8 3 _ 6 5 9 4 9 3 6 \ 5 16 25 ­ 4 8 7 6 9 ) 7 4 23 9 6 9 4 _ 8 27 6 _ 3 18 6 3 \ ( 12  7 8 5 8 5 9 4 _ 4 3 23 7 ) 5 7 18 66 9 14 8 ­ 9 1 7 ­ 3 7  7 6 2 7 9 / 5 6 34 43 8 9 _ 66 7 7 9 4 3 6 9 7 3 _ 5 8 4 6 3 4 6 5 ( 3 15 8 9 5 4 ( 1 7 2 18 7 _ 2 3 17 8 5 4 ) 2 3 8 6 ­ 5 8 9 8 7 \ 7 8 5 9  44 27 ) 3 2 6 7 3 9 7 ­ 4 7 26 11 ­ 6 79 / 9 8 3 4 9 8 _ 9  9 3 5 1 \ 9 8 5 4 5 13 ­ 2 ­1 ( 8 9 3 4 8 _ 3 9 24 9 23 ) 9  9 7 4 19 / 5 6 9 8 6 59 _ 13 15 9 \ 3 6 4 5 2 7 9 ­ 3 2 6 7 9  ­ 5 6 3 15 ­ 9 4 8 6 9 / 5 6 8 6 8 9 _ 5 8 11 2 47 \ 9 8 5  5 4 4 5 13 \ 12 36 _ ( 7 2 5 9 4 5 ­ 28 7 5 ) 15 _ 8 27 12 8 4 _ 9 3  6 4 27 6 \ 4 7 26 9 4 ­ 1 7 6 14 7 19 / 3 6 8 5 6 _ 4 9 5 6 8 7 12  5 8 _ 4 8 9 5 55 6 3 ( 4 13 5 4 1 \ 9 5 19 3 11 _ 7 8 6 2 7 _ 6 9 7 4 2 3 9 4 ) 7 5 34 5 ­ 4 5 13 5 4 3 \ 5 8 6 _ 3 6 8 6 7 5 ( 3 1 8 9 4 3  15 \ 3 5 3 8 1 5 ) 2 3 ­ 4 1 9 5 8 89 5 4 ( 6 3 4 9 5 _ 3 2 6 7 2  3 6 \ 14 15 3 4 \ 5 8 \ 4 7 27 14 3 9 ­ 7 1 9 4 5 8 8 2 6 ) 3 2 9  6 4 9 7 6 _ 9 8 9 4 1 7 5 / 7 25 8 7 / 41 7 5 4 _ 4 5 12 8 7 8 11 \ 21 7 2 3 9 ­ 7 5 16 9 6 2 8 4 / 6 8 7 27 _ 4 2 \ 6 7 19 3 ( 5 9 8 8 6 9 5  6 _ 6 9 3 4 9 ) 6 6 11 7 2 ­ 2 7 9 16 14 \ 5 9 3 1 5 \
\ \ 5 13 5 4 3 ( 15 9 8 4 / 3 7 5 8 8 2 3 5 4 ­ 6 7 9 3 1 6 2 \ 4  44 9 5 8 7 12 ) 4 8 6 5 7 9 5 7 6 / 12 8 3 1 9 5 _ 6 3 7 6 9 4 3 \ 6 7 4 16 2 ­ 6 9 6 7 4 5 8 4 / 8 34 8 ( 3 18 8 9 3 ­ 7 8 9 9 5 8  8 4 5 5 7 / 8 27 6 88 4 _ 7 21 8 7 4 6 8 15 \ 9 13 14 1 ­ 7 13 9 7 )  9 3 6 5 4 _ 9 3 8 8 9 4 3 / 6 4 48 / 1 7 2 8 4 7 _ 3 6 3 7 2 \ 5 1 ( 5 13 4 / ) 4 23 9 4 _ ( 4 18 7 6 1 ­ 23 4 5 8 ­ 6 7 ­ 3 €“ 3 7 5 4 35 7 )
\ 7 3 6 72 3 9 4 ­ 7 12 6 3 29 6 / 6 8 ( 55 19 8 4 18 ­ 16 16 ) 9 55 31 _ 5 7 1 3 4 5 6 ( 5 27 ­ 3 5 7 11 / 28 3 12 3 _ 3 6 ) 9  3 7 27 ­ 27 3 4 9 17 ( 3 8 _ 9 2 3 9 4 2 _ 5 8 4 8 9 98 / 5 8 7 25  ) 11 8 _ 5 5 7 2 13 4 9 8 / 4 8 7 6 9 6 / 4 9 5 6 9 21 7 6
( 7 8 6 16 7 ­ 2 7 3 88 4 5 7 ) 9 3 \ 4 9 22 13 ( 7 8 5 4 27 1 _ 7  24 23 4 8 ) 16 7 8 5 ­ 3 4 \ 3 5 7 31 8 5 _ 6 8 9 _ 9 4 37 6 _ 6 5  8 9 ( 4 5 27 9 4 7 ­ 5 8 2 6 4 9 1 ) 7 8 4 5 7 _ 7 5 8 4 1 ( 1 5 2  7 66 16 8 7 ­ 6 27 19 37 ) 3 9 4 23 27 6 _ 27 5 8 14 9 _ 69 4 3 \  9 13 14 ­ 6 7 9 7 3 26 / 3 6 _ 3 18 6 13 \ 9 8 13 15 4 ( 785 _ 4 9  5 23 15 8 6 7 ) 4 8 5 6 7 5 9 8 ­ 8 76 16 25 ( 7 11 _ 5 1 8 6 7 8  _ 6 3 6 5 6 7 _ 4 23 9 ) 3 9 3 7 19 ­ 3 15 8 8 9 3 ­ 6 4 7  7 9 7 16 \ 9 8 44 5 8 13 ( 9 5 8 7 2 _ 3 9 ) 39 1 7 3 9
– 8 7 44 2 ( 5 18 9 4 5 _ 8 5 31 ) 4 8 7 5 4 / 4 5 ( 5 8 1 ­ 3 7 9  1 ­ 33 1 8 9 ­ 27 1 7 1 ) 44 5 9 3 \ 15 14 1 9 18 9  9 ­ 6 28 7 4 3 9 / 6 3 4 6 5 _ 4 7 2 1 8 5 \ 5 8 13 4 9 ­ 15 15 ( 7 14 / 44 8 7 6 9 ) 18 5 1 _ 8 9 5 6 8 ( 3 4 15 ­ 4 3 7 5 4 ) 3  4 2 5 15 3 _ 5 8 9 8 4 8 ( 16 7 8 7 2 5 3 9 ­ 9 8 5 4 5 7 5 8 / 66  88 7 2 ( 5 8 9 4 31 ­ 6 8 4 3 9 17 ) 3 4 5 8 13 7 ) 9 8 4 5 7  ­ 27 19 6 44 9 ­ 48 7 6 19 1 / 8 4 7 2 8 21 _ 12 6 3 12 3  3 \ 3 4 2 7 9 4 ( 2 7 88 6 _ 4 5 8 67 1 23 ) 8 5 7 / 7 28 _ 7 28 5 4 21 \ 6 3 7 9 6 7 2 ­ 6 17 2 3 7 9 / 11 7 6 3 8 2 ( 9 7 1 44 5 2 4  ­ 11 77 9 7 6 ) 4 5 6 7 8 7 3 5 \ 11 3 9 8 1 ­ 7 4 9 4 6 /  / 5 9 _ 3 5 13 7 18 \ 2 7 12 ­ 3 5 1 7 3 / 6 7 2 8 6 _ 8 5 4 2 3 7 \  8 5 4 19 8 ­ 8 7 4 3 9 28 6 ­ 9 88 5 14 ( 2 7 1 _ 5 7 4 2  2 \ 9 31 8 9 ­ 3 77 9 11 ) 4 9 6 7 6 3 2 _ 3 8 3 44 3 66 ( 3 14 5 \  4 9 3 24 \ 13 2 4 3 2 7 9 ­ 19 7 3 ) 4 5 8 7 24 \ 6 2 7 12 ( 8 66  _ 8 5 9 31 \ 8 5 9 44 3 1 ­ 8 4 ) 5 8 6 7 _ 4 9 ( 5 88 9 3 11
­ 7 16 4 7 6 9 / 3 6 8 55 6 _ 9 33 2 4 9 6 77 \ 88 7 12 5 9 8 4 5  ­ 88 6 8 7 9 34 / 32 88 9 8 3 _ 6 7 2 4 9 5 18 66).
Doubtless if you do crack it, he’ll put a trickier one in the English edition. Enjoy! 🙂

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! 🙂

The film Stigmata (1999) presses a whole lot of my buttons. At the time it was originally released, I had been researching my own novel built on broadly the same premise:  a globetrotting protagonist hunting down miraculous statues and people claiming to have duplicates of Christ’s stigmata (though that’s basically where the similarities ended). And so I was fascinated to see how the film-makers went about bringing this to life.

stigmata-small

Even though the story and script (by Tom Lazarus, the not-quite-so-famous brother of Paul Lazarus III, director of Westworld & Capricorn One) didn’t itself think far out of the [confession] box, something magical happened in the art direction and cinematography: the use of colour, focus, light, time, sets, costume, and even make-up were all exemplary. For me, watching Stigmata was at times like being artfully collaged to death, machine-gunned with photographically (and geometrically) perfect moments: a tick on a piece of paper, Patricia Arquette lying underwater, a blood drop in a pool, blood being drawn, a blood centrifuge – all elegant, spare, swift, and focused. I highly recommend the film to anyone purely to enjoy its five-star visual treatment.

As a writer myself, however, I think the film’s problems stemmed right from the initial plotting – basically, having a priest-scientist (Gabriel Byrne) investigate the stigmata being suffered by a young atheist-hairdresser (Patricia Arquette) beneath a Vatican conspiracy managed by his control-freak boss (Jonathan Pryce) never worked as a setup for me… all too staged / stagey. The walls between the characters stopped the emotional side of the film from developing in a satisfactory way: I also didn’t much like the St Francis of Assisi (arguably the most famous stigmatic?) resolution, but you’d have to see that for yourself to see if you agree or disagree.

Watching this film a decade on, it feels a bit dated: could it be that the Da Vinci Code (and its flood of [make]-me-[rich]-too ripoffs) made the whole notion of devastating-secrets-that-would-topple-the-Church-were-they-to-be-made-public seem lightweight? And I kept wondering: was Holy Blood Holy Grail ultimately to blame?

Regardless, the film set me thinking about the kind of ur-story towards which Tom Lazarus was reaching, with his ancient Aramaic codex (based loosely on the Coptic Nag Hammadi Gospel of Thomas) triggering high-stakes factional infighting within the Vatican, with the supernatural subtext that The Truth Will Out (even beyond death).

Yes, it’s undoubtedly a cliché: and the overarching literary / cultural template at play is pretty easy to sketch out:-

  • concealed message left by an ancient (implicitly perfected) person, that requires…
  • deciphering and translation by (extremely proficient) domain experts, to expose…
  • long-held lies behind contemporary doctrinal messages, which are supported by…
  • powerful present-day conspiracies trying to maintain the (morally untenable) status quo.

Historically, does this sound familiar? After all, it is not vastly different to the entire back-story of the Renaissance (particularly during the Quattrocento). There, you had people scouring the known world for lost or concealed messages left by the Greco-Roman civilizations, to be deciphered by humanist scholars for their presumed wise (and frequently contrarian) messages.

And so I would argue that HBHG-style searches for enciphered traces of a ‘real Jesus’ are arguably little more than back-projecting our present-day cultural insecurities onto early Renaissance cultural insecurities – their search for lost classical wisdom was no different. One irony, though, is that things like the Turin Shroud (which I blogged about here and here) offer us glimpses of an entirely parallel kind of lost Christian history, far beyond the conceptual reaches of most contemporary conspiracy theorists.

What I personally fail to understand, though, is how this whole wonky ‘enciphered anti-doctrinal message’ meme has managed to endure the centuries as a literary conceit. Even my new best friend François Rabelais satirized this none too subtly in Chapter 1 of Book 1 of his alcohol-obsessed Gargantua and Pantagruel:

The diggers struck with their picks against a great tomb of bronze… Opening the tomb at a certain place which was sealed on the top with the sign of a goblet, around which was inscribed in Etruscan letters, HIC BIBITUR, they found nine flagons, arranged after the fashion of skittles in Gascony; and beneath the middle flagon lay a great, greasy, grand, pretty, little, mouldy book, which smelt more strongly but not more sweetly than roses.

Rabelais goes on to offer (“with much help from my spectacles“) his translation of the “Corrective Conundrums” found in that stinky little tome, all of them nonsensical and presumably meant to resemble some kind of vaguely prophetic quatrain-based literary genre popular in France at the time (Nostradamus fans, take note):-

The year will come, marked with a Turkish bow,
And spindles five and the bottoms of three pots, […]
This age of hocus-pocus shall go on
Until the time when Mars is put in chains

So… even though this concealed-text plot pattern was a hoary old chestnut by 1530, can anyone really explain to me how come it continues to drive a low-brow literary industry nearly five centuries later? For me, the big mystery here centres on the apparent lack of cultural progress: does Dan Brown’s success actually prove that we have learnt practically nothing in half a millennium?

Consider that your cipher mystery for the day… 🙂

Back in 2003, the (Paleo) Ideofact blogger (William Allison) reminisced about having once jointly compiled a list of meaningless dissertation titles, such as “The Semiotics of (En)Gendered Archetypes: A Contextual Deconstruction of the Voynich Manuscript.”  His pleasantly-meandering blog train of thought quickly sped on to the possibility of Voynich fiction, continuing…

Later, I thought of writing a few detective stories centered on a career grad student who promised for his dissertation a translation and analysis of the manuscript. Never got around to it, though — maybe in my retirement.

Now there’s a challenge, I thought… so, six years on, here’s my version of how Chapter 1 might go…
[Here are links to chapters 1, 2, 3, 4, and 5. Enjoy!]

* * * * * * *

The Voynich Translation

Chapter 1 – “Lesser Fleas”

7.07pm: Mrs Kurtz tapped Graydon Warnes Harvitz II sharply on the shoulder, waking him from his open-eyed slumber. “Stop sucking the end of your pencil so loudly“, she wheeshed through gritted teeth, “it’s disrespectful”. Vaguely nodding in approval, Graydon looked around at the empty chairs beached by the day’s ebbing tide of students – disrespectful to whom, he wondered? Perhaps she-of-the-library could see people that he couldn’t, he mused, possibly the ghosts of dead Yale grads, haunted by their own unfinished dissertations – a virtual “Skull and Bones” society? And look, over in the far corner, might that be dear old Montgomery Burns himself? Yesssss.

As the fug of dead presidents began to fade from his mind’s eye, Graydon’s own awful situation lurched back into sharp focus – of how to decipher the murderously intractable Voynich Manuscript for his PhD. All of a sudden, the purgatory endured by the library’s wraiths, endlessly waiting for long-stolen books to be returned to the stacks, seemed painfully close at hand. His boastful prediction (that this would be easy-peasy for someone as bright as him) had come back to haunt him.

All the same, his whole adventure had started brightly, zipping through all the literature on “The World’s Most Mysterious Manuscript” (so ‘P. T. Barnum’, wouldn’t you say, and isn’t there a Voynich Theorist born every minute?) Yet within a month, he had been reduced to trawling all the works of fiction appropriating the manuscript (typically as a tedious millennia-crossing conspiratorial MacGuffin). Then finally, not unlike an air crash survivor having eaten the seat-covers and the corpses of the other passengers before moving on to the dreaded airline food, Graydon had slurped his way messily through all the Voynich webpages. And the less said about that low-roughage diet the better.

Once the inevitable research euphoria had subsided, he had slid downwards into a bit of a decline – for if you don’t know what your subject is about, how can you read any secondary literature? He felt less like a Yale polymath than an intellectual vacuum cleaner, sucking up all the marginal detritus left over by other scholars, trying in vain to rearrange the collected dust and mites into patterns that would endure longer than a single big sneeze. And so the years had passed – not quite a decade, but far too long by any reasonable measure.

Eating and shaving less (but drinking and swearing more), Graydon began in time to resemble his fearsome alcoholic grandfather Mani Harvitz, the semi-legendary Allied code-breaker who as a young man had worked with John Manly and Edith Rickert breaking German diplomatic codes in World War I.

Once, he had mused whether his own grandfather might have looked at what Wilfrid Voynich had called (rather optimistically, it has to be said) “The Roger Bacon Manuscript”? Graydon had tirelessly gone through all that group’s archived correspondence, finding only that the brilliant young Mani, newly emigrated from Europe, had something of a huge schoolboy crush on the no-less-stellar Miss Rickert.

But this was merely symptomatic of the Mandelbrot Research Maze Of Doom he was stuck in, where each dead-end you go down sprouts off an infinite number of smaller dead-ends for you to recursively waste your time on. He found himself humming Augustus De Morgan’s rhyme “Great fleas have little fleas upon their backs to bite ’em,: And little fleas have lesser fleas, and so ad infinitum‘. Graydon wished he didn’t know that this was in turn based on a rhyme by Jonathan Swift: his mind had become crammed with a near-infinite constellation of similarly useless fact-bites, all held in interplanetary hibernation, eternally waiting to arrive at an unseen off-world colony.

And now he had just ten short days to prepare a presentation for his supervisor about all the dramatic progress he had claimed to have made over the past six months, when all he actually had to show for his efforts was a pencil dangling from his unkempt, beardy mouth. Perhaps… perhaps that was his subconscious’ way of telling him to take up smoking again?

Lesser fleas, he thought to himself as he removed the pencil and took a closer look. Because he preferred harder pencils for note-taking (laptops gave him back-ache), he had a “2H” rather than an “HB”. The Pencil Code (all the way from 9H to 9B via HB ) was over a hundred years old, yet still sounds like a legal-ese sequel to The Da Vinci Code. More linked trivia tumbled out of his tangled skein of memory: pencils themselves were made of graphite, not lead (that was a 400-year-old misunderstanding, you don’t actually have “lead in your pencil”). But before the pencil came along, people had often used red lead to mark things…

That was it: the red lead drawings on page f55r of the Voynich Manuscript. The only other remaining construction marks (which had generally been so assiduously removed by the author, it would appear) were the horizontal lines drawn on f67r2, under a kind of odd-looking circular calendar with a starfish design in the centre: these lead lines were definitely symptomatic of something… but of what?

f55r-red-lead

Yes, these were the real deal – they were what his subconscious mind was telling him to examine right now, what he needed to be thinking about for his looming presentation. But what did they mean – and how on earth might such an incidental detail possibly help him translate the Voynich Manuscript?

Graydon’s mind raced through his Wikipedia-esque web of details – “red lead” A.K.A. lead tetroxide, better known to classicists as ‘minium’, from which we get ‘miniature’, a medieval style of small picture with lots of red finish. And what was that paper he’d never quite got round to reading? Yes, J. J. G. Alexander’s (1983) “Preliminary Marginal Drawings in Medieval Manuscripts“: that, and the ten thousand other cul-de-sacs to park your car in for a day he’d one day hope to read.

But the important point about f55r was that it was plainly unfinished. If red lead had been used to sketch out the shapes, then this was probably one of the last pages added: yet why would the author, so meticulous and rational in so many other ways, have left this one page in this state? Perhaps he/she had died (or had just given up, as Graydon had wanted to do so many times) before completing it?

Hold on, he thought – given the first page and the last page, perhaps we can use the changes in handwriting and in the cipher system between them to try to reorder the pages inbetween, to reconstruct the document’s construction order, and its flow of meaning… For the first time in perhaps even a year, his mind felt on fire, alive with the possibilities: he felt he was glimpsing something extraordinary, subtle and deep…

And that was when he saw Emm for the very first time, as she walked over to his desk to kick him out of the Beinecke Rare Book and Manuscript Library for the night. She was extraordinary, like a long-haired Halle Berry but with piercing, intense eyes, eyes that could slice watermelons.

“That’s odd”, he said, “I didn’t know supermodels worked in libraries”.

“That’s odd”, she deadpanned, parroting his tone, “I didn’t know they let bears handle manuscripts.”

“Oh, the beard thing? Yeah, my barber died and I never found a replacement.”

“Woah, the ’90s must have been a really tough decade for you. Anyhoo, it’s time to kick your bear ass out of the library.”

Graydon blinked. He didn’t know if this conversation was going really well or really badly. “Hi, I’m Graydon Harvitz”, he said, “I’m…”

“…’the eternal Voynich grad’, Mrs Kurtz told me already. Is it true they’re hoping to get rid of you next week?”

“Well, they’re certainly going to try – perhaps it’ll be third time lucky.”

She paused, looking him up and down in the way a butcher would look at a freshly-hung carcass. “That would be a shame – Mrs Kurtz would miss you”, she said with half a smile, turning to walk away. “Though not your pencil sucking.”

“And your name is…?”

“Call me Emm – I’m the new cleaner.”

She was a cleaner? Errm… what? “Do cleaners like to eat lunch?”

“We’re always starving. Tomorrow should be good, because they’ll be kicking you out at noon – a French film crew will have your precious manuscript for the afternoon.”

A French film crew?

* * * * * * * *

Update: the story continues with Chapter 2 (“Game On”)