Well, we now have a name for Richard Douglas Weber’s forthcoming Voynich novel: “The Voynich Prophecy”. His author page on the Publisher’s Marketplace site seems to describe his novel as a euro thriller with a kind of neo-Nazi alchemy twist: he’s also posted up a four-minute video montage on YouTube for the book, where it is described as an “occult conspiracy thriller”.

Curiously, Weber’s whole media approach to novel promotion / marketing seems quite opposite to the kind of thing novelists have been doing. I went to a lecture in the Borders in Kingston a few days ago given by the very pragmatic Alison Baverstock (soft-promoting her actually very good book “Marketing Your Book: an author’s guide): sadly, the best current advice she had for authors seemed to be to try to make press out of your personal circumstances, the examples given being (a) losing half a limb (b) sleeping with a celebrity, or (c) having police take over your house during an armed incident.

As for me, I feel caught in the no-man’s land between these two extrema: while I have no huge faith in the traditional book-selling industry’s agenda and methodologies in the age of the Internet and digital print, I’m still just that bit too old-fashioned to montage loads of borrowed images on YouTube. But I have an MBA: and MBAs are forever looking for a “middle way” that finesses the best of both worlds, rather like intellectual historians steering a path between unreliable accounts. Hopefully I’ll find my own answers in the end…

In a recent post, I mentioned the idea that the d’Agapeyeff cipher might involve a diagonal transposition on the 14×14 grid cryptologists suspect it may well have been based upon. To test this out a bit, I wrote a short C++ program (which I’ve uploaded here) which turns the number pairs into characters (for convenience) and prints out all four diagonal transpositions (forward, reverse, forward boustrophedon, reverse boustrophedon) starting from each of the four corners.

Because the number of doubled and tripled letters is a simple measure of whether a transposition is likely to be plausible or not, I counted those up as well. The next metric to calculate would be the unique letter adjacency count (i.e. how many unique pairs of letters appear for each ordering)… but that’s a task for another day.

Interestingly, transpositions starting from the top-left corner (and their reverse-order reflections in the bottom-right corner) have no triple-letters at all, as well as far fewer double-letters (9/10/11 compared to 13/14/15) than transpositions that start from the top-right. Though intriguing, I don’t know if this is statistically significant: I haven’t determined what the predicted doublet and triplet count would be for a totally randomised transposition, perhaps calculating that too that would be a good idea.

For any passing cryptologers, here is the ASCII version of the d’Agapeyeff cipher (as output by the C++ code) when arranged as a 14×14 grid (in numerical order but without J), followed by the 16 diagonal transpositions with their associated double & triple counts. My guess is that the top left corner reverse diagonal transposition (the second one down, starting “KBDMIDPIK…”) is most likely to be the correct transposition, but we shall see (hopefully!) if this is true…

K B M P Q B Q D L D Q I P O
D I I M O N L C L L I I M B
D K N M O Q K I E N K K K S
C E E L C L K P K K D B M R
P I C M K I N L E L O P D P
D P P C M G B N B L L G L D
C K M L D N C M P L C C C Y
I L Q Q O C P O E D P E B T
B B P Q P Q I Q G K D E K F
E N B D I L M O B M D Q L S
E B D O O Q N P I Q L E G I
N N P M N D B G B E B N K R
G C M M G G N M P O K M L N
G O B M N K L D K I P L B R

*** Top left corner ***
Forward order…
KDBDIMCKIPPENMQDIEMOBCPCLONQIKPMCQLDBLMCKLKCLEBQLMIKILDE
NPQDGNPELQNBBQONBLKNIIGNDDPCCNEKKIPGCPOIQPMBLDKMOOMMOLIO
PLOBKBBMNQMQELLPMSMGDNOGDCGDRNGBPBKPCLPKNGIMDECDLMBQDEBY
DPELQKTKOBELFIKNGSPMKILLRBNR
–> number of doubles = 11, number of triples = 0
Reverse order…
KBDMIDPIKCQMNEPBOMEIDQNOLCPCDLQCMPKILCKLKCMLBDLIKIMLQBEQ
LEPNGDQPNEIINKLBNOQBBNPIKKENCCPDDNGOMKDLBMPQIOPCGBKBOLPO
ILOMMOSMPLLEQMQNMBRDGCDGONDGMPLCPKBPBGNDCEDMIGNKYBEDQBML
TKQLEPDFLEBOKSGNKIIKMPRLLNBR
–> number of doubles = 9, number of triples = 0
Simple boustrophedon (forward then reverse)…
KBDDIMPIKCPENMQBOMEIDCPCLONQDLQCMPKIBLMCKLKCLDLIKIMLQBEE
NPQDGNPELQIINKLBNOQBBNGNDDPCCNEKKIPOMKDLBMPQIOPCGOMMOLIO
PLOBKBSMPLLEQMQNMBMGDNOGDCGDRPLCPKBPBGNKNGIMDECDYBEDQBML
DPELQKTFLEBOKIKNGSIKMPLLRNBR
–> number of doubles = 10, number of triples = 0
Reverse boustrophedon (reverse then forward)…
KDBMIDCKIPQMNEPDIEMOBQNOLCPCIKPMCQLDLCKLKCMLBEBQLMIKILDQ
LEPNGDQPNENBBQONBLKNIIPIKKENCCPDDNGGCPOIQPMBLDKMOBKBOLPO
ILOMMOBMNQMQELLPMSRDGCDGONDGMNGBPBKPCLPDCEDMIGNKLMBQDEBY
TKQLEPDKOBELFSGNKIPMKIRLLBNR
–> number of doubles = 9, number of triples = 0


*** Top right corner ***
Forward order…
OPBIMSQIKRDIKMPLLKBDDDLNDPLYQCEKOGCTBLIKLLCBFQNKPELCEKSP
OQKLBLPELIMMOLNNPDDQGRBIMCIBMEKDEKNKINLKGCOGMLNLRDKEMMNP
QBQBMBDECCDCIOIEKLCIPLOQMPBOPPPMQPLNGPIDKQQIQBMKCLPDODND
IBBONGLBNDMGKEBPMNENMMNCBGOG
–> number of doubles = 14, number of triples = 2
Reverse order…
OBPSMIRKIQPMKIDDDBKLLYLPDNLDTCGOKECQFBCLLKILBSKECLEPKNQI
LEPLBLKQOPRGQDDPNNLOMMNKEDKEMBICMIBRLNLMGOCGKLNIKBMBQBQP
NMMEKDLKEIOICDCCEDPOBPMQOLPICIPGNLPQMPPKMBQIQQKDDNDODPLC
LGNOBBIKGMDNBNMPBEMMNEBCNOGG
–> number of doubles = 15, number of triples = 1
Simple boustrophedon (forward then reverse)…
OBPIMSRKIQDIKMPDDBKLLDLNDPLYTCGOKECQBLIKLLCBFSKECLEPKNQP
OQKLBLPELIRGQDDPNNLOMMBIMCIBMEKDEKNRLNLMGOCGKLNIKDKEMMNP
QBQBMBLKEIOICDCCEDCIPLOQMPBOPIPGNLPQMPPDKQQIQBMKDNDODPLC
IBBONGLKGMDNBEBPMNMMNENCBOGG
–> number of doubles = 13, number of triples = 0
Reverse boustrophedon (reverse then forward)…
OPBSMIQIKRPMKIDLLKBDDYLPDNLDQCEKOGCTFBCLLKILBQNKPELCEKSI
LEPLBLKQOPMMOLNNPDDQGRNKEDKEMBICMIBKINLKGCOGMLNLRBMBQBQP
NMMEKDDECCDCIOIEKLPOBPMQOLPICPPMQPLNGPIKMBQIQQKDCLPDODND
LGNOBBIBNDMGKNMPBEENMMBCNGOG
–> number of doubles = 14, number of triples = 0


*** Bottom right corner ***
Forward order…
RNBRLLIKMPSGNKIFLEBOKTKQLEPDYBEDQBMLDCEDMIGNKPLCPKBPBGNR
DGCDGONDGMSMPLLEQMQNMBBKBOLPOILOMMOOMKDLBMPQIOPCGPIKKENC
CPDDNGIINKLBNOQBBNQLEPNGDQPNEDLIKIMLQBELCKLKCMLBDLQCMPKI
QNOLCPCBOMEIDQMNEPPIKCMIDBDK
–> number of doubles = 11, number of triples = 0
Reverse order…
RBNLLRPMKIIKNGSKOBELFDPELQKTLMBQDEBYKNGIMDECDNGBPBKPCLPM
GDNOGDCGDRBMNQMQELLPMSOMMOLIOPLOBKBGCPOIQPMBLDKMOGNDDPCC
NEKKIPNBBQONBLKNIIENPQDGNPELQEBQLMIKILDBLMCKLKCLIKPMCQLD
CPCLONQDIEMOBPENMQCKIPDIMDBK
–> number of doubles = 9, number of triples = 0
Simple boustrophedon (forward then reverse)…
RBNRLLPMKISGNKIKOBELFTKQLEPDLMBQDEBYDCEDMIGNKNGBPBKPCLPR
DGCDGONDGMBMNQMQELLPMSBKBOLPOILOMMOGCPOIQPMBLDKMOPIKKENC
CPDDNGNBBQONBLKNIIQLEPNGDQPNEEBQLMIKILDLCKLKCMLBIKPMCQLD
QNOLCPCDIEMOBQMNEPCKIPMIDDBK
–> number of doubles = 10, number of triples = 0
Reverse boustrophedon (reverse then forward)…
RNBLLRIKMPIKNGSFLEBOKDPELQKTYBEDQBMLKNGIMDECDPLCPKBPBGNM
GDNOGDCGDRSMPLLEQMQNMBOMMOLIOPLOBKBOMKDLBMPQIOPCGGNDDPCC
NEKKIPIINKLBNOQBBNENPQDGNPELQDLIKIMLQBEBLMCKLKCLDLQCMPKI
CPCLONQBOMEIDPENMQPIKCDIMBDK
–> number of doubles = 9, number of triples = 0*** Bottom left corner ***
Forward order…
GOGBCNMMNENMPBEKGMDNBLGNOBBIDNDODPLCKMBQIQQKDIPGNLPQMPPP
OBPMQOLPICLKEIOICDCCEDBMBQBQPNMMEKDRLNLMGOCGKLNIKNKEDKEM
BICMIBRGQDDPNNLOMMILEPLBLKQOPSKECLEPKNQFBCLLKILBTCGOKECQ
YLPDNLDDDBKLLPMKIDRKIQSMIBPO
–> number of doubles = 14, number of triples = 2
Reverse order…
GGONCBENMMEBPMNBNDMGKIBBONGLCLPDODNDDKQQIQBMKPPMQPLNGPIC
IPLOQMPBOPDECCDCIOIEKLDKEMMNPQBQBMBKINLKGCOGMLNLRBIMCIBM
EKDEKNMMOLNNPDDQGRPOQKLBLPELIQNKPELCEKSBLIKLLCBFQCEKOGCT
DLNDPLYLLKBDDDIKMPQIKRIMSPBO
–> number of doubles = 15, number of triples = 1
Simple boustrophedon (forward then reverse)…
GGOBCNENMMNMPBEBNDMGKLGNOBBICLPDODNDKMBQIQQKDPPMQPLNGPIP
OBPMQOLPICDECCDCIOIEKLBMBQBQPNMMEKDKINLKGCOGMLNLRNKEDKEM
BICMIBMMOLNNPDDQGRILEPLBLKQOPQNKPELCEKSFBCLLKILBQCEKOGCT
YLPDNLDLLKBDDPMKIDQIKRSMIPBO
–> number of doubles = 13, number of triples = 0
Reverse boustrophedon (reverse then forward)…
GOGNCBMMNEEBPMNKGMDNBIBBONGLDNDODPLCDKQQIQBMKIPGNLPQMPPC
IPLOQMPBOPLKEIOICDCCEDDKEMMNPQBQBMBRLNLMGOCGKLNIKBIMCIBM
EKDEKNRGQDDPNNLOMMPOQKLBLPELISKECLEPKNQBLIKLLCBFTCGOKECQ
DLNDPLYDDBKLLDIKMPRKIQIMSBPO
–> number of doubles = 14, number of triples = 0
 

 

 

I’ve been meaning to put this Big Fat List of English-language Voynich-related novels together for a while: I’ve appended links to the most significant review / blog mentions I’ve made about them. I’ll update this every once in a while, so please feel free to drop me a line if you have or know of a Voynich-themed book you think should be mentioned or reviewed.

English-language Voynich novels in print:

“Return of the Lloigor” by Colin Wilson in Tales of the Cthulhu Mythos (1969) [mentioned here]
The Face in the Frost John Anthony Bellairs (1969) [mentioned here]
Indiana Jones and the Philosopher’s Stone Max McCoy (1994) [mentioned here]
The Grinning Ghost Brad Strickland (1999) [mentioned here]
Enoch’s Portal A.W.Hill (2001) [my review]
Popco Scarlett Thomas (2004) [my review]
The Magician’s Death Paul C. Doherty (2004) [mentioned here]
Shattered Icon (2004) / Splintered Icon (2006) Bill Napier [mentioned here]
Codex Lev Grossman (2005) [mentioned here]
Vellum Matt Rubinstein (2007) [my review]

Forthcoming Voynich novels:

“The Castle of the Stars” Enrique Joven [mentioned here and here]
The Source” Michael Cordy [mentioned here]
“In Tongues of the Dead” Brad Kelln [mentioned here]

Voynich novels in development (working titles where known):

Richard D. Weber [mentioned here and here]
Bill Walsh [mentioned here]
William Michael Campbell (“The Voynich Solution”) [mentioned here and here]
Andrea Peters (“I’m Sorry… Love Anne”) [mentioned here]

Back in the early days of this blog (i.e. last Autumn), Voynich News ranked at about 150th if you did a Google search for “Voynich” – not bad out of 230,000 pages, but certainly with room for improvement. 🙂

Earlier this year, it clawed its way up to about 20th, and then last month up to about 12th: it now it appears anywhere between 1st and 11th (!). I don’t really have any sensible idea why Google’s rankings move around so much: perhaps all the sites are close-to-equally ranked, and the fluctuations arise from a butterfly beating its wings beside an overheated Mountain View server. Yet it seems that this particular butterfly is working especially hard at the moment…

As for the pages that usually rank above Voynich News: well, the Wikipedia entry deserves its place (despite its unbearable focus on the massed ranks of the possible), while I have nothing but praise for Rene Zandbergen’s majestic site. But most of the rest of them are starting to look a little bit old and unmaintained: for instance, John Baez’s Voynich page dates back to January 2005, while the World Mysteries Voynich page seems essentially unchanged from 2003. Admittedly the Crystalinks VMs page has improved over time, but it is still fairly unhelpful.

I suppose this gets to the core of what annoys me most: there isn’t a single Voynich page out there that I would comfortably call “helpful”, apart perhaps from the “Introduction to the Voynich Manuscript” blog entry I put up here a while back (and even though this gets to the point and is reasonably brief, it is still twice as large as it really ought to be). To be honest, I’d write a whole book in that style if I could sustain it for more than three pages… but I suspect I probably couldn’t. Oh well.

Google, of course, has no obligation to direct people either to helpful or to unhelpful sites: it is merely trying to “Do No Evil” (“Eidolon V“? “Devon Oil“?) in its quirky SMERSH-like way, and if its Byzantine page ranking algorithm somehow manages to get you a bit closer to where you want to go, so much the better. Maybe I should find a way of convincing Google’s automated tools to put up some helpful sitelinks (the mini-list of links you sometimes see below search results) for Voynich News: but that’s a mountain to climb another day…

If you haven’t yet been properly introduced to the enjoyable confusion surrounding the Voynich Manuscript, you might well enjoy this very brief New York Times article from 1999 by Michael Pollak, entitled “Can’t Read It? You Can Look at the Pictures“.

I particularly enjoyed the soundbite from William R. Bennett Jr., who nicely points out that ‘‘The manuscript itself seems to have the attraction of a poisonous flower“. And so we’re back to that whole Little Shop of Horrors thing again… oh well!

A month ago, I posted up a blog entry about Dan Burisch’s claimed decryption of the Voynich Manuscript, which a surprisingly large number of people have since read (my blog entry, not the decryption). Burisch claimed that an alien called “#3-15” held by the secret organization known as “Majestic” (presumably an updated version of Majestic-12) had decrypted the VMs, and that its plaintext turned out to be a message from the far future placed in the hands of Roger Bacon 700 years ago about the amazing inventions Dan Burisch has yet to make in the near future: but that whole decryption has been placed in “File 21” somewhere in Europe, and you can’t see it, sorry.

As odd arguments go, this is a thing of curious beauty. Let’s see: an alien (who you’ll never meet) held by the (alleged) modern inheritors of a secret organization (most of whose founding documents appear to have been forged) has decrypted a (probably 15th century) cipher document, revealing that it was written down in (a mangled & ciphered) Hebrew by Roger Bacon (in the 13th century), to whom the actual content was passed from the far future, and which concerned the (yet-to-happen-but-surely-must-be-soon) inventions and discoveries made by Dr Dan Burisch, except that you can’t see the decryption apart from four (frankly rather wobbly) words. Fantastic or fantastical? You decide.

Putting on my historical hat… if (like me) you read papers on Antonio Averlino’s libro architettonico, you often run into very similar problems trying to parse what is being said. Though Averlino’s libro is on one level a kind of encrypted autobiography, it simultaneously functions both as an allegorical novel and as an historical-novel-within-a-novel. Which is to say that readers constantly have to decide what is real, what is imagined, and what is contructed. Would a modern librarian place such a book in fiction or non-fiction?

Of course, Averlino was not crossing those kind of artificial boundaries, because they had not yet been drawn up. Early Renaissance thought was very fluid, very undifferentiated: perhaps the humanistic conceit of trying to gain eternal fama (fame) through their works made sense because the rigid scientific constructions of time we now rely upon had not yet been put in place – perhaps the distant past and remote future somehow felt closer then than they do these days.

In those terms, maybe Dan Burisch’s conception of time is so, errm, alien to us in that it is, rather like Averlino’s, quite undifferentiated and continuous in a vaguely pre-scientific way: a kind of sci-fi reprise of the early Renaissance mind. Perhaps Burisch somehow experiences past and future events all overlapping and concertinaed together, like a kind of strange temporal synaesthesia. Or perhaps he’s just mad, who knows?

Anyway, we have an update on the story. According to a message apparently from Dan Burisch forwarded yesterday to The Golden Thread BBS, “the policy of the Eagles Team [is now] not to comment on the contents of the Voynich Manuscript“, because “it contains such dangerous information, going to prison or being executed would be preferable to disclosing it“. Furthermore, “When I said to you [Fran?] the annotations to Folio 21 [“File 21”?] were not dangerous, I meant it in the context of you seeing it. I never intended you to post it. I apologize to you for the miscommunication, and to the public about the cryptic nature of this post. With this, that is the way it must FOREVER stand.” Which presumably means he won’t post anything more on the subject of the VMs: a shame, as I’d like to know what it said.

The Internet is a strange place: these days, you can tell people think something is interesting not when you find a hundred banal blog entries pointing to it, but rather when you discover that it has been appropriated as a plot element in several online alternate-reality role-playing games. In those terms, the whole Dan Burisch saga to me most resembles neither a conspiracy nor a pathology, but instead a kind of fat-rulebook sci-fi RPG played out between a small group of dungeon masters and the opposing team, “the public”. Roll that octahedral die one more time, baby…

UPDATE: Yet more on Dan Burisch…

Another Voynich-themed novel is announced: “In Tongues of the Dead“, written by Canadian author and forensic psychologist Brad Kelln, to be published by ECW Press in October 2008. It’s his third book (“Lost Sanity” and “Method of Madness” were his others, with some kind of Dead Sea Scrolls prophecy hook to the second one). According to Kelln’s blog, in his day-job he is “a consultant to the Halifax Police and the Nova Scotia RCMP on hostage negotiation“.

In his soon-to-be-published book, an autistic child visiting the Beinecke library is miraculously able to read the VMs… revealing it as “the bible of the Nephilim”. The manuscript then gets stolen, the (presumably) bad guys in the Vatican chase the various protagonists across the world, but they get helped out by a plucky Canadian psychologist doctor guy with a sick child: and whatever happens at the end happens at the end.

Perhaps I’m just feeling a bit negative because the ECW Press blurb describes the VMs as “a 400-year-old document” (I don’t think so, sorry), but this whole book does sound a bit join-the-dots to me. Look: the Voynich Manuscript is a fantastic cipher mystery, but there’s absolutely no reason to think it has any religious (let alone sacrilegious) content. My old friend GC once tried to argue that a couple of the women in the water section were holding things that might possibly be crosses: but that is a pretty thin reed to be balancing any kind of sophistical superstructure upon.

Cryptographically and historically, I think that Kelln should have instead built his story around the Rohonczi Codex or Rohonc Codex, A.K.A. Magyar Tudományos Akadémia (“The Hungarian Academy of Sciences“) MS K 114. This has 448 pages filled with as-yet-undeciphered text, is thought to have been written on Venetian paper from the 1530s, and has 87 illustrations apparently depicting “religious, laic, and military scenes” (according to Wikipedia). There’s a complete set of scans here.

Older historians thought this codex was simply a hoax: but it actually has a lot of order and structure, all of which seems to point to its being meaningful in some unknown or unexpected way. At the Warburg Institute recently, Professor Charles Burnett mentioned to me in the lunch queue that a European scholar (whose name I half-remember as “Gyula”, so might well be Hungarian?) is just about to publish a paper on the Rohonc Codex: a proper academic perspective on this would be very welcome, as just about all the hypotheses circling around it seem fairly lame.

To be brutally honest, if I was Kelln’s publisher, I’d negotiate with him to drop the Voynich Manuscript angle, and to rebuild the first part of the story around Budapest (a far more intriguing town than New Haven I would say, having spent time in both) and the Rohonc Codex. But what do I know?

Incidentally, there’s a conference currently running at the Hungarian Academy of Sciences on the fascinating reign of King Mathias. Yet another event I would have loved to attend. *sigh*

Flicking through a fairly recent copy of the New Yorker in the dentist’s waiting room just now, I read a review of Jean Hollander’s translation of (and Robert Hollander’s extensive notes on) Dante’s Paradiso, the third part of the Divine Comedy. To be honest, I never had much patience with the Paradiso, all the fun in Dante was in the Inferno, a point of view this Slate article basically seems to agree with: so I never got to read about the pilgrim’s meeting with God right at the end…

Which is a shame, because there’s something interesting there which deserves a closer look. While it’s not strictly speaking cryptographic, it is linked in with the whole sacred geometry thing which people insist on projecting onto late medieval / early modern paintings and architecture, and which is essentially a form of hidden messaging (“Neoplatonic steganography“, if you will).

In the final canticle (Canticle 33) of Paradiso, Dante struggles to find words to describe the experience of meeting God: and in the end settles on an intense light (but one which the eye is attracted to rather than repelled away from), inside of which can be seen “three orbs of triple hue” (though I think the Hollanders translate these as “circles”). Dante finishes by comparing his attempts at describing the experience as no less futile than attempts to square the circle: where Man (extending the geometric metaphor just that little bit further than other poets would) is the square and God is the circle.

Anyone with even a passing familiarity with Leonardo should be aware of his representation of “squaring the circle” in his ‘Vitruvian man’. But there are a number of other early modern artworks which supposedly use a square to represent Man or Earth and a circle to represent God or Heaven. Jerusalem was supposedly round because it was a representation of Heaven, which (as any fule kno) was perfectly circular (Ptolemaic epicycles notwithstanding): which forms a (forgive me) circular argument within whose causal chains it is hard to disentangle the Platonic from the Ideal from the proto-religious.

Having said all that, Charles Hope’s argument as to the non-existence of most claimed examples of Neoplatonist allegories in Renaissance art would seem to cut a big Wile E. Coyote hole beneath most supposed examples of Renaissance sacred geometry. Even a big modern book in this general vein such as Richard Stemp’s “The Secret Language of the Renaissance” contains hardly any persuasive examples of sacred geometry: Stemp’s discussion of Massaccio’s Trinity (pp.210-213) seems a little forced in the way he ‘finds’ a circle in the background to enclose the square he has constructed around Christ.

But there is at least one artwork of the period with an inherently geometrical construction, and where Man is represented as a square and God as a great big dove at the centre of a circle, with Christ in the overlap between the two (though I can’t for the life of me think of the name of it). I had thought of this as a possible counterexample to Charles Hope’s skepticism about Neoplatonism, in that it does seem to bear the hallmarks of what is generally known as sacred geometry. However, a careful visual reading of it (when I can remember what it is!) may instead simply show it to be no more than an allegory literally derived from the last canticle of Dante’s Paradiso: in which case it may well be that we can basically consign Renaissance sacred geometry to the historical scrapheap.

Something to think about, anyway. 🙂

Another day, another Voynich novel to read: but “Enoch’s Portal” by A.W.Hill is certainly one with a heady sense of ambition. The flame the author wants us readers to touch is nothing short of an occult ‘Theory Of Everything‘: a kind of quantum alchemy, linking Cathar euthanasia with Renaissance magic all the way through to Nazi Germany, the Temple of the Sun (though this is the name of a 1969 Tintin film, the Order of the Solar Temple is what is really meant) and the twin modern magics of finance and Hollywood. And the threads binding this bulging mass of ideas together are the Voynich Manuscript, an impossibly virginal woman called Sofia, an impossibly filmic hero called Stephan Raszer, and… former Czech president Vaclav Havel. Ohhhh yes.

The Voynich aspect of the book is straightforward enough: the author buys in to Leo Levitov’s whole Cathar Endura ritual reading of the manuscript, along with all the John Dee fairy dust that people like to sprinkle on the VMs to make an otherwise unpalatable mystery taste that little bit sweeter. Yet the author has a character called Dr Noel Branch describe the VMs as “A theurgic riddle in the guise of soft-core pornography” and insisting that the “the key might lie in those silly illustrations” which are usually dismissed as nonsense: which would seen to indicate that Hill has at least properly engaged with the VMs on some level. 🙂

But for me, Hill gets enough of the history wrong in important places to break the narrative spell: for example, John Dee was never Emperor Rudolf’s alchemist (though Edward Kelley was, and Sinapius / de Tepenecz arguably came close enough too [though one might perhaps call him the “Imperial Distiller”]). Which is a bit of a shame, as this isn’t really a key support for the story.

Speaking of the story: in it, Stephan Raszer’s job is basically to track down rich women lost in cults, empathize with them, show them his own scarred wrists, have them fall in love with his failed-actor good looks, and convince them to transfer their (implicitly sexual) passion for the cult over to him… so that he can then haul them back to the pampered bland existance in Richville they worked so hard to escape from, thereby earning his handsome fee.

But Raszer is not so much a character as a filmic construct, formed from the unholy merging of a Kundalini/chakra-obsessed later Stevan Seagal (though Raszer never actually fights as such), a later Arnold Schwarzenegger (his “I don’t shoot peepul, I only saif cheeldren” phase), and the asexual 1990s James Bonds, who (along with their audiences) were neither shaken nor stirred by the various Dreary Hi-Tech Plot Devices Of Doom placed in their paths.

Females in “Enoch’s Portal” fare little better: Raszer’s partner comes from the same mop-up-all-the-loose-plot-threads school as did Tom Cruise’s impossibly capable assistant in “The Firm” (Holly Hunter); while the empowered modern women Raszer meets are all so, errrm, “enmoistened” by his good looks that they basically make love to him while his soul leaves his body on a brief spiritual holiday. Ghastly stuff.

All the same, there was a good idea in here: though Raszer lives in a supernatural world of walk-ins, succubi, and the like, the cults he deals with are basically spiritual frauds – which leads to an (actually quite interesting) question of whether Raszer is in fact delusional… but this is never obviously addressed.

Really, the problem I had with the book is that (whether it is actually true or not) it comes across again and again as having been written by someone who has watched too many trashy 1990s action movies and taken too many drugs, all the while not really engaging with the world around them. The thought kept returning when I was reading the book that it could all have been redeemed if only the author had done X or pulled back from Y… *sigh*. All in all, I just wish that Hill had had the courage of his convictions and written a screenplay instead, rather than the book of the film in his head. Oh, well!

I’ve spent a long time (though “far too long” probably covers it better) hunting down obscured fragments of text in the Voynich Manuscript: so my Spidey-sense tingled almost uncontrollably when I saw a claim for hidden text on f1v in the “Marginal Writing” picture gallery on Glen Claston’s Voynich Central.

I’d never heard of this before: just to be sure, I checked Reuben Ogburn’s 2004 page on “Writing in and around plant illustrations” in case it had slipped in there, but no sign. If you run this through Jon Grove’s colour separator filter, you can see that the brown ink used for the drawing and the brown paint used to fill it in are very slightly different: in the image below, the white area is where the filter thinks the overpainting happened.

But is there writing beneath? If you squint at the topmost image here long enough, you can start to make out something that might almost be writing. But if you filter it slightly differently, I think the answer emerges: the “signal” (below) appears to be not writing, but only compression artefacts from the MrSID wavelet encoding. Sorry, guys: false alarm! (Though next time I’m at the Beinecke, I’ll have another quick look, just to be completely sure…)