The Book of Dust

31 Aug 2026 - 31 Aug 2026
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    • Trilogy by Philip Pullman, a prequel/sequel to His Dark Materials. Not nearly as enjoyable as the earlier one, but I think that's partly due to Pullman trying to do something new, to handle more adult themes by aging his protagonist from a young girl to an adult woman facing adult problems. He deserves credit for trying to not repeat himself and just cash in on a wildly successful earlier work, but this one didn't really work for me.
    • [possible spoilers ahead]
    • The enemy this time is not monstrous child-mutilators who used a guillotine-like machine to cut a person away from their soul (daemon). Yet they are the same, just expressed in a more realist style. In the new books, Lyra has come under the sway of intellectual promoting views that are hostile to the imagination – materialist, nihilist, postmodern. These books have affected her to the point where she quarrels with her own daemon who departs on a mission to restore her imagination.
    • This defense of Imagination against the forces of crude materialism and rationalism is right out of Blake. And the enemy seems to be a version of Marx's image of capitalism as something that dissolves traditional bonds – here given an alchemical name, alkahest, the universal solvent.
    • La Belle Sauvage

      • Lyra is 10 years older, but the author and reader is more like 20 years older. Maybe this is just what happens with age – certainly Lyra in the story has reached adulthood and lost touch with her childhood magic. And while every other adult in the universe seems to go through this process, and wind up in the state where one՚s daemon has fixated – Lyra and Panalaemon can՚t find a settled state of their mutual existence.
      • the really unfortunate major presence of authors standing in for particular philsophical points of view. These are Simon ?, a Lyra-world postmodernist/nihilist, and the other guy, a rationalist and extreme materialst who denies the reality of daemons, even though in this world they are obvious actual features of the world. Lyra has encountered the popular works of these thinkers and they are held to be responsible for her disorders.
      • The effect is to withdraw any energy from the narrative, since its clear the author is more interested in making didactic points against particular philosophical errors than in actual characters. And the representatives of these views come off as cartoon caricatures. They are straight out of Dickens in fact – the Thomas Gradgrind character in /Hard Times/ is explicitly a representative/caricature of a certain form of materialist rationalism. But Dickens made his Gradgrind believable, Pullman just didn՚t do the job.
    • The Rose Field

      • not sure I dug it as much as I wanted to. The villians are capitalism and rationalism, but ok, I already know the problems with them, its not that interesting,
      • If commodity and exchange are all there is, there are no indeterminate meanings to explore as we talk with others or ourselves. The daemon is one way of imagining the stranger who lives at the centre of the self. When the world is tamed and monetised, strangeness of all sorts is an unpleasant anomaly, even an abomination. Part of the novelty of Pullman’s narrative in this second trilogy is the recognition that mechanistic and exploitative attitudes are as serious a threat to our teasing, surprising, protean humanity as the repressive religiosity that he targeted so savagely in the first trilogy.
        • Yeah OK it makes me a bit defensive about rationalism and mechanism...like I always get with sensitive humanistic types. I mean, they aren't wrong.
        • I did appreciate the way the new trilogy took on the challenge of portraying its protagonist Lyra as an adult with adult problems. The whole thing is less satisfying than the original His Dark Materials because it is an adult tale, not a child's adventure story.
        • Also thought there were some pacing and structural problems in this one, it meandered too much, some characters never quite gelled, stuff like that.
        • Notes

          • (Weird to do this with a fiction book, but there is something didactic going on with Pullman that puts me in a certain mode)
          • What would Gottfried Brande say? The only thing that counted for him was hard evidence that could be expressed in numbers. He'd have noo truck with the idea that something unreal could be real. Simon Talbot, on the other hand, thought that the distinction between real and unreal was a cultural construct, entirely dependent on the social and political context, with no permanent validity. (p55)
            • Alright, clearly going after the twin poles of academic philsophical lossage: reductionism and postmodernism, somewhat caricatured of course. It seems discordant to have this stuff injected into a fantasy novel, but I guess I sympathize.
          • p464 "deeply interfused" reminds of the Ted Nelson term "intertwingled"
          • "It's a hard problem. There are some people so bad, all yoou can do is kill them." Lyra wondered if she agreed wtih that. (p469)
          • p484 a beautiful metaphor, shadows and the sun eternally unable to perceive the other.
          • “Tilda, these openings between the worlds…” “Yes?” “Have you ever been through one?” “No. A sister of mine did once; in fact, two times. First time, she found a world where each kind of people hated every other kind. War, slavery, murder, jealousy, greed, anger—everyone angry all the time—hate for everything. She came away quickly. Then she went to another world where everyone loved everyone else. Kindness, patience, generosity, affection, tolerance. She came away even quicker. Too dull. Then she came home and fell in love with a Siberian hunter and forgot where the openings were.” (p481)
          • Loved this...
          • p538 Colleges selling naming rights to corporations. Another very contemporary concern. "A creeping corruption"
          • A young woman named Tamar Sharadze. She was a graduate of the University of Tblisi, a statistician and an expert on complex systems... (p 562)
            • I was intrigued by yet another intrusion of very up-to-the-minute ideas, but this character never went anywhere. That's a big complaint with this book, a lot of stuff gets introduced and then forgotten.
          • “And just a few nights ago,” she went on, “on the ferry from Baku, I saw an angel again. I thought she was the same one as before, till she spoke. And I asked her what she thought the imagination meant, and the answer she gave showed me that she knew nothing about it either, nothing at all.” “What did she say?” said Malcolm. “She said that the imagination was just our minds making things up, bits of fantasy jumbled together, like a dream. But she was wrong. You see, angels…They don’t know what dreams are. They don’t make poetry or art. They don’t play. What Pan said, the thing he said I’d lost—he was right. It’s something fundamental. And I had lost it. So on that ferry from Baku I saw a bit more about what it was. It’s not something to do with good and evil, or good and bad, either. Angels might be good, and the Magisterium might do evil things, but they’re both wrong about this. Just…wrong. Like in the Arctic, when Pan and I saw that Dust must be good in spite of everyone saying it was bad. Here it was again, the same idea in a different form. It’s a sort of…” She clenched her hands, trying to find the right words. “They think that things can only be true or not true. But what you learn when you play, or tell stories, or in a dream, is that things can be both true and not true.”
            • p 575 Once again I completely agree with the sentiment but think it's too didactic for a fantasy novel. Or something. Something clunky about the intellectual machinery.
          • “I think the Rose Field, the truth about things, isn’t just out there, it’s in here as well. And the imagination isn’t just in here, it’s out there too…The Rose Field needs what we have as much as we need what it has. What matters is that it must be free to flow through all the worlds. There was something Asta said once—incompleteness or something…A theorem…Someone’s theorem. In any system, there are things you know are true, but you can’t prove that they are if you only use arguments from inside the system. Something like that.” “Gödel’s theorem. How does that fit in?” “Well, if that’s true, then it means that if you find a system that seems perfect and complete, where you can prove everything—then you’re wrong. You’re not looking properly. Because we need the gaps, you see? We need the holes where one world opens up to another. A system isn’t complete unless there’s a hole in it. ”
            • p576
          • “With the sickness here, people just seem indifferent. They’re not interested anymore. But it’s not just happening here. It’s every kind of bond, in our world as well. Like the new Master of Jordan, breaking the old connection between me and the college, because I was costing them too much. It sounded so reasonable when he said it. Money. They had to save money, because…Everything about the alkahest is reasonable. It’s reasonable to make money, to save money…It’s so powerful. Why have I never seen it before? It gets everywhere. Didn’t you tell me something about Thuringia Potash—they had a branch or a laboratory or something in Aleppo?” “That’s right. They’d just abandoned it because it was losing money. And that meant that all the things that depended on it had to go too. Jobs, businesses…There was a café where the TP staff used to eat. Going bankrupt.” “All being dissolved. The more I see, the more obvious it seems…I really think I’m beginning to understand at last. Everything having to give way to money.”
          • p621 Turns out the villain was capitalism all along.
          • OK the problem with this trilogy is that making the villains the same ones that are destroying our world (rationalism, postmodernism, capitalism) is just a little too real. And the cure, seeking out "the imagination" doesn't seem quite powerful enough to defeat these scourges. Capitalism is really good at sucking up the imagination and turning into product.
          • But the real problem is that there is too much explaining, not enough illustration.
          • Lyra's world is falling apart as the alkahest eats away at traditional bonds. This image is so redolent of the Communist Manifesto that I wonder if its deliberate:
          • All fixed, fast-frozen relations, with their train of ancient and venerable prejudices and opinions, are swept away, .... All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.