Mike Daniels cared little for close human relations. He cared even less about the environment.
Why should he? His world already provided him with all the things that mattered in life. Things were about to change.
A mysterious package containing a memory stick arrives, with a request to meet an old school friend in an isolated spot. Mike is unaware what the memory stick holds. He soon discovers, however, that the owners want it back, at any price. Now his very existence is at risk and he must run.
Using a false identity, Matt Durham, he finds sanctuary in Canada. In this new life he learns about friendship, comes to appreciate the environment all around. He even believes he finds love. So Matt Durham chooses to close his mind to what brought him to this safe haven.
But, when he is found, Matt Durham is faced with a stark choice. Does he run again, or fight back against his enemies? In truth, he has only one option. Matt realises his only salvation lies in taking on the overwhelming odds ranged against him. To do this he must cross the globe undetected, suffering loss and betrayal along the way. He would also have to learn how to kill.
He had to, because he wanted to live. And the lives of billions of other people depended upon his survival.
My reading of The Milieu Principle got off to a very poor start when I looked at the back cover copy, which is rendered almost illegible by being printed in dark greenish-grey on a black background. My two sons are both colourblind and they couldn’t even see any text on that back cover. I suspect that this book is aimed primarily at a male readership; and far more males are colourblind than females. It seems to me to be foolish for the writer to risk alienating so much of his target market because of a simple design choice.
The book has a reasonably interesting premise; the punctuation is mostly okay, there’s not much wrong with the grammar and the plot seems clear enough. And perhaps that’s the problem: this book is okay, but it isn’t spectacular.
The story is let down by wooden dialogue, exposition-by-dialogue, and an assumption that the reader needs to be told all sorts of unimportant details to help the story unfold. For example, I’m not sure why the writer chose to mention that the main character’s freezer is steel-coloured and upright: knowing this adds nothing to the story or to the characterisation of anyone involved. This fondness for unnecessary detail leads to several convoluted and confusing paragraphs; and makes a slow and laborious reading.
Not that this text is beyond hope: it has potential, but that potential is hidden behind a lot of very basic mistakes. If the writer were to revise this book very thoroughly and question the purpose of every sentence, he could make it much more readable. If he were to cut all of that redundant detail, make sure that everything he’d written meant what he thought it meant, and get rid of much of the exposition, then this book would be hugely improved. As it is, it’s a tired read, full of errors and confusion, with little to recommend it. I read just eight of its five hundred and ten printed pages.
Finally, the greatest story never told gets told.
Join one man for the adventure of his life and, in doing so, experience growing up in rural 1980s Ireland. Meet this man’s eccentric group of friends, follow his escapades throughout Ireland and beyond, and gain valuable insight into the life of a lord … Lord of the Rams.
What Munterconnaught’s book critics are saying:
“A great present to give to somebody you don’t like.” – Shane Brady
“I’ll buy two copies. F*cking brilliant.” – Eugene Tighe
“The worst pile of shite I’ve ever read.” – Trevor Geraghty
Ronan Smith’s Lord of the Rams: The Greatest Story Never Told has an interesting illustration on its cover and it’s a pleasant-enough read: but it’s a very episodic, built from a series of short anecdotes which are connected only by the characters they feature. There is little flow through the text; instead we moved from anecdote to anecdote via chunks of exposition and this lack of narrative arc means that the reader has no motivation to keep reading: it’s all too “samey” and provides no tension or climax.
The author has a slapdash approach to punctuation which doesn’t help: his use of dashes is spectacularly inconsistent, particularly in the acknowledgements; and he really needs to decide if he’s going to hyphenate “smart-ass” or not, rather than alternate between the two forms. There were several instances where the writing was muddled and imprecise: I could usually work out what was meant, but sometimes could not be sure. On page nine, for example, I found this sentence: “Standing beside his mother, Rams stared in amazement at a woman unlike he had ever seen before”. This is not good writing, and from my brief read and a quick flick through, it’s typical of the entire book.
Overall, then, this read more as a first draft than as a publishable book. It needs restructuring to provide a proper sense of growth throughout the narrative; it needs to be rewritten so that the anecdotes seem less isolated and provide a sense of growth and climax. The characterisation could definitely be improved; and it needs a strong copy-edit to deal with all those careless mistakes. The clichéd subtitle does the book no favours; and the lamentably weak back cover copy could have been written for all sorts of books. I read just eight pages out of the 215 which make up the story.
Mary Ann was a traveling fortune teller. She knew everyone’s future, but her own. She left this journal with many disturbing readings.
This novel has a central character who has the potential to be very interesting: she’s a fortune-teller who can see a person’s future when she touches their hands.
Sadly that character wasn’t used to great advantage in the few pages that I managed to read. The writing was very wooden, confused and abrupt: while I do like a spare style I also like a book to read as though it’s complete, and this one read as though it was no more than an extended synopsis for a larger piece—it’s very staccato and bare. And from what I could tell by skimming through it (the back cover copy is quoted in full above, and as you can see it provided me with very little information) this book has very little in the way of plot: it appears to be nothing more than a collection of anecdotes which centre around this particular fortune-teller.
This was a very disappointing book, and I only read eight pages of its text before I’d found my full quota of problems with it.