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Gone are the days where monsters lurked in dark places, and could be banished with the right spells. The stars are right - right here, right now, and the Mythos has kept pace with modernity, corrupting openly, though humanity is still too blind to see. Delta Green has been fighting them ever since Innsmouth and 1927, a hidden conspiracy within the government dedicated to seeking out and destroying that which threatens humanity.
Only trouble is, even the government has disavowed Delta Green, in favour of collusion with the enemy. But the menace is so great that Delta Green continues, an illegal conspiracy hidden in the bowels of that which wants too destroy it. Delta Green isn't Mulder or Scully, seeking the truth that nobody else knows. Delta Green *knows* the truth, and is making sure nobody else suffers from knowing that either.
DELTA GREEN takes everything we know about modern day conspiracy theory - Roswell, Area 51, Majestic-12, UFOs, and merges it seamlessly with the battle against the forces of the Cthulhu Mythos. The secret history it reveals is frighteningly plausible, and like Lovecraft's fiction, nags at you and makes you doubt its fictional qualities.
As a way of bringing a moribund CoC campaign from the gothic horror of the 1920s to the survivalist horror of the 1990s, it is second to none. Think you could have dealt with those creepy crawlies if you only had an AK-47 instead of a revolver? Think again. The psychological cost of fighting terrors from beyond is not forgotten either, with Delta Green agents wandering shell-shocked from encounter to encounter.
And as I said, as a means of stimulating your imagination to bring Lovecraft up to date, it is also superb. Anyone who thinks Lovecraft's themes are hackneyed and old only needs to read this to see how horrifyingly relevant they still are.
Buy this book, and its companion DELTA GREEN: COUNTDOWN, which describes the UK and Russian counterparts to Delta Green. The truth is here. And it's hungry.
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Who says there's no skiing in the Mid-Atlantic??? Read this book!!!!
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I would love to see the book adapted as a screen-play. I think it would make for a sensational film.
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Coming from a whitewater paddling background, my first thought on looking at the river descriptions in Huff's book was, "Hm, not very detailed." On further reflection, though, this makes sense. Details of how to run rapids aren't needed in Florida, and the lack of details makes visiting the waterways described much more of a voyage of discovery- as paddling should be.
Huff has logically divided her book into three major sections. The first part contains tips for paddling in Florida, and includes chapters on gear and clothing and how to pack it, staying healthy, staying safe, and camping in Florida with sections on cooking and camp activities, all delightfully written by someone who clearly has had an abundance of paddling experience.
The second section describes in detail all the wildlife you might encounter on any trip on Sunshine State waterways, and your best strategies for safely dealing with those critters (Do NOT feed the wildlife!). Aunt Sally from Ohio will survive her first alligator encounter if you follow Huff's advice. There is even a short chapter on fishing.
Finally, the last section contains descriptions of over 200 trips on 91 waterways across the state. Every description contains all the information you'll need to make that trip: a map, where to put in, where to take out, the length of time and/or mileage involved, skill level needed, and local emergency phone numbers (great idea!). The descriptions are also keyed to the corresponding DeLorme atlas page numbers, and include a brief outline of what you can expect to encounter, all written in a tastefully understated manner.
It's difficult to find any flaws in this book, or figure out how to improve upon it. For every Sunshine State paddler or anyone who wants to become one, Huff's book is a must read.
-John Kumiski
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The protagonist, earnest, conscientious, buttoned-down, and rather dull Charley Gray, is an upper middle-class banker in his forties, back from the war, resuming his place in an old, small, traditional New York City bank in 1947, living in what would now be called a yuppie suburban development with his wife and two children, and worrying about promotion in the bank. A large part of the novel, however, is devoted to his youth, family life, and first romance in the old, small, traditional New England town (Clyde, Mass.) where he grew up and where his family has its roots. Hence some of the novel has a postwar setting of 1947 New York City and suburbia, but most of it has a prewar setting and is a portrait of New England small-town life from World War I through the 1920s.
Perhaps the most memorable character is Charley's father, a charming, irresponsible ne'er-do-well of good family and no accomplishment, who promises much and delivers little, and who loses any money he gets his hands on by his compulsive speculation in the stockmarket. Charley is determined not to be like his father. The business about the visiting, snooping academic anthropologist/sociologist who writes a study of Clyde and has a passion for categorizing and pigeonholing everything and everyone is heavy-handed and becomes tiresome, strained, and intrusive. (There is an odd slip in which Marquand has the misapprehension that a Duesenberg is "a foreign car"--a strange mistake for an American social historian of the 1920s and 1930s.)
John P. Marquand (1893-1960) enjoyed that rare thing, both popular and critical success, for the last two decades of his life. He was widely read and admired as a distinguished American novelist. He has few readers today. This book has usually been regarded as one of his better efforts. He was a facile writer whose prose here is smooth and readable enough, but lacks crispness, incisiveness, pungency, wit. In the end, the whole performance is pleasant and agreeable but hardly gripping or searching or profound; it is, instead, prolix, rather bland, a little tired, and somewhat dated. And the big decisive scene, the moment of truth toward which the entire novel seems to be building is, when it finally arrives, "a strangely hollow climax," to use Marquand's words (and an all-too-predictable one as well). If you want to read Marquand at his best, before he began to take himself too seriously as a social historian, try The Late George Apley (Pulitzer Prize, 1938), Wickford Point (1939), and perhaps H. M. Pulham, Esquire (1941). I believe all three are livelier and more engaging than this book. (The last of these has a protagonist who has much in common with Charley Gray and who has his own "point of no return" story to tell; indeed, H. M. Pulham, Esquire shares its major themes with Point of No Return.)
This book concerns themes that probably are more universal than what one finds in contemporary literature. A man is seeking to get a promotion in his firm and he is in competition with another person for it. During the novel we really get "the story of his life, using the "flashback technique that Marquand made famous in all of his best books. Along the way there is regret and a curiosity about what he might lost by not pursuing a different path. Not exactly earth shattering events, but things that grownups experience everyday.
One wonders if the reason that people do not read as they once did is due to television and other assorted distraction or for the simple reason that the books that are published are so very far removed from common experiences.
Marquand's fall since the 1960s has been a sad one. He was at one time, one the best-selling authors in the US. It is a tragedy that more of his works are not in print, this one in particular. If ever an author desereved "The Library of America" treatment it is he.
I've reread this subtle novel many times over the years and find, remarkably, that with each reading I get a different sense of Marquand's ultimate message. In fact, the whole story seems to take on new meaning over time, a delightful characteristic of every great book.
Marquand is a wonderful author. I am currently savoring his "So Little Time" and recommend all of his work. "Point of No Return," however, will always be my favorite.
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gabriela
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