The Moon Pool的故事梗概 高分悬赏

科幻小说月亮池，原版的名字叫the moon pool的故事梗概，最好有主要剧情和主要任务的介绍，周三上课要做这个书的presentation，我现在还没看，高分悬赏，加急！！！球好人刚刚忙

Allie Gardner had been with them since the beginning of Hide And Seek
Investigations. Her specialty, and something that she went after with a
certain fury, was cheating spouses. Her latest assignment was a simple
case in Wilmington,North Carolina. It should not have gotten her killed.


But, it did.


For retired Lieutenant Cam Richter
the news is a shock and a personal blow. After driving down and making
the formal id of the body Cam wants answers. He isn't the only one. The
state autopsy facility would like to know why her body is highly
radioactive. She had to ingest something and the question is where did
whatever it was come from? How did she get it? Who gave it to her? The
search for answers for these questions and many others will take Cam up
against the staff of a localnuclear power plant , the federal
government, and other forces, as he begins to search for the truth as
to what happened to Allie Lardner.
Building on "The Cat Dancers" and "Spider Mountain" this third novel in
the series is another strong read through it does start very slowly.
Character development is at a nill here as the recurring characters,
especially CamRichter
, were fully established in the first two novels. The team is once
again brought together to help Cam and there are also multiple
appearances by Mary Ellen and discussion of their shared past as well
as other events in the series. Therefore, readers are cautioned that
the previous books in the series should be read before embarking on
this novel. A novel that is full of misdirection and deceit and
political intrigue with frequent character commentary on the role of
the FBI and homeland security criticism of both and a theme that many
other authors seem to be mining in their fiction these days. The political commentary,
though it may annoy some readers, does not take over the book. Instead,
it is a piece of the book as are many other pieces that serve to
entertain as well as confuse the reader.
The read as a whole is a novel featuring a complex tale full of nuance
and innuendo, dark secrets and plenty of action. This is one of those
books that it is not wise to start late in the evening or take to the beach because you will lose track of time and the real world.

Thanks for your question.

多谢了，再给点参考。

Flotsam from the Moon Pool

Sam Moskowitz, ed. A. Merritt: Reflections in the Moon Pool. Philadelphia: Oswald Train (PO Box 1891/PA 19105), 1985. 399pp. $20.00

A. Merritt is not as widely read and loved today as his supporters think he is, but he remains an important historical figure if only because he took a certain type of pulp fiction about as far as it could go. He was in many ways the quintessential Munsey writer, perhaps the best of them, and one might argue that his florid style, powerful images, and unrestrained plots helped to keep alive a tradition of popular fantasy at a time when the bulk of popular fantastic literature in America was veering off in the directions of SF and supernatural horror. On the one hand, his fantasies of wish fulfillment--far more blatantly sexual than those of his near-rival E.R. Burroughs--made him the John Norman of his day; on the other, there is an undeniable imaginative power in his work that can still work magic. Lord help us if Steven Spielberg finds these books.

Sam Moskowitz, who has always treated early SF as his personal used-car lot, has here assembled a collection of minor stories, essays, fragments, poems, and letters--prefaced by a lengthy biographical essay by Moskowitz himself--which seems designed to do for Merritt what such early collections as Something About Cats did for H.P. Lovecraft. The book is primarily for devotees and collectors, although there is much in it that scholars interested in Merritt or the Munsey magazines will find provocative and useful. It is not by any means an introduction to Merritt or a reasonable critical treatment of his work. In the first place, as Moskowitz acknowledges, the Merritt works represented here are quite minor and of little intrinsic interest; in the second, Moskowitz's biographical essay, which ought to be the most valuable part of the book, is plagued by the maddening obtuseness and obsessive trivia-hunting that have unfortunately become his trademarks.

Moskowitz's methods are all too familiar by now; he industriously gathers information that no one else has, assembles it without the slightest sense of priorities, and then babbles to us, often on the verge of incoherence, about the magnificence of his achievement and the immortality of his subject. The man is a syntactical terrorist ("They epitomize the unknown, the mysterious, and exude power" IP. 54]), and he seems determined to make use of every last notecard (Merritt's assistant editor at Hearst had "a good head of hair" [p. 124]). He is relentlessly naive: when he reports that Merritt--who viewed his own work as escapist--responded to the question of what he was escaping from with the remark that it was Morrill Goddard (his intimidating senior editor at Hearst), Moskowitz can only assume that this was entirely a joke, since "Goddard supplied the money that bought him the fine home, chauffeured limousine, and maid" (p. 55). He is willing to go to absurd lengths to work himself into the narrative: a frozen food magazine on which Moskowitz worked once published the largest issue (540pp.) of any magazine until that time, we are told, and the excuse for telling us this is that the business manager of the magazine Merritt worked on once offered to buy it. Such pointless details abound: Merritt and Goddard "had yellow pads and they would swing around in their swivel chairs and write notes to one another" (p. 33). Merritt's maid prepared a dish called Matzoh Brei, so we are told how to prepare it. And on and on.

Many readers, faced with such obstacles, might dismiss this book too peremptorily. For all his faults, Moskowitz remains our best exemplar of the passion and devotion of the fan-scholar. If Merritt is worth reading at all--and I think he is--then it is worth asking why Moskowitz is the only one doing this work, and worth admitting that what he is doing is valuable. This volume includes the most complete accounts we are likely to have of the early trips to Mexico and Central America (prompted, apparently, by a need to avoid testifying about some undisclosed political scandal) which provoked Merritt's interest in archaeology; of Merritt's own view of his work as essentially SF; of his intriguing but undeveloped ideas of mathematics as a model for precision of style. We get glimpses of the sometimes appalling sexual attitudes which underlie Merritt's fiction--such as his opinion, recorded by Hannes Bok, that C.L. Moore "will never write once she's had a man" and that Merritt would have liked to collaborate with her "if she hasn't yet lost her virtue" (p. 146). We also can draw some inferences from the minor works reprinted here, which include a rather ugly poem about the "yellow hordes" and a sophomoric attempt at soft-core pornography, as well as some useful comments, culled from fanzines, about his major stories. (The biographical and autobiographical sketches culled from the fanzines, however, should be treated with caution, since they are not only inconsistent among themselves but often smack of puffery and wishful thinking.)

As the definitive primary source on Merritt, Reflections in the Moon Pool achieves its objective, however clunkily. It may not win new converts, but it will have to be consulted by anyone doing work in this area in the future, and may even be of value to historians of journalism interested in the daily workings of Hearst's immensely popular American Weekly. Furthermore, like many such devotional works, A. Merritt is a handsomely bound volume, complete with a selection of photographs and a Stephen Fabian dust jacket that could bring back Theda Bara. Also like many such volumes, it lacks either primary or secondary bibliographies-- although the bibliographical history of Merritt's stories, together with some limited documentation, can be teased out of Moskowitz's prose if one works at it.

- -Gary K. Wolfe Roosevelt University

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