Category Archives: Fiction

A Reunion of Ghosts by Judith Claire Mitchell

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The sins of the fathers are visited upon the children to the 3rd and 4th generations

Three sisters plan to see out the millennium together, really see it out. The agree to a mutual suicide pact (life has not been particularly kind), to be carried out as midnight approaches on December 31, 1999. (We doan need no steenking millennium). As a part of this deal they agree to write a family history in which the end is really…you know…the end. A Reunion of Ghosts is that, rather lengthy, suicide note. Sounds cheery, no?

One might suspect that some families might carry forward propensities, whether by DNA, the class-based transmission of means and opportunities, or, maybe something even darker. So much nicer for folks to have a familial propensity for, say red hair, or artistic achievement, like the Wyeths, or Brontes, or Marsalises, maybe an athletic endowment. The Alou boys pop to mind. Sometimes, however, what is passed down is less rewarding. If there are detectable genetic markers for suicide, these folks would probably light up the test like a Christmas tree, although, of course, being Jewish, it might be a Channukah bush instead. There is even a chart on page 8 of my ARE listing members of the family with when, where and how they pruned themselves. It could make for the beginning of darker version of Suicide Clue. Is it Great Grandfather Lenz in a hotel with morphine, maybe Great Grandmother Iris in the garden with a gun, or Grandfather Richard in the bedroom with an open window, maybe Mother in the Hudson with a Bridge? It goes on. I do not want to give the impression that the only way out is DIY. For good measure there are plenty of non-suicide deaths as well. But the question is raised, can the crimes of our forbears curse future generations? Are we to be held accountable for the dark doings of our parents, grand-parents, great-grand-parents? What if we are not, but think that we may be? Is history destiny?

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Judith Claire Mitchell

There is certainly considerable family history here, however much individual tales might have been truncated. The story flips back and forth between the lives of the sisters (and within sundry periods of their lives) and the lives of their ancestors in the 19th and early 20th centuries. The oldest sister is Lady, approaching fifty. She wears nothing but black; Delph is the youngest, at 42. It is on her calf that the introductory quote is inked, a bible item uttered by their mother when JFK was shot. She is cursed with seeing peoples thoughts in bubbles as they pass. (Then never—not ever—have anything nice to say about anyone.); Vee is in the middle, and losing her latest battle with cancer. The three contend with scarring of one sort or another.They live on Riverside Drive in Manhattan’s Upper West Side, in an apartment their family has inhabited for ages.

The three let us in on pieces of their lives, loves sought, found and lost, sometimes tossed. Hearts are broken. They are very engaging, relatable and often very funny. Their conversations sometimes effervesce. There are wits aplenty to go around and we are witness to the banter. Whereas the sisters’ dramas tend to the personal, however difficult, awful mates, lousy luck, the issues of their ancestors are painted on a more colorful European palette. They endure personal travails, for sure, but the issues are a touch larger.

The Alter family originated in what is now Germany. Members of the clan were involved in various enterprises and professions. One owned a dye factory, another was responsible for technology that increased agricultural yields dramatically. One was a brilliant, educated woman struggling to find a place in an exclusively male world. There are plenty of colorful sorts in the family history, including a homosexual, malarial dwarf, who was also Germany’s trade ambassador to Japan. Wedded bliss was hardly the norm, and there are sundry carryings-on. One family shares space with Albert Einstein and his relatively miserable marriage. One bright light concocts and supervises the implementation of some very, very dark science. And of course, there is that familiar issue of Jewishness in Germany. While the sisters’ contemporary tales are relatable and moving, I found the historical segments much more interesting and fun, however distressing the content.

Aside from destiny, there are concrete ways in which the travails of one generation are visited on the next.

“All I said to her was the truth. It’s the same thing I said after the other two were born. The lesson from the camp. I tell it to Lady and Vee, too. When they’re asleep. ‘Never love anyone too much. You never know when they might be taken away.’ I whisper it in their ears. Every night, I whisper it.”

There are plenty of literary bits in here, but Mitchell keeps them at a reasonable level. The females in the family are all named for flowers. Color is a presence across generations. There is a wonderful piece on horizontal light, another on acausal time. But it is not the flourishes that carry the day, it is the characters and their tales, very well told.

Not really a spoiler. A bit of a rant here, which should not take up actual review space, but which requires an outlet, so, a su-aside (I have not yet figured out how to emulate the spoiler tag I used in Goodreads, so this thing is taking up space it was not intended to. Sorry. ) Really, fate, schmate. We are all given a hand. It may suck, or it may be a flush. Point is that it is up to us what to do with the hands we are dealt. It is definitely true that there are real-world limitations, whether because of how society or one’s DNA is organized. Maybe the damage we have suffered has become too much, or our resources for keeping on have become too depleted. Tossing away one’s life can be understandable when one is faced with having to endure extreme pain or loss of self en route to the end of the line with a terminal illness. Depression factors large in the world today, and, untreated, steals one’s resolve to carry on. And I am sure there are probably other understandable reasons to go all Kevorkian. But to give up in the absence of such extremes, the case for some of the characters here, seems an abdication of responsibility. For most of us there are at least some human connections that will be affected, so this usually solo act sends tendrils out to grip others. One’s sense of hope may have been plucked clean, but some feathers can grow back. There is a time to die for all of us, sooner, later, whenever. We take umbrage at the making of a pact by three, admittedly fictional, people to mutually cease to exist in the absence of a terminal condition times three. Maybe it is my former-Catholic DNA popping up and saying that suicide is a sin. I wouldn’t say that, but I would say that it is a waste. Society does a pretty good job of throwing away people. We do not really have to give it any extra help. Ok, rant over.

The worst thing, of course, the ultimate crime, is to even consider giving up a rent-controlled apartment on Riverside Drive. I mean, if the rent ain’t too damn high , you can walk to Zabar’s, see the Hudson, hang out in Riverside Park and discretely shoot spitballs at the joggers who trot by in thousand dollar sweats or bikers speeding by on their five-K rides, or stand around and watch the filming of one of the three thousand cop shows that use NYC for a set, exchange snide remarks about the blight of unsightly construction on the other side of the river, get in on some excellent sunsets, have reserved seating for fireworks, and not have to give up eating and replacing your threadbare threads just to manage the monthly. If that does not make life worth living I don’t know what might. Of course now I must fear that if I write a crap review my great-grandchildren will suffer because of it. And which of my bloody ancestors, I would like to know, is responsible for the state of my bank account? Talk about being cursed.

This is a remarkable novel, able to take on very serious subject matter and maintain a very smart sense of humor at the same time. A Reunion of Ghosts is definitely well worth checking out.

Review posted – 3/13/15

Publication date – 3/24/15

======================================EXTRA STUFF

This is Mitchell’s second novel. She teaches fiction writing to grads and undergrads at the University of Wisconsin in Madison,

A theme song for Reunion – oh yes, I did

Links to the author’s personal and FB pages

BUZZ

On January 8, Buzzfeed listed Reunion among 27 Of The Most Exciting New Books Of 2015

Barnes and Noble listed Reunion as one of its top picks for March 2015

The American Booksellers Association listed Reunion as one of its Indie Next Great Reads for April 2015

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Filed under Fiction, Historical Fiction, Literary Fiction, Reviews

Church of Marvels by Leslie Parry

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All great shows, she told me when I was little (and still learning to flex the tiny muscles in my esophagus), depend on the most ordinary objects. We can be a weary, cynical lot—we grow old and see only what suits us, and what is marvelous can often pass us by. A kitchen knife. A bulb of glass. A human body. That something so common should be so surprising—why, we forget it. We take it for granted. We assume that our sight is reliable, that our deeds are straightforward, that our words have one meaning. But life is uncommon and strange; it is full of intricacies and odd, confounding turns. So onstage we remind them just how extraordinary the ordinary can be. This, she said is the tiger in the grass. It’s the wonder that hides in plain sight, the secret life that flourishes just beyond the screen. For you are not showing them a hoax or trick, just a new way of seeing what’s already in front of them.

Ladies and Gentlemen, boys and girls, step right up. The show is about to begin. See the four-legged dancer, the half-man-half-woman. See the wheel of death, where knives fly toward a spinning lass. See the sword swallower (no, not that sort, puh-leez) and watch as one of our performers eats actual glass. But you had better be quick. This Coney Island sideshow, the Church of Marvels is about to burn to the ground.

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1996.164.5-10 bw SL1” by H.S. Lewis – Brooklyn Museum. Via Wikimedia Commons – Remnants of a 1903 fire at Coney Island.

Sylvan Threadgill is 19 years old and living on his own in the bowels of end-of-the-19th century New York City. He earns a meager living as a night-soiler, cleaning up the remains of the day, and picks up some extra cash as a boxer. It is while at the former job that he comes across an unusual discard. Sylvan is a (mostly) good-hearted sort, and he takes the baby in, intending to find it’s mother.

Odile Church, the spinning girl on the Wheel of Death, having lost so much, including her mother, worries about what became of her twin, Isabelle, the star of the Church of Marvels. Belle had vanished before the fire. Odile sets off to the never-seen far away land of Manhattan on a quest to find Belle, following a single clue.

Alphie, a “Penny Rembrandt,” and sometime sex-worker, is in love, having been swept off her feet by an undertaker. His old-world Italian mother does not approve, but he marries Alphie anyway, making for a very tense household. Alphie suddenly finds herself a virtual prisoner in Blackwell’s asylum on what is now Roosevelt Island. It is a lovely place, specializing in order over humanity, with generous doses of cruelty tossed in. Charles Dickens actually visited the real Blackwell’s in the 1840s and did not have anything good to say about it. Alphie encounters another prisoner (who never speaks) with unique skills and they plot their escape. Sylvan pursues the truth about the found infant, as Odile tries her best to track down her sister. Truths are discovered, both wonderful and horrifying and all converge to a thrilling climax.

Leslie Parry has written some wonderful characters, people you will most definitely care about, and she has placed them in a marvelous setting.

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Leslie Parry – from Missouri Review

The New York City of 1899 must have been a particularly bleak place for those at the lower end of things. But it is a marvelous place to read about. Parry has painted a colorful portrait of the time, offering chilling images of the era. She has a Dickensian penchant for naming her characters. A noseless street urchin is Sniff. A servant girl is Mouse. A nightsoil foreman is Mr. Everjohn. Another night-soiler is No Bones. A “widow” working in a bordello is Pigeon. There is much here about seeing what is in plain sight, but it is also clear that the author has done considerable digging to bring to light things that were hidden, or at least only slightly known. Opium dens among other things. The treatment of asylum inmates is as appalling as one might expect. The profession of night-soiler was news to me, as was the presence of a civil-war era floating ship hospital. You will enjoy learning of the professions of penny Rembrandt and JennySweeter, and of the significance of a north star symbol on the facades of local businesses.

There are sundry images that permeate the story. Tigers figure large for the girls, from the quilt their mother made for them as kids, to carnival tigers grooming Odile, to a literal take on Blake, to a notion of the secret in plain sight being a “tiger in the grass.” Church references extend beyond the family and family business name. A floating “church” serves as a venue for boxing matches, complete with a preacher and prayer cards. A sense of divinity is summoned on occasion as well. You might keep an eye out for crescents. Parry offers some passages on passages that certainly remind one of birthing and a sort of Campbellian descent.

…for a moment Sylvan had the dreamy sensation that he was swimming through the vein of a body, toward a lush, warming heart. Ahead of him the man was lumbering and stout, so large he had to duck beneath the doorframes, but he moved quickly, almost gracefully. The passage seemed to turn and fold back on itself, and then it came to an end. The man pulled aside a blue curtain and beckoned Sylvan inside.

One consistent concern is being seen for who one is, being appreciated, or at least, being accepted.

To be seen but not known was perhaps the loneliest feeling of all.

While I adore this book, I do have some gripes. There are enough orphans here to cast a production of Pirates of Penzance. While lost or missing parents may have been a much more common thing in 1899 than it is today, it seemed to me that the rope being used to lower the bucket to this well was getting a bit frayed. Mickey Finn is put to considerable use as well. There are two concerns that are heavily spoilerish, so I urge you to pass these by if you have not already read the book. RED means spoiler. Ok, you have been issued fair warning. We are to believe that Isabelle was de-tongued by one person. But how might that have been possible? Did Belle’s assailant grow extra arms? One set for holding Belle down, another for wielding both tongs and knife, and a third set for holding Belle’s mouth open? Nope. Did not buy that one. Also, we are to believe that Siamese twins, joined at the head, were successfully separated by a non-doctor in the 19th century? I doan theen so.

Church of Marvels offers a richly colorful landscape, although the hues tend to the dark end of the spectrum. The story is riveting and moving. The main characters are very interesting and mostly sympathetic. And there are enough twists to keep a contortionist bent out of shape. The image that Parry conjures of the time is richly detailed enough without being overwhelming, and the whole is presented with a warmth and charm that reminded me of The Golem and the Jinni. No, there is not the literal magical element of that other book, but both look at a historical New York and their characters with warmth and charm. In this case, presenting early New York as a kind of sideshow in and of itself.

I am not a regular attendee at any church, but I can heartily recommend Leslie Parry’s debut novel. This church is both unforgettable and marvelous.

Publication date – May 5, 2015
Review posted – 1/30/15

=======================================EXTRA STUFF

Links to the author’s personal, Facebook and Twitter pages

A 5 minute sample of the audio version, read by Denice Stradling

Flashback: When Roosevelt Island Was Blackwell’s Island


Ten Days in a Madhouse, by Bill De Main – about Nellie Bly’s 1887 undercover commitment to Blackwell’s

Some of Bly’s report is available here

Some of Bly’s report is available here

An intro to Nelly Bly on PBS

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Filed under Fantasy, Fiction, Historical Fiction, Literary Fiction

Mr Mercedes by Stephen King

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Every religion lies. Every moral precept is a delusion. Even the stars are a mirage. The truth is darkness, and the only thing that matters is making a statement before one enters it. Cutting the skin of the world and leaving a scar. That’s all history is, after all: scar tissue.

Detective Bill Hodges is 62, overweight, divorced and retired. He lives alone and has an uncomfortably familiar relationship with his father’s pistol. The two spend long hours together in front of the tube, taking in the sort of Maury-Povich-mind-poison that is probably grown in basement vats to be sold to post-lobotomy viewers for the price of a gazillion commercials, disposable hours of a pointless life, and a willingness to cash in one’s remnant humanity for a permanent gig as a morality-blind multi-eyed sofa spud.

Hodges had been on the job when a particularly heinous crime had been committed, but was out before he could find the evil-doer. His pre-suicidal reverie is disturbed by the non-postal-service delivery of a printed message. The nut job who did the crime taunts Hodges for his failure, and encourages him to take his suicidal contemplation a step further. Fat chance.

As far as the term hard-boiled goes, I feel pretty comfortable applying it to eggs (cooked in water until the yolk is firm). As for hard-boiled fiction, there are probably as many different definitions as there are diverse sorts of egg-layers. So I will offer no litmus test here to measure whether Mr Mercedes satisfies a certain set of definitional criteria. Is it truly hard-boiled or not? Is it truly noir-ish or not? To which I can only reply. Sorry dear, did you say something? Could you pass the bourbon, please. There are many sub-categories of the mystery genre, 14 of which are noted for your pleasure on the web site of the Seattle Mystery Bookshop. And I am certain that Mr Mercedes fits nicely into one of them. But whether you prefer your mystery tales hard-boiled, soft-boiled, poached, scrambled, fried or over-easy, the one thing that counts here is the chef author. Whatever he does with and to the genre, Stephen King will take you for a ride that includes at least a bit and maybe more than a bit of a scare. And scary is scary whether the source is a haunted house, a psycho alien clown or a very sick puppy.

Said sick puppy opens this story by driving the large Mercedes of the title directly into a crowd of the hopeful and desperate at a job fair in an unnamed Midwest town, killing eight and seriously injuring over a dozen more. (King talks about the genesis of this scene here, in a video clip from TV station WABI in Maine.) Not a recreational activity most of us might indulge in, but for Brady Harstfield murdering and maiming constitutes good times. He makes ends meet as a house-calling IT guy. His second job is as an ice-cream vendor. And, while it is fun to see Brady in his white truck gig, it did feel rather forced. If you are expecting Raymond Chandler here, or Dashiell Hammett, you will have to holster your expectations. There will be no trying-to-figure-out-whodunit in this story. The looney tunes with the diminished conscience and enlarged mommy issues is presented straight away as our psycho-killer. So, more Columbo than Marlowe. The trail we follow is in how the goodies discover and find their way to the baddie.

Erstwhile Detective Hodges takes the lead. King spends some time with introductions, as Mr Mercedes is the first of a planned trilogy. So we get to know a bit about him and his partners in anti-crime. Jerome Robinson is 17, black, 6’5”, a computer whiz, within reason, and Ivy League bound. He has been doing some lawn work and occasional IT assistance for Hodges, and is the closest thing the old guy has to a friend. Holly Gibney, 44, has issues, having spent a few sessions in institutions for the very nervous. She is a cousin to the late owner of the Mercedes that was used in the carnage. Hodges met her as he looked into the death of her cuz. Her mother Charlotte is an awful human being, controlling, greedy, and incapable of seeing Holly’s better qualities. She has some, intelligence and tenacity being high on that list. This oddball trio (the Harper Road Irregulars?) work the case, without, of course, involving the police any more than absolutely necessary. I found them extremely engaging. Jerome is probably too perfect, and Holly may be a bit too twitchy, but they are fun to follow.

King shows his playfulness with the genre, whatever genre it actually is. Of course, Hodges is just a retired detective not a PI, but when Holly’s aunt, Janelle Patterson, (named, surely, for a certain author King has called “a terrible writer”) hires him he takes a step in the genre direction. (I have vowed not to make any jejune comments regarding private dicks) Janelle even buys him what she calls a Philip Marlowe fedora. Janelle is, of course, the mandatory femme fatale, but if so, she is on the light side, lacking some of the attributes normally associated with that type. Could Hodges’ Harper Road address be a nod to Ross McDonald’s Lew Harper? The baddie references several cop dramas, NYPD Blue, Homicide, and The Wire, for example. Luther and Prime Suspect are noted as well, in a disparaging way. Mentions of Wambaugh and Grisham appear, and King double dips by naming a records department cop Marlo. There are undoubtedly many more, but those are the ones that jumped out at me.

King lets us look over Brady’s shoulder as well as over Hodges’, and tosses in some third-party views as well. Parenthood comes in for a difficult time. Only Jerome, of all the major, or even secondary characters, has a decent parent-child relationship with his actual family. Of course bubby family life is not exactly a staple of detective fiction, so that fits well enough.

Madness is the doorway that writers step through when they want to introduce a bit of fantasy to an otherwise real-world scenario. And SK simply could not help himself. Mr Mercedes is most definitely a non-fantasy novel, but there are a few (really, only a few) moments when familiar King woo-woo material appears. It will be interesting to see if this is a recurring feature in his trilogy or if SK can stay on the non-fantasy wagon for the entire ride.

So what’s the bottom line here? Stephen King cranks out novels, it seems, like Hershey produces kisses. They are all tasty and appealing, but there is a definite sameness to the product. King can draw readers in. He offers engaging characters, and understands the mechanics of tension and release as well as any living writer. Put a red wrapper on it and it remains a tasty treat. Blue? Same deal. I bet if King wanted to write a historical romance it would have engaging characters, some danger, some resolution. It would pull you in and hold on like a succubus (no, not public transportation through a red-light district) or like a succubus on a private dick. Sorry, I just could not stop myself. But at least I put the offending material under a spoiler tag, so that makes it ok, right? or, in this case, a femme fatale. I thought the anti-religion musing in which the killer indulges seemed like an interesting theme to explore further, but it seemed to fade.

You will rip through Mr Mercedes faster than the posted limit. There are some scary moments as you careen through, and you will care whether this one or that one comes to a bad end. Some do, some don’t. It is probably a good thing that King is looking to write things other than straight-up horror. He has to amuse himself somehow, keep those possessed typing fingers of his out of trouble. But overall, while Mr Mercedes will get you from here to there and show you a thing or two along the way, it felt a lot more like basic transportation than a true luxury ride.

Posted – 1/3/15

Published June 3, 2014

=======================================EXTRA STUFF

Here is SK’s site and FB page

Otto Penzler has nifty description of what constitutes hard-boiled fiction

A few other King Family items I have reviewed
by Stephen King
The Shining
Doctor Sleep
Under the Dome
Duma Key
Lisey’s Story
Revival

by Joe Hill
NOS4A2
20th Century Ghosts
Heart-Shaped Box

A Gif of the UK cover is cute, but I thought it too distracting to include above

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Filed under Fiction, Horror, Noir

All the Light We Cannot See by Anthony Doerr

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The brain is locked in total darkness of course, children, says the voice. It floats in a clear liquid inside the skull, never in the light. And yet the world it constructs in the mind is full of light. It brims with color and movement. So how, children, does the brain, which lives without a spark of light, build for us a world full of light?

Marie Laure LeBlanc is a teen who had gone blind at age 6. She and her father, Daniel, fled Paris ahead of the German invasion, arriving in the ancient walled port city of Saint Malo in northwest France to stay with M-L’s great uncle, Etienne. His PTSD from WW I had kept him indoors for two decades. They bring with them a large and infamous diamond, to save it from the Nazis. Daniel had made a scale model of their neighborhood in Paris to help young Marie Laure learn her away around, and repeats the project in Saint Malo, which is eventually occupied by the German army.

Werner and Jutta Pfennig are raised in a German orphanage after their father is killed in the local mine. Werner has a gift for electronics, and is sent to a special school where, despite the many horrors of the experience, his talent is nurtured. He develops technology for locating radio sources, and is rushed into the Wehrmacht to apply his skill in the war. His assignment brings him to Saint Malo, where his path and Marie Laure’s intersect.

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Anthony Doerr

There are three primary time streams here, 1944 as the Allies are assaulting the German-held town, 1940-44, as we follow the progress of Werner and Marie Laure to their intersection, and the 1930s. We see the boy and the girl as children, and are presented with mirrored events in their young lives that will define in large measure the years to follow. Werner and Jutta are mesmerized by a French radio broadcast, a respite from the anti-Semitic propaganda the government is broadcasting. The Professor in the French broadcast offers lectures on science, and inspires Werner to dream of a life beyond the orphanage.

Open your eyes, concluded the man, and see what you can with them before they close forever, and then a piano comes on, playing a lonely song that sounds to Werner like a golden boat traveling a dark river, a progression of harmonies that transfigures Zollverein: the houses turned to mist, the mines filled in, the smokestacks fallen, an ancient sea spilling through the streets, and the air streaming with possibility.

As her father is the head locksmith for the National Museum of Natural History in Paris, Marie Laure has the run of the place. She spends a lot of time with a professor there, learning everything she can about shells, mollusks and snails.

Dr. Geffard teaches her the names of shells–Lambis lambis, Cypraea moneta, Lophiotoma acuta–and lets her feel the spines and apertures and whorls of each in turn. He explains the branches of marine evolution and the sequences of the geologic periods; on her best days, she glimpses the limitless span of millennia behind her: millions of years, tens of millions of years.

Both Werner and Marie Laure are enriched by teachers and books as they grow. No nuclear families here. Marie Laure’s mother died in childbirth. The Pfennig children lost their remaining parent when father was killed in the mine.

The author, in a video on his site, talks about the three pieces of inspiration that provided the superstructure for the novel. While 80 feet below ground in a NYC subway, a fellow passenger was griping about the loss of cell service. Doerr appreciates the beautiful miracle that is modern communications. At the start of the book I wanted to try to capture the magic of hearing the voice of a stranger in a little device in your home because for the history of humanity, that was a strange thing. I started with a boy trapped somewhere and a girl reading a story. A year later he was on a book tour in France and saw Saint Malo for the first time. Walking around this beautiful seaside town, a walled fortress, the beautiful channel, the green water of the channel breaking against the walls and I told my editor, “look how old this is. This medieval town’s so pretty.” He said, “actually, this town was almost entirely destroyed in 1944, by your country, by American bombs.” So I started researching a lot about the city of Saint Malo immediately and knew that was the setting. That was where the boy would be trapped, listening to the radio. The third piece arrived when Doerr learned that when the Germans invaded, the French hid not only their artistic treasures but their important natural history and gemological holdings as well.

The story is told primarily in alternating Marie Laure’s and Werner’s experiences. But there is a third stream as well, that of Sgt Major Reinhold von Rumpel, a gem appraiser drafted by the Reich to examine the jewels captured by the military and collect the best for a special collection. He becomes obsessed with finding the Sea of Flames, the near mythic diamond Daniel LeBlanc had hidden away. He is pretty much the prototypical evil Nazi, completely corrupt, greedy, cruel, as close to a stick-figure characterization as there is in the book. But his evil-doing provides the danger needed to move the story forward.

There may not be words sufficient to exclaim just how magnificent an accomplishment this book is. Amazing, spectacular, incredible, moving, engaging, emotional, gripping, celestial, soulful, and bloody fracking brilliant might give some indication. There is so much going on here. One can read it for the story alone and come away satisfied. But there is such amazing craft on display that the book rewards a closer reading. In addition to a deft application of mirroring in the experiences of Werner and Marie Laure, Doerr brings a poet’s sense of imagery and magic.

Marie-Laure’s experience of the world is filled with shell, snail, and mollusk experiences and references. Some are simple. During a time of intense stress, she must live like the snails, moment to moment, centimeter to centimeter. In a moment of hopeful reflection, these tiny wet beings straining calcium from the water and spinning it into polished dreams on their backs—it is enough. More than enough. You will find many more scattered about like you-know-what on a beach.

I knew early on that I wanted her to be interested in shells. I’m standing here at the ocean right now. I’ve always been so interested in both the visual beauty of mollusks and the tactile feel of them. As a kid, I collected them all the time. That really imbued both “The Shell Collector” and Marie with, Why does the natural world bother to be so beautiful? For me, that’s really embodied in seashells. I knew early on that I wanted her to find a path to pursue her interest in shells. I think that fits — I hope that fits — with visual impairment, using your fingers to identify them and admire them. – from the Powell’s review

Werner’s snowy white hair alone might stand in for the entirety of the visible spectrum. (although it is described as “a color that is the absence of color.”) The dreaded prospect of being forced to work in the mines in a literally coal-black environment, the very antithesis of light, offers motivation for Werner to find another path, and coal itself offers a balance for that other form of carbon that drives Marie Laure’s father out of Paris, the one that embodies light. While black and white are often used in describing Werner’s environment, the broader spectrum figures large in his descriptions.

Werner liked to crouch in his dormer and imagine radio waves like mile-long harp strings, bending and vibrating over Zollverein, flying through forests, through cities, through walls. At midnight he and Jutta prowl the ionosphere, searching for that lavish, penetrating voice. When they find it, Werner feels as if he has been launched into a different existence, a secret place where great discoveries are possible, where an orphan from a coal town can solve some vital mystery hidden in the physical world.

A nice additional touch is Marie Laure’s reading of 20,000 Leagues Under the Sea. It permeates the tale as her reading echoes events and tensions in the real world of the story.

Also avian imagery is a frequent, soulful presence. A particularly moving moment is when a damaged character is reminded of a long-lost friend (or maybe a long-remembered fear?) by the presence of a particular bird associated with that friend and the time when they knew each other.

There are substantive issues addressed in this National Book Award finalist. Moral choices must be made about how to respond when darkness seeks to extinguish the light. There are powerful instances in which different characters withdraw into their shells in response to evil, but others in which they rage against the night with their actions. Thoughtful characters question the morality of their actions, as dark-siders plunge into the moral abyss. Sometimes the plunge is steep and immediate, but for others it is made clear that innocence can be corrupted, bit by bit. The major characters, and a few of the secondary ones, are very well drawn. You will most definitely care what happens to them.

As for gripes, few and far between. There is a tendency at times to tell rather than show. Marie Laure may be too good. That’s about it. There are sure to be some who find this story too emotional. I am not among them.

Just as Werner perceives or imagines he perceives an invisible world of radiowaves, All the Light We Cannot See enriches the reader with a spectrum of imagery, of meaning, of feeling. You may need eyes to read the page, ears to hear if listening to an audio version, or sensitive, educated fingers to read a Braille volume (please tell me this book has been published in Braille), but the waves with which Doerr has constructed his masterwork will permeate your reading experience. They may not be entirely apparent to your senses the first time you read this book. They are there. Whether you see, hear or touch them, or miss them entirely, they are there, and they will fill you. All the Light We Cannot See is a dazzling novel. When you read it, you will see.

======================================EXTRA STUFF

Links to the author’s personal, and FB pages

Definitely check out Doerr’s site. And if you are wondering what he had in mind, specifically, with the title:

It’s a reference first and foremost to all the light we literally cannot see: that is, the wavelengths of the electromagnetic spectrum that are beyond the ability of human eyes to detect (radio waves, of course, being the most relevant). It’s also a metaphorical suggestion that there are countless invisible stories still buried within World War II — that stories of ordinary children, for example, are a kind of light we do not typically see. Ultimately, the title is intended as a suggestion that we spend too much time focused on only a small slice of the spectrum of possibility. – from Doerr’s site

Interview by Jill Owens for Powell’s

Twenty Thousand Leagues Under the Sea for free on Project Gutenberg

Here’s the wiki page for Saint Malo

An interesting article on the damage done to Saint Malo in the 1944 battle

A page on the surrender of Saint Malo, from the site World War II Today
World War II Today

Here is a link to a nice, large panoramic shot of modern Saint Malo, far too wide to include here

2/11/2015 – The long list was announced today for The Andrew Carnegie Medals for Excellence in Fiction and NonFiction and All The Light We Cannot See was on it.

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Filed under Fiction, Literary Fiction

Finding Jake by Bryan Reardon

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Life is kind of like that, picking the memories you want to frame. We all have an idea of how it should be, all smiles and swing sets. There are the more unsavory moments that we leave in the box stashed up in the darker parts of our psyche. We know they exist but we don’t go flaunting them in front of the dinner guests.

There are three main elements in Finding Jake, the parent/child relationship, the way the world treats those who are different, and the mystery of what happened leading up to, during and after the central event of the story.

Simon Connolly is a former political operative. He works as a writer, but took on the additional, stay-at-home, role when he and his wife, Rachel, had their first child. He is pretty good at it, if a bit of a worrier. When he gets a text from his kids’ school he is rocked to his core. There has been a shooting.

For the first two thirds, the story is divided fairly equally between following the events, post-shooting, as they emerge, Simon and Rachel’s torment in trying to find out what happened to their son and what he might have done or suffered, and Simon recalling the years from Jake’s birth. The final third is about the post-shooting events, searching for Jake and the truth. We see everything through Simon’s eyes.

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Bryan Reardon

Ever wonder if you screwed up your kid? Allowed too much? Too little? Encouraged too much? Too little? Spent enough time with them? Maybe too much? Encouraged them to experience the world too much, not enough? What if they followed your advice and it all went wrong? What if they ignored you and it went right? Where is that Goldilocks perfect middle? We can probably all look back over the lives of our children and second-guess our parenting decisions, our approaches. Will our kids turn out ok? Could they have turned out better? Are we good parents or did we mess it up? Another element in this vein is wondering how well you know your own child. How well can you? Welcome to Simon’s head. I do not want to give the impression that Simon is a sort of Woody Allen neurotic. He is not. He is a regular guy, a loving father, but when he learns that a troubled friend of his son is implicated in the shooting, there is plenty of self-questioning to be done.

How responsible are we for the behavior of our children, for their fate? How much is nurture and how much nature? As the father of three grown children I could certainly relate to Simon’s concerns. While I was only a stay-at-home dad for a fairly brief time, I could certainly appreciate the awkwardness he feels being a male homemaker. It is one of many elements in this book that is convincingly and accurately portrayed. I can also report, from personal experience, that my three arrived with very definite personalities. Not a blank slate in the bunch. We parents certainly can have an impact, but our progeny arrive with their own capacities and predilections. And they most definitely keep their own secrets. Simon not knowing everything about Jake’s life is 100% believable.

Reardon shows us snapshots of Jake’s life over the 18 years from in vitro to missing teen. Not exactly the most social kid, on the quiet side, but not to an extreme degree. Simon is concerned about Jake having a dodgy friend at age 8. Later, he encourages Jake to spend time with other kids. In this family photo album we see Simon and Rachel’s relationship change over time as well. Tensions, and some bright moments for them, too.

The back third of the book offers what seemed to me a pretty accurate look at how one’s neighbors are likely to respond in a pressured situation, (so many throwers, so few buses) and how the voracious media feeds on and produces fear. How many times have you seen a neighbor interviewed on the tube report that so-and-so, a known or suspected shooter, was a “quiet” person. We have acquired a sense, as a culture, that there is something wrong with people who are “quiet,” introspective, not party animals. Was Jake responsible for the shooting? Well, he was quiet, not particularly social, so what do you expect? Whether he is or isn’t, it is his social distance that is considered the tell. And what of Jake’s dad? He did not exactly fit in either. Maybe the quiet apple does not fall far from the tree.

To a large extent humans are pack animals. Queen bees and bullies do their best to cull pack members who look or act differently. Our media is more than happy to pile on, as professional practitioners of the blame game, and our institutions seem unable to control predatory behavior by the ins. Maybe they are not really all that interested in controlling it. Sometimes there is blowback.

they need to be able to explain it away. That’s what all this is about. If they can’t categorize what happened, put it in a nice, neat box, they can’t sleep at night…I’ve done it before. Now I see how awful it can be, though. It’s like they want to pick at us until we are bare, exposed, just to make themselves feel better. They dissect our pain just so they can convince themselves they are immune to it. It is like someone suffering a horrible disease and finding someone who is worse off than they are and asking them, Why? Why are you worse off than me? How is your situation different from mine? Tell me, so I can go home feeling better as you stay here and die.

Reardon does not offer in-depth analysis of Columbine-type child shooter(s). That is not what this is about. But Finding Jake does cover a range of subjects, parental responsibility, the social environment, signs of trouble, making moral choices, media amorality, police presumptuousness, neighborly selfishness. You will not find dazzling poetic prose here. The language is straightforward and entirely effective. It is about the story and underlying content, and not the form. You will definitely feel for Simon as a sort of everyman caught in a bad situation. He is honorable, intelligent and analytical, but is still fraught with the fears and doubts that anyone in his position might experience. If you are a parent, Finding Jake will touch a very deep place inside you. If you are not a parent, it will give you at least a taste of what it means to be one.

The author writes from experience about Simon’s life, and his fretting.

I’ve spent the last decade working from home while caring for my kids. I worry about them every day. Much of that angst fueled the writing of this book.

Like Simon (the name of the Reardon family pooch, btw) Reardon is also a writer and former political worker. He specializes in medical communications.

I had a couple of gripes about the book. Simon’s wife behaves on two occasions in a way that I found difficult to accept. And the final chapter seemed unnecessary. Too much leading readers by the hand.

Other than that, though, this is both a moving and a riveting novel. Once you begin reading you will not want to stop. Finding Jake is most definitely a book that is worth looking for.

Review posted – 10/30/14
Pub date – 2/24/15

=======================================EXTRA STUFF

The author does not, at present, maintain much of an on-line presence. I would not be surprised if this changes a bit as the publication date nears. When/if I encounter new info, I will add it.

His previous work includes Ready, Set, Play!, a collection of essays on parent-child bonding through sports, and Cruel Harvest, a memoir about a battered childhood.

For an excellent look at the UR school shooting or our age, I heartily recommend Dave Cullen’s Columbine

11/14/14 – A New York Times article about Stay-At-Home dads

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The Harder They Come – T.C. Boyle

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Here was guilt. Here was the shit of the world coming home to roost right here in the redwoods.

There is a part of the American mind that has been off its meds for a very long time. There are some fine specimens of the syndrome tramping through the landscape in TC Boyle’s latest novel, The Harder They Come. Sara Hovart Jennings, 40, divorced, lives with her dog and her paranoia.

Was she wearing her seatbelt? No, she wasn’t, and she was never going to wear it either. Seatbelt laws were just another contrivance of the U.S. Illegitimate Government of America the corporate that had had given up the gold standard back in 1933 and pledged its citizens as collateral so it could borrow and keep on borrowing. But she wasn’t a citizen of the U.S.I.G.A, she was a sovereign citizen, a U.S. national, born and raised, and she didn’t now and never would again acknowledge anybody’s illegitimate authority over her.

She makes a living helping take care of horses and other animals on the northern California coast. Sara is more a garden-variety crank than a certifiable one.

There was talk on the radio, but it was mainly left-wing Communist crap-NPR, and how was it their signal was stronger than anybody else’s?

Adam Stensen is more the latter sort, mid 20s, hitchhiking, late of a local institution for the very nervous. Sara picks him up. Adam has issues. His grasp on reality is less than firm. He calls himself Colter, for John Colter, of the Lewis and Clark Expedition, considered by many the first mountain man. The border between Adam’s reality as Adam and his reality as Colter is way too permeable.

Sten Stensen, 70, a Viet Nam veteran and retired school principal offers an example of the traditional Protestant work ethic.

He’d been up early all his life and though everybody said the best thing about retirement was sleeping in, he just couldn’t feature it. If he found himself in bed later than six, he felt like a degenerate, and he supposed he could thank his mother for that. And his father. The work ethic—once you had it, once it had been implanted in you, how could you shake it? Why would you want to?

He and his wife, Carolee, were on a group tour in Costa Rica. The bus driver who drove them to a remote location may or may not have been in on it, but after getting off the bus the group is accosted by several armed men and robbed of their possessions. At least that was the plan. Sten, away from the group when the action begins, gets the drop on a gun-toting bandit and kills him. The other robbers flee. Sten returns home a hero. Sten was raised with a good dose of the American work ethic.

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T.C. Boyle – from his site

Boyle’s northern California is a place living in fear, of BIG government, of Mexican drug runners and drug growers, of foreigners. That fear plays a big part in the story of Adam’s surrender to madness. Violence plays a huge role as well. The story of Adam/Colter’s descent is a gripping, moving, and frightening one. But, as in most good stories, there is another layer. Boyle opens the book with a quote from D.H. Lawrence

The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted.

Boyle has been looking at that soul for a while. His vision of it remains interesting. It is not a pretty sight. In straight narrative sections he gives us an up close and personal look at the historical Colter contending with existential 19th century threats. America was a challenging environment, whether for its early residents enduring a European invasion or for explorers taking on the risk of encountering actual hostiles in parts of the continent that were not under European/American rule. Of course, like so much of history, American and other, the details can be lost over time while the idealized image remains. See, for example, Supreme Court justices basing decisions on mythical, lumped-together, founders, while the fact is that those founders were a contentious lot who disagreed about most things. History as fantasy is as rich a seam in the American lode as is violence. Adam has fixated on one such fantasy, glorifying hardship. As a result he cannot reconcile his image of the archetypal independent mountain man with the fact that Colter actually returned to civilization after six years away and settled down. Adam, like much of America, has failed to learn from the lessons of the past.

Sten’s actions in Costa Rica, justified or not, echo his, and his country’s, army experience in Viet Nam, Americans in the jungle, killing natives. Boyle is known for his satire and Sara is nothing if not an exaggeration (hopefully) of an extreme segment of the national psychosis. At least she is not out shooting people. Adam, before diving even farther off the deep end, built a wall around the place where he was living, his grandmother’s home. He does not even build a door to allow entry and exit. It is hard not to smile at this concrete manifestation of isolationism. He sees hostiles everywhere, which is merely aberrant when he is going about his business, but manifestly dangerous when his paranoia combines with automatic weapons. (Think Ditto-heads with Glocks, or stand-your-ground vigilantes in Florida)

The notion of invasion is considered. The original Colter was nothing if not an invader of Native American land. The US invaded Viet Nam, and most Meso-American countries, among other places. The American tourists in Costa Rica might be considered invaders of a sort. But the tables are turned as Mexicans are seen as invaders of American territory. A local couple run a reserve for non-native endangered species, another sort of invasion, perhaps.

The general terrain is one Boyle knows, a not-long drive from his residence in Santa Barbara. There’s plenty of crazy up in them thar hills.

One of the things that dogs Boyle’s writing it that it is tough to relate to many of his characters. The same applies here. If you are hard-core, biochemically delusional you may relate to Adam. The rest of us are mostly limited to observing him. Despite her quirks, Sara is actually an appealing character and we don’t want to see her come to harm. She is more crazy-aunt nuts than Adam’s more virulent form. She seems to have a good heart.

The satire and attempt to understand the American psyche may be major elements in Boyle’s oeuvre, and they are present here in abundance, but if the story is not engaging, it all goes for naught. Happily, Boyle does know how to engage readers and keep his story rumbling through. There is certainly some fun in the satirical elements but there is also considerable action throughout. The tale moves quickly. You will definitely not be bored.

I have no idea of the title of the book was meant to reference Jimmy Cliff beyond a bit of weed in common.

I have read only a small sample of Boyle’s body of work. Budding Prospects, When the Killing’s Done, probably a short story collection, so I cannot really place this among his works for a compare and contrast. I do believe it is a better book than WTKD. I was reminded of a 2014 book that also looked at an extreme national element, Fourth of July Creek, but while their subject matter intersects, they are very different stories.

So, bottom line, an interesting tale, well told and with some perspective on larger issues. What’s not to like?

=======================================EXTRA STUFF
In a piece on Boyle in The Guardian the author talks about his relationship with the digital world.

I’m not on Twitter or Facebook. My website contains my blog going back 13 years. It requires a good deal of my attention and serves the purpose of Twitter and Facebook for me as far as connecting with and providing information to the public. I like to disconnect and experience life outside the electronic media and other machines that control and limit our lives. I like to go out into nature, whether here at home where I am a short walk from the beach and a longer one to the mountains that frame Santa Barbara, or up in the Sequoia National Forest, where I spend several months a year, beyond the reach of cable, email and the internet. What I’m talking about is unplugging and enjoying some contemplative time, sitting by a waterfall deep in the woods with a book and the sights and scents of nature. I think people are “deep reading” less these days and it concerns me. We are so distracted that we’ve lost the habit of being idle. How can you engage with a novel if you’re plugged in constantly?

Thomas John Boyle changed his middle name to “Coraghessan” when he was 17, a nod to his Irish heritage and away from the less interesting middle name he had been given at birth. He stopped using it years ago and is now TC on his books, and Tom to friends.

Here is a nice piece on Boyle from the Encyclopedia of World Biography Encyclopedia of World Biography

An interview in the Paris Review

A wiki on the Redemption Theory that Sara is so taken with

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Filed under Fiction, Historical Fiction, Literary Fiction, Reviews

Welcome to Braggsville by T. Geronimo Johnson

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…nothing was as it seemed

On learning that the southern member of their group hails from a place that stages an annual Civil War re-enactment, one with a heavy Confederate tilt, four UC Berkeley sophomores decide to engage in a bit of political theater and protest the event by staging a mock lynching. What could possibly go wrong?

A boy from the deep South who opts to pass on taking up shooting is likely to feel just a bit like an outsider in his small hometown.

…when young he had admired their sarcasm and sharp wit, his older female cousins—the misanthrope, the pyromaniac, and the exhibitionist—all obviously hated their lives, lives that would never recover the hope of their youth, lives now defined by their status as old maids, though barely thirty. They were stuck here, and the finality of that sentence pained him. It was impossible to have a conversation with one of them and not feel like he was addressing a ghost.

What’s in a name? D’Aron Davenport has them by the bushel. Not just the ones he was tagged with at birth, but the stream of names that attached to him through his brief life. Some of them celebrate achievement, some mark him as an outcast, some poke fun, and some offer respect. Some tell his history, and some hold a promise for the future. Many of these names will find their way back to D’Aron over the course of the story as he struggles to define himself in places where others seem intent on doing that for him. He would like to make a name for himself someplace other than Braggsville, Georgia. On graduating from high school, he gets as far away as he can.

There are some pretty funny scenes in Welcome to Braggsville. A symbol of the cluelessness of the place he desperately wants to leave behind, a classmate, after D’Aron delivers his valedictory, misunderstanding a Latin phrase from D’Aron’s speech, congratulates him on his engagement. In his second semester at UC Berkeley, or Berzerkeley, (Johnson teaches there, so he knows of what he writes) as it is actually known, he attends a dot party (wear a dot where you want to be touched). Apparently the location he selects for his dot is deemed politically incorrect and he is shown the door by self-righteous alphas. He is not alone in his choice of dot location. The insight-free hosts have made three other attendees feel as welcome as Larry Kroger and Kent Dorfman at Omega Theta Pi, and a bond is forged. They call themselves “The 4 Little Indians.”

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T. Geronimo Johnson

Charlie, a black from Chicago, has the physique of an athlete. Candice is a naïve, over-confident Iowa blonde, who professes Native American heritage. I couldn’t help picturing young Gwyneth Paltrow. Louis Chang, a Californian who exudes comedy and thinks of himself as a “kung fu comedian” will make you laugh. What kind of southern white boy can D’Aron be that he feels so drawn to the scary Gully, (the wrong side of the tracks at home) and did not see all the darkness around him in the safe side of town? How is it that D’Aron finds that he feels quite comfortable with black people, while feeling more and more alienated from his lighter complexioned peers in B-ville? At Berkeley, he has a stunningly beautiful bonding experience with a black counselor. Where does he fit in? Charlie has issues of a different sort that keep him from feeling too close to his peers as well.

A class called “American History X, Y, and Z: Alternative Perspectives” sparks the crew to action. After a failed attempt at making a political statement of outrage about the University’s treatment of Ishi, presumably the last wild Indian in America, at a Six Flags Amusement Park, a hilarious failure, the group settles on their larger, and more provocative project.

There is a lot more going on here than comedy. An outsider theme applies not only to these four as students at Berzerkely, but for them in other venues as well. Louis is not exactly heading in a career direction his family would sanction. Charlie is not exactly what he appears. And Candice may not exactly be in a comfort zone with her family either.

she’d once admitted that her family wasn’t close; that her father expressed a greater affinity for moths and fruit liqueurs and her mother a keen interest in civil rights. She dubbed them emotionally abusive.

Johnson extends the outsider notion to larger structures as well. D’Aron may be a fish out of water in Braggsville, but what of the residents of the Gully? An entire community that is not allowed much opportunity to get near the water, let alone jump in. You can guess the complexion involved.

Johnson has a bit of fun with how the media and political opportunists take advantage of the uproar in Braggsville. You will recognize the types of players involved, and appreciate the deft hand used in painting them in their true colors.

He also takes liberties with form. The introduction of D’Aron and all his names is inspired. He also includes a sort-of term paper as it might have been written by the four in which barbecue stands in for racism, an extended footnote that comprises Louis’s take on things, and other literary liberties as well. There is a freedom in this approach that is surprising in a good way and invigorating, reminding one of the creativity shown in A Visit from the Goon Squad.

Johnson is focusing his literary microscope on preconceptions, left and right, and then looking past the visual to what lies beneath. The political correctness of liberal mecca UC Berkeley comes in for some sharp edges. As does the yahoo-ism of back-water Georgia. What Johnson brings to this impressive novel is his ability to look past that outer layer of knee-jerk satire. What one sees here is not uni-colored. There is also sensitivity to what compromises good people must make to survive in an alien environment, and there is nuance, even to the awfulness.

In a large way this is a coming of age story for the group of friends, D’Aron most of all, and as such it works quite well, as D’Aron sees so much more than he had known was right in front of him. He gets to see how the real world operates and it changes him.

Johnson uses some interludes to offer a bit of history on slavery in Georgia. I was surprised at some of this. I expect you will be as well. An observation of race is one of the many strong seams in this marbled look at America today. Parenting, whether by parents or other adults figures large as well. Even concepts like what constitutes tragedy are given a look.

There are astute observations on a host of things. Here are a couple of samples:

Every organization, every single one, Daron worries himself, orchestrates a silent competition with the church; they want not employees but practitioners, apostles, acolytes—not workers, but worshippers. Between this observation and his reflections on school, he concludes that everyone advertises for the mind but expects you to bring the soul.

or

Did his parents also look at each other with resentment born of intimacy; did they want more than anything else to reach out to each other, to close cold space; did they say things to hurt each other first intentionally and then again, accidentally, even without meaning to, in the midst of apologizing? Did they inventory their intimacies? How did you look at someone and care so much for them and hate them at the same time, be so angry that you didn’t even trust yourself to have a valid emotion, so angry it couldn’t be real?

Links are drawn between the treatment of Native Americans and interned Japanese during World War II, between lynching of the traditional sort and a later day electronic equivalent, between anchors that ground one and those that keep you from moving, between being in one’s social bubble, and being in the world.

Start your 2015 top ten list here. Welcome to Braggsville is a stunning achievement. I was reminded not only of last year’s wonderful Billy Lynn’s Long Half-Time Walk for its brilliant and sensitive social observation, but also of Skippy Dies, one of my all-time favorite books, for its humor and warmth. It applies a sharp, satiric scalpel to diverse targets, but also peels back surfaces to reveal complication and humanity. D’Aron is a wonderfully realized lead, thoughtful, decent, engaging, struggling to find his place in various hostile universes. Eager to do right. This is a book that has at its core a racial tension, but there is so much more going on here. Head on over to Braggsville, pull up a chair, load a plate up with some barbecue, pop a cold one, and set a spell. Maybe talk to someone who is nothing at all like you. You will find your visit very filling indeed.

Review Posted – 10/3/14

Publication Date – 2/17/14

==================================EXTRA STUFF

Links to the author’s personal, Twitter and FB pages

While the above links were live at the time I posted this, they are not all that current. I would expect that as publication date approaches Johnson will do some updating.

Johnson wrote a wonderful Behind the Book essay for Braggsville. It is definitely worth checking out.

An interesting interview with the author on the site of the publisher of his first book, Coffee House Press

Another fascinating interview, from a couple of years ago, on ZingMagazine.com

And yet another interview, this one at Late Night Library

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Sometimes the Wolf by Urban Waite

book cover Ok, I have to offer a sort-of anti-spoiler right up front. Sometimes the Wolf is a sequel to Waite’s first novel, The Terror of Living, but I have not read the earlier book, so cannot really bring to the table a familiarity with the characters who appear in both books. Nor can I comment on continuity of setting, theme or imagery. So I feel at a disadvantage. On the other hand, I am forced to look at StW as a stand-alone work, which may be a good thing, as most of us human sorts do read books one at a time. Just lettin’ ya know.

Bobby Drake is a deputy Sheriff in Silver Lake, Washington. There is an apple orchard in the backyard of the home he shares with his wife, Sheri. The home that used to belong to his father, Patrick, a former local police chief, who was sent away for 12 years for smuggling drugs. The orchard is no longer harvested. This is no Eden. Patrick is being released.

You might think this would be a happy occasion, but Bobby had to sacrifice a lot when his father was sent up, and hangs on to his resentment like a cocked gun. A DEA sort by name of Frank Driscoll does not think Patrick should ever have been let out, and makes it his business to keep his canines well lodged in Patrick’s case. Seems two federal agents lost their lives a dozen years back, and Driscoll knows in his bones that Patrick is responsible, evidence or no evidence. He also seems as flush with available time as Special Agent Dale Cooper. And add in two baddies, who leave a trail of bodies in their rear-view. (I was reminded of Mr. Wint and Mister Kidd of Diamonds are Forever, or, even more, of Steve Buscemi and Peter Stormare in Fargo) in their quest for the usual, hidden cash. I imagine a sign – Welcome to Silver Lake – Population: declining. Like Ray Lamar, the returning prodigal in Waite’s last novel, The Carrion Birds, Patrick espouses a desire to just move on with his life. Fat chance.

The father-son theme gets a boost from the addition of a third generation, with Patrick’s father, Drake’s grandfather, Morgan, joining the scene. He is a tough and interesting old coot and you can see some of him in his progeny.

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Urban Waite – from his site

Waite tosses in a couple of females, one of whom figures in the story meaningfully, but this is very much a guy cast. The author is a fan of Cormac McCarthy and the red grimness of the environment here reflects what one might expect of McCarthy in a more southerly tale. In fact a whole “red in tooth and claw” notion is introduced early with a gutted deer and another new arrival to town, a literal lone wolf. Despite Waite having been raised in Seattle, and having attended college in Washington as well, it did not strike me particularly as a tale about the northwest. It seemed that it might have been as easily set in the southwest or northeast. But the locals do feel at home in their environment, and their sharp edges echo the woodsy chill of the region.

There are some items about the book that I felt could have been put to better use. The lone wolf is introduced immediately, but then does not reappear as an actual thing until near the end of the book. It would have been better, IMHO, to have reinforced the lone-wolf imagery at work here with a few more touches of the natural sort. A female Fish and Wildlife Service agent is also introduced early, with hints of a potential special connection to Drake, and is then disappeared, along with the wolf, until near the end. More could certainly have been made of that character. I cannot speak to Terror of Living, but his previous novel, The Carrion Birds seemed somehow heftier, like there was more going on thematically, which may or may not matter to you. Of course I projected more into that book than the author actually put there, and may be doing the same here. I was looking for wolfy elements, given the title. False threats yielding to a real one, crying wolf. But that did not seem present. There was, however, some fun with Little Red Riding Hood material as a dark sort stalks some prey.

He balanced the two coffees in the claw of his upturned palm

My, what large hands you have. And

His hair was slicked back and the suit was too big on his thin bones.

suggesting, to me, anyway, someone of the lupine persuasion donning granny garb. Instead of having to go through the woods to get to grandma, it is grandpa here. But I could be making this all up. Take it for what it’s worth.

Family loyalty comes in for consideration here, as it did in Carrion Birds. How much loyalty does Drake owe the returning Patrick? What can he do when what his wife needs from him is at odds with what his father needs? And where is the line drawn between loyalty to family and community? Can one remain moral and help out a criminal?

The author keeps the action moving, switching between Patrick, Morgan, the dark duo, and Drake. Sometimes the Wolf qualifies as a page-turner. Waite can certainly spin a yarn. You will want to know what happens, and will feel enough for Drake, in particular, to care. I will definitely be reading whatever he comes out with next. Urban Waite is definitely a writer worth watching.

Review posted – 9/20/14

Publication date – 10/21/14

=======================================EXTRA STUFF

Links to the author’s personal, Google+ and FB pages

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Heraclix and Pomp by Forrest Aguirre

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…what were the origins of the many pieces of Heraclix? He was like a puzzle to himself, an unknown being or beings, self-aware, yet unaware of the individuals from whom he had been constructed.

Where do we come from? Of what are we made? Who are we? How did we get to be who we are? Can we change? In the case of Heraclix, of the title, all the above apply. H is a big guy. Think Shrek with a bit less green. Usually the golem is a clay creature, but H is more of a group effort, being comprised of parts, a Frankenstein monster with better (than the film) motor skills, and a makeover. Heraclix is riven, as so many of us are, with a complicated nature. His is more physical in it’s manifestation, though. With one arm in particular eager for action, he reminded me a bit of Doctor Strangelove . In a nifty opening, he breaks out of a womb-like vat of liquid (not the last birth event in the book), and does what any newborn might do. He reads everything he can get his paws on. Doesn’t know where the ability came from, but really, really wants to get a handle on his world, and comes across Daddy his maker’s porn private, and very disturbing, notes.

Mattatheus Mowler is not your garden variety sorcerer. Sure he’s a few hundred years old, and is educated enough to animate dead parts, among other nifty tricks, but the boy has some serious ambition, not to mention an issue with aging, and is not to be messed with. That brimstone aroma that may be wrinkling your nose emanates the Faustian bargain he has made. He has a client list that would be the envy of any K Street operative. Of course, evil, connected genius or not, he is still human, more or less, and makes mistakes enough to allow for an actual contest. Not exactly your ideal re-animator, (or would that be assembler?) as daddy dearest rains blows and other abuse down on Heraclix’s large frame with abandon. But one day MM brings a sweet young thing to the lab, in a jar.

Pomp is a pixie with moxie. She encourages H to stand up for himself, and overcome the self-loathing that accompanies his beatings. Mowler has dark plans for her of the sacrificial sort, but the plan flies to pieces, the premises succumbs to fire (always a risk when dealing with hellspawn), and a dynamic dimorphic duo is made.

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The author – please note the shooter on his sleeve

The motive force here is Heraclix trying to find out who he actually is. With information gleaned from Mowler’s premises, he and Pomp set off on a classic journey of self-discovery. They cover a fair piece of European landscape, beginning in Vienna, with stops in Prague, Istanbul, Budapest, and sundry locales in between. Along the way they pick up pieces of the puzzle, as in a video game, that lead them from place to place. The information is sometimes in the form of clues, in Mowler’s papers, say, or in writing along the side of a coin. More often it is in the form of stories told by Gypsies, Cossacks, wizards, an old man in an obscure town, sundry characters they encounter in their quest. As the pair travel, together and separately, they gain points knowledge.

Heraclix comes across as a likeable hulk. He has a pure heart (whomever it might once have belonged to) and is an honest seeker after truth. In trying to discover his true identity he learns a thing or two

…there was something in the quality of sorrow suffered at the hands of another that was different than the sorrow that one brought on others, whether through one’s own stupidity and neglect or by intentional acts of hatred. The latter carried the sharpest stings of guilt, regret, self-berating…

Pomp, while a very valuable partner, is not so much seeking truth herself as she is eager to help Heraclix. Hey, the big lug saved her, so she owes him. But she finds that she, as well, is challenged to consider her view of herself and the world.

Her life isn’t now about playing pranks all day every day. It isn’t about not caring. All this playing pranks and not caring isn’t fun any more. If she goes on like this, her life stays immortally, eternally…boring. Death is sad, but death makes life more worth living.

In addition to H&P there is a parallel story involving Holy Roman Empire royalty, a young lass, and a fair bit of intrigue.

There are some images and themes that run throughout. Birth is addressed multiple times, in both a biological and baptismal way. Heraclix is very clearly being born by breaking out of a watery enclosure in an early scene. There is what might be seen as a baptism by fire, and later in the book, he has what seems another aqueous bursting through or two. History figures large here. Pomp, when we meet her, has no notion of it, not understanding the concept of memory. Heraclix cannot remember anything and wants to find out who he is. The tale is told in a historical context, offering a look at the feel, if not much of the detail, of tension between the Holy Roman Empire and its foreign enemies. Eternal life is addressed in the wizard’s desire for it and in how Pomp, who has it, copes with and gives a lot of thought to the implications of life without end. Changing one’s life is also addressed on multiple fronts. A killer becomes a healer. Pomp is faced with potentially changing her orientation as well, getting to see in person the questionable wages of all-fun-all –the-time.

I am sure there are many references to folk tales I missed in here, but a visit to hell itself surely must conjure Dante. So be on the lookout for references to The Inferno. And heading to the basement certainly seems in synch with a Campbellian structure.

One of the things that most impressed me was the diversity and creativity of Aguirre’s imagination. Heraclix alone is a marvelous concoction, but there are many more. Phantoms haunting the one who killed them, demonflies from Hell, a Godzilla-like Beelzebub, some carnivorous clover, fairies up to no good, a demonized crow, some magic mirrors, a telescope for seeing magic. The list is considerable and the creations quite fun. While some echo familiar elements of fantasy fiction, there is an added layer of the new that gives it all some real sparkle.

Gripes were few. There are a fair number of characters, and it can be a bit tough at times keeping them straight. The ARC I read did not have a list of characters in it. I do not know if the final version might. I find it useful to make my own list as I read to help keep everyone straight. Also there was one escape I had a problem with. H manages to escape from hell, but it is not entirely clear to me how he got from underground to above..

Aguirre has established himself as a top-drawer, award-winning editor of speculative fiction, and a seasoned writer of sci-fi as well. Heraclix and Pomp demonstrates that he is also a confident, creative and imaginative novelist. The journey on which Heraclix and Pomp set out is a consistently interesting and engaging one, offering not only a look at a fantastical world, but adult consideration of eternal, real-world, existential issues. I am sure they would love for you to tag along.

Heraclix and Pomp was sent along by the author, a GR friend, in return for a fair review

Review posted – 9/12/14

Publication date – 10/14/14

This review has also been posted on Goodreads

=======================================EXTRA STUFF

Links to the author’s personal, Twitter, Google+ and FB pages

Aguirre’s blogspot page, Forrest for the Trees, includes a 24:47 sample of the audio book. Some items in the archives are worth a look, including a three-part sneak peek at the second adventure of H&P, and a piece on his writing process (no necromancy involved).

An interesting interview with Forrest on Shelf Inflicted, in which, among other things, he talks about how H&P came to be.

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Suicide Game by Haidji

book cover Suicide Game, a first novel by the mononymous Haidji, is an oil and water mixture of intriguing concepts, impressive visual sensibilities, and, at least in the English version, a crying need for a professional, native-English-speaking editor.

The core element here is the Suicide Game itself, a privately run enterprise that takes in 8,000 contestants and produces a single winner, in a more or less contemporary setting. It does put one in mind of the scene in Glengarry Glen Ross when Blake, a bully sent to incentivize the sales staff at a real estate firm, says to them, “As you all know, first prize is a Cadillac Eldorado. Anybody wanna see second prize? Second prize’s a set of steak knives. Third prize is you’re fired.” It might read here “First prize, fame and fortune, with treasures beyond your imagining. Second prize, you die.” In The Hunger Games participants were selected by lottery. In Suicide Game, it is voluntary. One might wonder who in their right mind would willingly participate in such a travesty.

Haidji has put together an ensemble cast. There are game participants, with contemporary and back-story people connected to each, the council that runs the whole thing, the arena designer, and a smattering of game employees. No one character occupies enough time to be considered primary. Oh, and add in a terrorist.

One can take this as a straight ahead story about a social abomination, and the individual tales that feed it, or take it as a metaphor for existing sociological madness. Choose the former and you may find yourself leaping into an abyss.

What country would allow such a thing to take place? At least when nations sponsor the suicide game we call war, they attempt to offer at least the pretense of a reason. Not so much here. Why would anyone choose to participate in any contest with such poor odds unless they had nothing left to lose? And while the lure of fame and fortune might lead one to publicly humiliate oneself, as we see every day on reality programming, it is a whole other level to join a death march. And if one is seeking to kill oneself, the usual reason is despair. What possible appeal might there be to enticing participants with glory when they have already given up all hope? While there are some shenanigans involved in the legitimacy of some of the contestants, I found the justification offered for most of the competitors to be thin. Kinda tough to invest much in relating to characters if the reasons for their actions are unpersuasive. Why choose to die? Why not try to solve your problems? And if you are determined to snuff it, there are plenty of quicker ways to go about it. Why drag it out for several days, and do it in front of a global audience? Lost love figures large here. But then found love figures pretty large as well, with love at first sight a very unconvincing motivator. Maybe in this world there are no second acts, let alone third ones. They might take some advice from Ingrid Michaelson. All the broken hearts in the world still beat. Despite the rampant heart disease our culture breeds, people get over heartbreak, find new loves, new outlets, new satisfactions. I got the feeling that the characters jumping into the game could do with a good talking-to, or an intervention. “You schmuck, sit down! What the hell were you thinking?” Taking the USA as an example there are 39,000 suicides here annually, more or less. Cramming 8,000 of them into a four day span is, well, a stretch, suggesting that it must have been a really bad week when applications were being accepted, or a big week for immigration. I imagine the selection process was probably as selective as that used by the National Geographic Society for individuals nominated for membership. (Although George Bailey certainly deserves to belong.)

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Haidji

In addition to an excess of telling over showing, there are elements there that hint at an eagerness to gloss over problematic details. It is as if the entire world existed in a Judy Garland/Mickey Rooney film in which the neighborhood kids decide, “Let’s put on a play,” and magically a stage, set, costumes, script and time for rehearsal all appear as if out of nowhere. Just think it and it is so. For example, the management of the stadium decides to make a radical change in their food service, and it is changed during a break in the game action. Modifications to significant stage elements of the stadium are likewise implemented as if by divine command. A significant computer programming re-working is done in, it seems, nanoseconds. With over twenty years as a programmer, I can say for fracking sure, no bloody way. The romantic relationships also seemed to lack real-world substance.

Ok, if, however one takes this as a piece of social commentary, it becomes possible to look past the story-telling problems and settle in to a consideration of larger issues. One can look at the heartless exploitation of the participants by corporate entities, and not have to look too far to find contemporary equivalents. In the US, how the NFL treats players is pretty close to amoral disinterest in the well-being of the workers who create the value they are selling. I am sure there are plenty of equivalents in other sports. The entertainment industry offers many examples of people willingly putting themselves, their reputations, and maybe their health, if not their lives, at risk in order to gain their fifteen minutes in the media spotlight. The Suicide Game might be seen as an exaggeration of that reality to make a point. I do not think that major sports organizations descended to a level of exploitation where they process, package and sell bits of loser contestants. But would you really put that past the NFL, or our major networks? One element in all this is the dehumanization of the contestants by putting them all in the same uniform and having makeup artists remove remnant individuality from their faces. This surely speaks to the depersonalization inherent in much of mass media. Outside of committed fans, can you really tell who is wearing a particular football uniform on a given Sunday? Just as players are largely a production factor for corporate owners, parts that can be replaced as needed when they wear out, the suicide game takes the notion to an extreme, and succeeds in making a point.

My biggest gripe about the book is that the English is in need of serious repair. Haidji speaks English. We were pals on GR for a while (until this review was posted) and have exchanged our share of messages, so I can attest that her English is pretty good. But I cannot say whether this book was written in another language (she speaks several) and translated or was written directly in English. In either case, it is in great need of an editor whose native tongue is English. There are many instances in which it is possible to ferret out what the author meant, when the words used did not do that job well enough. Turns of phrase are sometimes simply wrong. Readers are expected to read between the lines for thematic or psychological reasons, but should not have to do so in order to simply correct the text. That said, it is a readable book. Just be aware that you may have to do some extra work to figure out what is being said.

If one can get beyond the language shortcomings, there is fair bit of interesting material tucked into the story. Haidji concocts an umbrella made of air alone that is pretty cool. The notion of making diamonds of the unexpected material cited here is a real thing. The stadium design has some elements that are quite fascinating. Her governing Suicide Game council applies a very unusual voting methodology. A court case involving Big Oil is also reality-based. An early scene involving a terrorist and 9/11 was one of the strongest elements in the story. On the other hand, use is made of a drug referred to as “milk of amnesia.” Such a drug does exist. I have been a personal beneficiary on multiple occasions. (Yes, it is legal, wiseass, and is used in medical work) But it does not act in the real world as it is shown to act here.

There are some mysteries in here as well that add texture. Who is actually in charge of the whole thing? How did a baby get loose in the stadium? Will the smitten connect with the actual objects of their…um…smit? Will everyone be blown to bits?

It is also clear that Haidji has a strong sense of the visual. Color and texture offer a strongly defined background against which the characters do their things. The game logo is wonderful. Candidates are in white face, dressed in shiny black, made up to betray no emotion. The logo is painted in orange. That hare krishnas are in attendance enhances the presence of that color. Ushers who clean up the bodies are dressed in gray. Makeup artists at the game wear matte black, and the game Hostess wears a red femme fatale dress. Designer names for clothing and footwear are rampant, which certainly does not speak to me. I had to look up far too many of these. But readers with more fashion knowledge (pretty much everyone) will have a better shot at appreciating the references.

There are problems for sure with Suicide Game. It really, really needs the assistance of a professional, native-English-speaker editor. There are issues with an overly simplified view of how relationships might progress and even how things work in the world. But if you can make a leap of faith to look past these, there are rewards to be had in the many fascinating notions that live in that world with them. You might enjoy Suicide Game, and without having to pay the ultimate price.

Review posted – August 29, 2014

I received this book from the author in return for an honest review.

=======================================EXTRA STUFF

Links to the author’s personal, Twitter, Google+, FB and Youtube pages

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Filed under Fantasy, Fiction, Reviews