Bird Loomis sent me a link to Ann Patchett's response to the Pulitzer Prize Board's decision not to award a prize for fiction this year. The New York Times op-ed was "And the Winner Isn't..."
Patchett, who had a book eligible to compete this year, said that "It’s fine to lose to someone, and galling to lose to no one." And, as a book store owner, she "can’t imagine there was ever a year we were so in need of the excitement it [a Pulitzer Prize] creates in readers."
She also bemoans about an American culture where "book coverage in the media [is] split evenly between Fifty Shades of Grey and The Hunger Games. She'd prefer "to have people talking about The Pale King, David Foster Wallace’s posthumous masterwork..." [I pretty sure she meant it was published after Foster's death, not that he wrote it from an afterworld.]
Patchett ends with a standard cultural defender statement: "Let me underscore the obvious here: Reading fiction is important. It is a vital means of imagining a life other than our own, which in turn makes us more empathetic beings. Following complex story lines stretches our brains beyond the 140 characters of sound-bite thinking, and staying within the world of a novel gives us the ability to be quiet and alone, two skills that are disappearing faster than the polar icecaps.
"Unfortunately, the world of literature lacks the scandal, hype and pretty dresses that draw people to the Academy Awards, which, by the way, is not an institution devoted to choosing the best movie every year as much as it is an institution designed to get people excited about going to the movies. The Pulitzer Prize is our best chance as writers and readers and booksellers to celebrate fiction. This was the year we all lost."
What do you think? Write and tell this little bit of the world.
And while you're at it, here's the list of Pulitzer Prizes for fiction (before 1947 it was for novels):
• 1947: All the King's Men by Robert Penn Warren
• 1948: Tales of the South Pacific by James A. Michener
• 1949: Guard of Honor by James Gould Cozzens
• 1950: The Way West by A. B. Guthrie, Jr.
• 1951: The Town by Conrad Richter
• 1952: The Caine Mutiny by Herman Wouk
• 1953: The Old Man and the Sea by Ernest Hemingway
• 1954: No award given
• 1955: A Fable by William Faulkner
• 1956: Andersonville by MacKinlay Kantor
• 1957: No award given
• 1958: A Death in the Family by James Agee (posthumous win)
• 1959: The Travels of Jaimie McPheeters by Robert Lewis Taylor
• 1960: Advise and Consent by Allen Drury
• 1961: To Kill a Mockingbird by Harper Lee
• 1962: The Edge of Sadness by Edwin O'Connor
• 1963: The Reivers by William Faulkner
• 1964: No award given
• 1965: The Keepers of the House by Shirley Ann Grau
• 1966: The Collected Stories of Katherine Anne Porter by Katherine Anne Porter
• 1967: The Fixer by Bernard Malamud
• 1968: The Confessions of Nat Turner by William Styron
• 1969: House Made of Dawn by N. Scott Momaday
• 1970: The Collected Stories of Jean Stafford by Jean Stafford
• 1971: No award given
• 1972: Angle of Repose by Wallace Stegner
• 1973: The Optimist's Daughter by Eudora Welty
• 1974: No award given
• 1975: The Killer Angels by Michael Shaara
• 1976: Humboldt's Gift by Saul Bellow
• 1977: No award given
• 1978: Elbow Room by James Alan McPherson
• 1979: The Stories of John Cheever by John Cheever
• 1980: The Executioner's Song by Norman Mailer
• 1981: A Confederacy of Dunces by John Kennedy Toole
• 1982: Rabbit Is Rich by John Updike
• 1983: The Color Purple by Alice Walker
• 1984: Ironweed by William Kennedy
• 1985: Foreign Affairs by Alison Lurie
• 1986: Lonesome Dove by Larry McMurtry
• 1987: A Summons to Memphis by Peter Taylor
• 1988: Beloved by Toni Morrison
• 1989: Breathing Lessons by Anne Tyler
• 1990: The Mambo Kings Play Songs of Love by Oscar Hijuelos
• 1991: Rabbit at Rest by John Updike
• 1992: A Thousand Acres by Jane Smiley
• 1993: A Good Scent from a Strange Mountain by Robert Olen Butler
• 1994: The Shipping News by E. Annie Proulx
• 1995: The Stone Diaries by Carol Shields
• 1996: Independence Day by Richard Ford
• 1997: Martin Dressler: The Tale of an American Dreamer by Steven Millhauser
• 1998: American Pastoral by Philip Roth
• 1999: The Hours by Michael Cunningham
• 2000: Interpreter of Maladies by Jhumpa Lahiri
• 2001: The Amazing Adventures of Kavalier & Clay by Michael Chabon
• 2002: Empire Falls by Richard Russo
• 2003: Middlesex by Jeffrey Eugenides
• 2004: The Known World by Edward P. Jones
• 2005: Gilead by Marilynne Robinson
• 2006: March by Geraldine Brooks
• 2007: The Road by Cormac McCarthy
• 2008: The Brief Wondrous Life of Oscar Wao by Junot Díaz
• 2009: Olive Kitteridge by Elizabeth Strout
• 2010: Tinkers by Paul Harding
• 2011: A Visit From the Goon Squad by Jennifer Egan
• 2012: No award given.
I've only read half of dozen of these. The Old Man and the Sea and To Kill a Mockingbird were the ones I liked best. Chabon's mysterious brick, The Amazing Adventures of Kavalier & Clay was my least favorite.
What have you read? What did you think? Is this a list of America's best fiction from the last 65 years? Or just a committee's award to get us excited about reading fiction? Write and tell this little bit of the world.
21 April 2012
15 April 2012
Good cop, bad cop, worse cop
It didn't take me long to get back to reading another "crime novel" by Stephen Booth. I was impressed with Black Dog, so on my latest trip to the Northfield Library, I picked up Booth's second book, Dancing with the Virgins.
Characters and characterization were big attractions in the first book, and remain important features in this one. Here's how important they were to me: there were times as I was reading this mystery, that I nearly forgot about the plot and the mystery and wondered about the characters.
The main people in Black Dog are for the most part the main people in Dancing with the Virgins. There's the local boy following in his father's footsteps on the police force. There's his nemisis, the rising star imported from the big city, who beats him out for a promotion. The other officers in the local cop shop are there, with a couple additional people mentioned for the first time.
Oh, and the virgins? They are large upright stones on the moor that local legend says were young women of ancient times who danced on the Sabbath and were turned to stone as punishment. In the midst of the circle of 9 "virgins," a 21st century woman is found murdered. The victim was a "mountain biking" cyclist, attacked not far from where a hiker had been attacked a week earlier. The quiet, rural community is alarmed and demanding that the quiet, rural cops do something about the crime wave.
There are other things going on as well, but it takes a long time for the stories to develop and merge. Maybe that's why I became more interested in the people at times.
The young detective and his nemisis are polar opposites. He operates on gut instincts and an almost religious belief in finding justice. She relies on logic and the presecribed routines of the police manual. She plots her statements and actions like a military campaign. He responds to the needs of the people and the situations around him. Both of them have secrets in their pasts. Both of them wonder about the other and can't imagine how their opposite mangages.
But several of the other characters in Booth's book get pretty extensive development. The poor farmer for whom everything is falling apart; the attack victim whose face is badly disfigured by scars and whose being is disfigured by partial memories; the murder victim, who seemed alone and isolated (like the main characters); a park ranger whose 30-year "career" as a caretaker of his aging mother ends with her death; and a pair of sad-sack misfits who get violently dragged into the story because the VW van they're living in breaks down in the vicinity of murderous violence.
I liked this book. Stephen Booth's ability to profile the people in his stories is at least as good as his ability to craft the stories. He's now written a dozen books. However, I find it difficult to imagine reading that many more books centered on the people in the first two. Booth is not Tony Hillerman and the wilderness of the Peak District is not the wilderness of northern Arizona and New Mexico and Booth's detectives are not Joe Leaphorn and Jim Chee. I'm hoping that the next Stephen Booth book I pick up will have different characters and settings.
Have you read Dancing with the Virgins? Write and tell this little bit of the world what you thought about it.
Characters and characterization were big attractions in the first book, and remain important features in this one. Here's how important they were to me: there were times as I was reading this mystery, that I nearly forgot about the plot and the mystery and wondered about the characters.
The main people in Black Dog are for the most part the main people in Dancing with the Virgins. There's the local boy following in his father's footsteps on the police force. There's his nemisis, the rising star imported from the big city, who beats him out for a promotion. The other officers in the local cop shop are there, with a couple additional people mentioned for the first time.
Oh, and the virgins? They are large upright stones on the moor that local legend says were young women of ancient times who danced on the Sabbath and were turned to stone as punishment. In the midst of the circle of 9 "virgins," a 21st century woman is found murdered. The victim was a "mountain biking" cyclist, attacked not far from where a hiker had been attacked a week earlier. The quiet, rural community is alarmed and demanding that the quiet, rural cops do something about the crime wave.
There are other things going on as well, but it takes a long time for the stories to develop and merge. Maybe that's why I became more interested in the people at times.
The young detective and his nemisis are polar opposites. He operates on gut instincts and an almost religious belief in finding justice. She relies on logic and the presecribed routines of the police manual. She plots her statements and actions like a military campaign. He responds to the needs of the people and the situations around him. Both of them have secrets in their pasts. Both of them wonder about the other and can't imagine how their opposite mangages.
But several of the other characters in Booth's book get pretty extensive development. The poor farmer for whom everything is falling apart; the attack victim whose face is badly disfigured by scars and whose being is disfigured by partial memories; the murder victim, who seemed alone and isolated (like the main characters); a park ranger whose 30-year "career" as a caretaker of his aging mother ends with her death; and a pair of sad-sack misfits who get violently dragged into the story because the VW van they're living in breaks down in the vicinity of murderous violence.
I liked this book. Stephen Booth's ability to profile the people in his stories is at least as good as his ability to craft the stories. He's now written a dozen books. However, I find it difficult to imagine reading that many more books centered on the people in the first two. Booth is not Tony Hillerman and the wilderness of the Peak District is not the wilderness of northern Arizona and New Mexico and Booth's detectives are not Joe Leaphorn and Jim Chee. I'm hoping that the next Stephen Booth book I pick up will have different characters and settings.
Have you read Dancing with the Virgins? Write and tell this little bit of the world what you thought about it.
- The author's web page
- The publisher's web site
- Barbara Franchi's review at Reviewing the Evidence
- A summary of 279 rankings at Good Reads
13 April 2012
Once upon a crime
Okay, I've never been there. I've driven by, but never stopped. But this sounds like a place I ought to go given my penchant for reading mysteries.
Once Upon a Crime Mystery Bookstore offers good reads, great service
Minneapolis bookstore publishes mystery anthology
Welcome to the website for ONCE UPON A CRIME MYSTERY BOOKSTORE
Once Upon a Crime Mystery Bookstore offers good reads, great service
When you first step through the door of Once Upon a Crime, located on W. 26th Street just off Lyndale in Uptown Minneapolis (only five minutes away from Metropolitan State University’s Minneapolis campus), the word “cozy” comes to mind. First, you inhale the instantly relaxing smell of paper, ink, and aging wood. Waiting to be petted is the store dog Shamus. The Border Collie-Dalmatian-Lab-German Shepherd mix lies on his stomach by the door, carving a bone with his canines. And of course there are the mystery books—in total 20,000 to 30,000 of them. This abundance of hardcovers and paperbacks sit on bookshelves that line the walls and fill parts of the small room’s interior.
Always at the ready to help navigate you to the book of your dreams are the owners of Once Upon a Crime: Pat Frovarp and Gary Shulze. The two bought the store from former owner Steve Stilwell on August 1, 2002…
In the spring of 2011, Once Upon a Crime was nationally recognized for its promotion of mystery literature with the Raven award. According to Once Upon a Crime’s website, “the award recognizes outstanding achievement in the mystery field outside the realm of creative writing.” Frovarp and Shulze received the trophy raven at a ceremony in New York City...
Minneapolis bookstore publishes mystery anthology
"Write of Spring," an anthology published by the folks at Once Upon a Crime bookstore, will be published this spring by Nodin Press. The book is a collection of mystery stories by Brian Freeman, Ellen Hart, David Housewright and a whole slew of other local writers; it was compiled to mark the store's 25th anniversary.
Gary Shulze and Pat Frovarp, bookstore owners, won the Raven Award two years ago from the Mystery Writers of America. They promise that this book is not just their first, but also their last, venture into publishing.
The book will launch at the store's annual Write of Spring celebration, which runs from noon to 4 p.m. April 7 and brings in dozens of mystery writers in one-hour shifts. (The store is at 604 W. 26th St., Mpls.) All royalties will be donated to Memorial Blood Centers.
Welcome to the website for ONCE UPON A CRIME MYSTERY BOOKSTORE
Pat and Gary at ONCE UPON A CRIME are informal, low-tech, and happy to provide the best customer service around. They carry thousands of new mysteries, thrillers, and crime fiction and also have a large collection of rare, used, and hard-to-get volumes. They can order almost any book. Feel free to call ahead to check to see if the book you want is in stock: 612-870-3785 or EMAIL. Please drop a note if you would like to be on the e-mail notification list for information about upcoming appearances.
08 April 2012
Degrees of separation
"This little bit of the world" got a little smaller this winter. Jeanette Hohman died at age 92. It's not just that this little bit of the world is already small enough, it's also that Jeanette was a remarkable and interesting woman. I say that even though I just barely knew her and met her only twice, I think.
When I stopped publishing Reading on paper, Jeanette was one of the people for whom I printed out web pages. She was the person who, last fall, asked me why I seemed to read only mysteries. Then she suggested The Postmistress by Sarah Blake.
When I was last at the Northfield Library, I found Blake's book in the fiction section and remembered the title. Now I've read it. And I wish I could call Jeanette and talk about it.
In many ways it's a well-written book. But...
There's a good short story at the beginning of the book that would be great if you added in some of the characterization that shows up at the end of the book. It's about finding adulthood and confidence of self. It's a tragedy, but one that raises important questions.
There's another short story in the middle of the book about a reporter trying to make sense out of a randomly cruel and deadly European world in 1940. The fact that the young woman is an American, acting with American impulses and assumptions makes it more tragic.
There are a couple of unfinished short stories in the book as well, but like the American reporter who seem unable to find the end of the stories she reports on, Sarah Blake seems unable to finish the stories. One of them is about childhood and loss while another is about seeking the future and death.
There's an ingenious plot device in the middle of the book which appears to tie the early short story to the incomplete short story about the reporter in Europe, but Blake abandons the device and portrays her character staring out to sea from the town on the end of Cape Cod. This from a young woman who is quoted as saying, "'Whatever is coming does not just come... It's helped by people willfully looking away. People who develop the habit of swallowing lies rather than the truth. The minute you start thinking something else, then you've stopped paying attention -- and paying attention is all we've got.'"
Maybe I was supposed to see the unfinished stories and the unused plot links as part of what Sarah Blake was writing about. Maybe I was paying attention to the wrong things. But, I am too dense to recognize Blake's topic. Maybe Jeanette knew.
It seems to me that this is almost a novel. But when I finished, I wondered what it was about.
Oh, and the title? The postmaster in that small town at the end of Cape Cod wondered what effect she could have on her community if she simply didn't deliver some of the mail. It turns out it wasn't her, but the visiting reporter, trying to recover from her war time experiences, who refused to deliver some mail. But, in the end, it didn't matter.
Have you read The Postmistress? What did you think it was about? Do you think Blake had a message? Or was she just telling incomplete stories? Come on. Write and tell this little bit of the world about your reactions. (And recruit a new reader to this little bit of the world.)
When I stopped publishing Reading on paper, Jeanette was one of the people for whom I printed out web pages. She was the person who, last fall, asked me why I seemed to read only mysteries. Then she suggested The Postmistress by Sarah Blake.
When I was last at the Northfield Library, I found Blake's book in the fiction section and remembered the title. Now I've read it. And I wish I could call Jeanette and talk about it.
In many ways it's a well-written book. But...
There's a good short story at the beginning of the book that would be great if you added in some of the characterization that shows up at the end of the book. It's about finding adulthood and confidence of self. It's a tragedy, but one that raises important questions.
There's another short story in the middle of the book about a reporter trying to make sense out of a randomly cruel and deadly European world in 1940. The fact that the young woman is an American, acting with American impulses and assumptions makes it more tragic.
There are a couple of unfinished short stories in the book as well, but like the American reporter who seem unable to find the end of the stories she reports on, Sarah Blake seems unable to finish the stories. One of them is about childhood and loss while another is about seeking the future and death.
There's an ingenious plot device in the middle of the book which appears to tie the early short story to the incomplete short story about the reporter in Europe, but Blake abandons the device and portrays her character staring out to sea from the town on the end of Cape Cod. This from a young woman who is quoted as saying, "'Whatever is coming does not just come... It's helped by people willfully looking away. People who develop the habit of swallowing lies rather than the truth. The minute you start thinking something else, then you've stopped paying attention -- and paying attention is all we've got.'"
Maybe I was supposed to see the unfinished stories and the unused plot links as part of what Sarah Blake was writing about. Maybe I was paying attention to the wrong things. But, I am too dense to recognize Blake's topic. Maybe Jeanette knew.
It seems to me that this is almost a novel. But when I finished, I wondered what it was about.
Oh, and the title? The postmaster in that small town at the end of Cape Cod wondered what effect she could have on her community if she simply didn't deliver some of the mail. It turns out it wasn't her, but the visiting reporter, trying to recover from her war time experiences, who refused to deliver some mail. But, in the end, it didn't matter.
Have you read The Postmistress? What did you think it was about? Do you think Blake had a message? Or was she just telling incomplete stories? Come on. Write and tell this little bit of the world about your reactions. (And recruit a new reader to this little bit of the world.)
- The author's web page
- "Telling Stories Of War, One Person At A Time" from NPR Books
- Janet Maslin's review in The New York Times
- Dawn's review at She is too Fond of Books
- Laura Cococcia's "Interview With Sarah Blake" at Huffington Post
02 April 2012
Saturday dilemma
I had a book I thought I'd read last weekend. It turned out to be engaging enough that I finished it late Saturday afternoon (not late Sunday). The library was closed. I didn't have any other books on my bed side pile. No! Was I to be banished to television land? Yikes! Did I have to talk to the family gathered here. Luckily, we went out to dinner -- great Japanese scallops for me and equally good food for everyone else. And we talked to one another. We even continued talking to each other after dinner. At bedtime I resorted to a collection of sermons by John Cummins, one the two preachers who has made me think and feel.
The book that encouraged conversation by being good enough that I finished it before I expected to? Black Dog by Stephen Booth. I don't know how Stephen Booth's name appeared on my "to read" list, but there it was when I was last at the library. I looked at several books and chose Booth's first, Black Dog.
The title is a red herring. There's a black dog in one of the stories, but it's a bit of distraction. Booth tells stories well, and there are several in this book. And, in a self-proclaimed "crime novel," it's the characters, not the stories that stand out.
The main character is a local boy doing well, hoping like his father to become a police sergeant in the Peak District of northern England. However, he's haunted by his father's sainted memory in the community, in part because his father died bravely in the line of duty. The supporting cast includes an ambitious young detective constable who has been newly assigned to the district and is an unexpected competitor for the sergeant's position. There's the Dickinson family, headed by Harry, who keeps acting guilty because he has secrets to keep. His granddaughter seems to be a potential love interest for the main character, but she seems secretive too. The local "aristocrat" might be the recipient of sympathy and concern because his daughter has been killed, but he's a nasty piece of work who, as a self-made man, never understood noblesse oblige. There are others, in the village and in the cop shop, who appear and leave an impression. But the characters make the story work.
I know I've said I like story telling, but a decently told story with interesting and engaging characters makes a book a pleasure to read. And I enjoyed reading this one. Somehow Booth never lets the description of characters get noticeably in the way of telling the stories, and the characters never obscure what's going on in the stories. As I said, I spent more time reading on Saturday afternoon than I intended and finished the book after the library closed.
It was the first time I sort of wished I had an e-book reader so I could download another book.
So did you recommend Stephen Booth to me? If so, many thanks. After all that character development, I expect to read about these people in more "crime novels."
Have you read Black Dog or another of Stephen Booth's books? What did you think of it? Write and tell this little bit of the world about your reaction.
The author's web page
A summary of 478 ratings at Good Reads
Maddy Van Hertbruggen's review at Reviewing the Evidence
Luke Croll's thumbnail review at Murder Express
The book that encouraged conversation by being good enough that I finished it before I expected to? Black Dog by Stephen Booth. I don't know how Stephen Booth's name appeared on my "to read" list, but there it was when I was last at the library. I looked at several books and chose Booth's first, Black Dog.
The title is a red herring. There's a black dog in one of the stories, but it's a bit of distraction. Booth tells stories well, and there are several in this book. And, in a self-proclaimed "crime novel," it's the characters, not the stories that stand out.
The main character is a local boy doing well, hoping like his father to become a police sergeant in the Peak District of northern England. However, he's haunted by his father's sainted memory in the community, in part because his father died bravely in the line of duty. The supporting cast includes an ambitious young detective constable who has been newly assigned to the district and is an unexpected competitor for the sergeant's position. There's the Dickinson family, headed by Harry, who keeps acting guilty because he has secrets to keep. His granddaughter seems to be a potential love interest for the main character, but she seems secretive too. The local "aristocrat" might be the recipient of sympathy and concern because his daughter has been killed, but he's a nasty piece of work who, as a self-made man, never understood noblesse oblige. There are others, in the village and in the cop shop, who appear and leave an impression. But the characters make the story work.
I know I've said I like story telling, but a decently told story with interesting and engaging characters makes a book a pleasure to read. And I enjoyed reading this one. Somehow Booth never lets the description of characters get noticeably in the way of telling the stories, and the characters never obscure what's going on in the stories. As I said, I spent more time reading on Saturday afternoon than I intended and finished the book after the library closed.
It was the first time I sort of wished I had an e-book reader so I could download another book.
So did you recommend Stephen Booth to me? If so, many thanks. After all that character development, I expect to read about these people in more "crime novels."
Have you read Black Dog or another of Stephen Booth's books? What did you think of it? Write and tell this little bit of the world about your reaction.
The author's web page
A summary of 478 ratings at Good Reads
Maddy Van Hertbruggen's review at Reviewing the Evidence
Luke Croll's thumbnail review at Murder Express
24 March 2012
No expense but taxes
I made my way to the socialist Northfield Public Library. Once again I was taking advantage of the taxpayers of the city. Of course, in order to get there I took advantage of the taxpayers by driving on the completely subsidized streets and stopping at the taxpayer-funded stop signs and stop lights. Thank you to all of you who paid for all that. Including me, of course.
In any case, there's no fee for checking out books from the library. I checked out An Impartial Witness by Charles Todd.
Unlike Wings of Fire, that I read in January, this was "A Bess Crawford Mystery." The Ian Rutledge character and the voice in his head were a bit much, and the story telling was laborious. The earlier Bess Crawford story (A Duty to the Dead) was better.
An Impartial Witness was not.
I skimmmed the final two-thirds of the book. I don't think I missed anything important.
Bess Crawford's father is a retired Army general, Victorian style. Why he doesn't lock her in her room until stops her obsessive pursuit of murderers, I don't know. Somebody should lock her in her room. The mother-son duo who write as Charles Todd aren't likely to do it. Whatever their process for scripting and writing mysteries is, it's no longer functional from my point of view. I will no longer look for their books on library or bookstore shelves.
At least I didn't have to buy the book.
The authors' web page for An Impartial Witness
A summary of 622 ratings at Good Reads
Beth Crowley's review at Murder by Type
NomadReader's review at nomadreader
In any case, there's no fee for checking out books from the library. I checked out An Impartial Witness by Charles Todd.
Unlike Wings of Fire, that I read in January, this was "A Bess Crawford Mystery." The Ian Rutledge character and the voice in his head were a bit much, and the story telling was laborious. The earlier Bess Crawford story (A Duty to the Dead) was better.
An Impartial Witness was not.
I skimmmed the final two-thirds of the book. I don't think I missed anything important.
Bess Crawford's father is a retired Army general, Victorian style. Why he doesn't lock her in her room until stops her obsessive pursuit of murderers, I don't know. Somebody should lock her in her room. The mother-son duo who write as Charles Todd aren't likely to do it. Whatever their process for scripting and writing mysteries is, it's no longer functional from my point of view. I will no longer look for their books on library or bookstore shelves.
At least I didn't have to buy the book.
The authors' web page for An Impartial Witness
A summary of 622 ratings at Good Reads
Beth Crowley's review at Murder by Type
NomadReader's review at nomadreader
19 March 2012
Comfort food for thought (or non-thought, as the case may be)
When it comes to comfort food, I think of chocolate -- especially chocolate frosted chocolate cake. Cookies work too. Dark European-style candy bars are great as well.
Then there's comfort reading. Something easy to understand that tells a story. Mysteries are good for that. And for containing the story to a specific, small universe. Beginnings and ends are obvious. Good "guys" and bad "guys" are usually obvious, even if sometimes the good "guys" engage in legally or morally questionable behavior.
Jonathan Kellerman's Alex Delaware novels fit into this category quite well. So, when I saw Evidence on the remainder pile at Barnes and Noble, I picked it up. (It was a better buy than the Margaret Coel paperback I bought, since I didn't realize until too late that I'd read the Coel book. Another volume to add to the stack going to the hospital auxiliary book sale.)
I wasn't disappointed with Evidence. Then again, my expectations weren't great. I just wanted some entertainment.
And I learned to take care of what generalizations I make. When writing about Tana French's The Likeness, I said that "Coversation is a slow way to tell a story..." Well, Kellerman proved me wrong. Then again, the dialogue in Evidence is quite different than the dialogue in The Likeness.
Evidence may be labeled an "Alex Delaware Novel," but Delaware is pretty much an observant yes man in this book. Detective Milo Sturgis is the active character. Instead of French's real time conversations, the dialogue in Evidence takes place between Delaware and Sturgis, between Sturgis and the people he interviews and questions, and between him and other investigators. Delaware as an observer adds observations and narration along the way. Kellerman is very good at creating dialogue and at moving the story along with a combination of conversations and narration.
This book was just what I wanted. A suitably complicated story, told in ways that kept me interested and intrigured. What was it that Annie Murphy Paul said? "Stories... stimulate the brain and... narratives activate many... parts of our brains..." My brain was stimulated and activated, but I had no trouble falling asleep after reading.
Have you read Evidence by Jonathan Kellerman? What did you think of it? Write and tell this little bit of the world what you think.
Then there's comfort reading. Something easy to understand that tells a story. Mysteries are good for that. And for containing the story to a specific, small universe. Beginnings and ends are obvious. Good "guys" and bad "guys" are usually obvious, even if sometimes the good "guys" engage in legally or morally questionable behavior.
Jonathan Kellerman's Alex Delaware novels fit into this category quite well. So, when I saw Evidence on the remainder pile at Barnes and Noble, I picked it up. (It was a better buy than the Margaret Coel paperback I bought, since I didn't realize until too late that I'd read the Coel book. Another volume to add to the stack going to the hospital auxiliary book sale.)
I wasn't disappointed with Evidence. Then again, my expectations weren't great. I just wanted some entertainment.
And I learned to take care of what generalizations I make. When writing about Tana French's The Likeness, I said that "Coversation is a slow way to tell a story..." Well, Kellerman proved me wrong. Then again, the dialogue in Evidence is quite different than the dialogue in The Likeness.
Evidence may be labeled an "Alex Delaware Novel," but Delaware is pretty much an observant yes man in this book. Detective Milo Sturgis is the active character. Instead of French's real time conversations, the dialogue in Evidence takes place between Delaware and Sturgis, between Sturgis and the people he interviews and questions, and between him and other investigators. Delaware as an observer adds observations and narration along the way. Kellerman is very good at creating dialogue and at moving the story along with a combination of conversations and narration.
This book was just what I wanted. A suitably complicated story, told in ways that kept me interested and intrigured. What was it that Annie Murphy Paul said? "Stories... stimulate the brain and... narratives activate many... parts of our brains..." My brain was stimulated and activated, but I had no trouble falling asleep after reading.
Have you read Evidence by Jonathan Kellerman? What did you think of it? Write and tell this little bit of the world what you think.
- Kellerman's web page for Evidence
- Jackie K. Cooper's review at Huffington Post
- A summary of 1,900 reviews at Good Reads
18 March 2012
Fiction as real life
I know, high school, college, and university literature teachers have claimed that reading fiction enhances our life experiences. But it took neuroscientists to offer empirical evidence. It seems that my penchant for story telling and dialogue has a biological component.
Your Brain on Fiction by Annie Murphy Paul, writing in The New York Times.
Your Brain on Fiction by Annie Murphy Paul, writing in The New York Times.
Amid the squawks and pings of our digital devices, the old-fashioned virtues of reading novels can seem faded, even futile. But new support for the value of fiction is arriving from an unexpected quarter: neuroscience.
Brain scans are revealing what happens in our heads when we read a detailed description, an evocative metaphor or an emotional exchange between characters. Stories, this research is showing, stimulate the brain and even change how we act in life...
[S]cientists have come to realize in the last few years is that narratives activate many other parts of our brains as well, suggesting why the experience of reading can feel so alive. Words like “lavender,” “cinnamon” and “soap,” for example, elicit a response not only from the language-processing areas of our brains, but also those devoted to dealing with smells...
Researchers have discovered that words describing motion also stimulate regions of the brain distinct from language-processing areas... The [brain] scans revealed activity in the motor cortex, which coordinates the body’s movements. What’s more, this activity was concentrated in one part of the motor cortex when the movement described was arm-related and in another part when the movement concerned the leg...
The brain, it seems, does not make much of a distinction between reading about an experience and encountering it in real life; in each case, the same neurological regions are stimulated. Keith Oatley, an emeritus professor of cognitive psychology at the University of Toronto (and a published novelist), has proposed that reading produces a vivid simulation of reality, one that “runs on minds of readers just as computer simulations run on computers.” Fiction — with its redolent details, imaginative metaphors and attentive descriptions of people and their actions — offers an especially rich replica. Indeed, in one respect novels go beyond simulating reality to give readers an experience unavailable off the page: the opportunity to enter fully into other people’s thoughts and feelings.
The novel, of course, is an unequaled medium for the exploration of human social and emotional life. And there is evidence that just as the brain responds to depictions of smells and textures and movements as if they were the real thing, so it treats the interactions among fictional characters as something like real-life social encounters...
[I]ndividuals who frequently read fiction seem to be better able to understand other people, empathize with them and see the world from their perspective. This relationship persisted even after the researchers accounted for the possibility that more empathetic individuals might prefer reading novels. A 2010 study... found a similar result in preschool-age children: the more stories they had read to them, the keener their theory of mind — an effect that was also produced by watching movies but, curiously, not by watching television...
These findings will affirm the experience of readers who have felt illuminated and instructed by a novel... Reading great literature, it has long been averred, enlarges and improves us as human beings. Brain science shows this claim is truer than we imagined.
10 March 2012
Eeriness
There was this day when we had a couple things that required us to drive to the fringes of the suburbia. It's only about 25 miles, but since I stopped commutning 100 miles a day, this counts as a road trip. The editor-in-chief in our house had to have a manuscript printed for a client. kinko's (or whatever it's called these days) seemed like the logical choice, even it meant a road trip. There's a Barnes and Noble store across the parking lot from the copy center, so I knew I could keep myself amused.
While the photocopy machine was pumping out paper copies of a perfectly good digital file, I wandered the bookstore, bought a copy of Tana French's The Likeness, bought a coffee, and settled down to read.
Last August, I read a couple of Tana French's books (In the Woods and Faithful Place) and really liked them. Since the beginnings of her books were especially good, I looked forward to the beginning of The Likeness and the bookstore coffee.
I wasn't disappointed.
If French hooked me with gorgeous images and attractive characters at the beginning of her other books, she got me with a plot device at the beginning of this one. Imagine a couple of undercover cops creating a false identity so one of them could go undercover to investigate drug dealing at an Irish university. Making up a family and background that couldn't easily be traced and creating certificates, licenses, and diplomas in the name of the new, fictitious person, Lexie Madison. The investigation goes pretty well, but the undercover cop has to rescued after being stabbed by one of the druggies.
Fast forward a few years and the young cop who had gone undercover, gets a call about a murder, even though she's not working homicide. The victim is a university grad student named Lexie Madison. And the corpse is a dead ringer (pun resisted, but not avoided) for the former undercover cop. Because of the circumstances of the death, the young cop is asked to once again assume the identity of Lexie Madison and help find her murderer. (This seems like a very Shakespearean plot device.)
Ready for this? How do you learn enough about someone to successfully step into her life? Her habits? preferences? speech patterns? academics? love life? finances? And then move back into the house she shared with four other grad students?
Some of the details are glossed over and others ignored. French compensates by once again creating attractive characters and incredible dialogues. The story is told mostly in real time dialogue from the perspective of the undercover cop. That may be the flaw. Coversation is a slow way to tell a story, even when the story teller is as good as French. There's pretty steady high level of tension in the story telling (the undercover is continually tempted to become Lexie Madison), but little variation. A few crises might have helped. About two-thirds of the way through the book, the outlines of the conclusion were pretty clear, but there was still a lot of book to read (total 466 pages in my paperback copy). And knowing in general what was coming made approaching the climax laborious.
But, I couldn't bring myself to skip ahead. I wanted to "hear" those conversations and explanations. French kept dragging me back into relationships that made up the stories of Lexie Madison. In spite of having to slog through the swamp of the ending, I really liked this book.
Have you read The Likeness? Write and tell this little bit of the world what you thought of it.
While the photocopy machine was pumping out paper copies of a perfectly good digital file, I wandered the bookstore, bought a copy of Tana French's The Likeness, bought a coffee, and settled down to read.
Last August, I read a couple of Tana French's books (In the Woods and Faithful Place) and really liked them. Since the beginnings of her books were especially good, I looked forward to the beginning of The Likeness and the bookstore coffee.
I wasn't disappointed.
If French hooked me with gorgeous images and attractive characters at the beginning of her other books, she got me with a plot device at the beginning of this one. Imagine a couple of undercover cops creating a false identity so one of them could go undercover to investigate drug dealing at an Irish university. Making up a family and background that couldn't easily be traced and creating certificates, licenses, and diplomas in the name of the new, fictitious person, Lexie Madison. The investigation goes pretty well, but the undercover cop has to rescued after being stabbed by one of the druggies.
Fast forward a few years and the young cop who had gone undercover, gets a call about a murder, even though she's not working homicide. The victim is a university grad student named Lexie Madison. And the corpse is a dead ringer (pun resisted, but not avoided) for the former undercover cop. Because of the circumstances of the death, the young cop is asked to once again assume the identity of Lexie Madison and help find her murderer. (This seems like a very Shakespearean plot device.)
Ready for this? How do you learn enough about someone to successfully step into her life? Her habits? preferences? speech patterns? academics? love life? finances? And then move back into the house she shared with four other grad students?
Some of the details are glossed over and others ignored. French compensates by once again creating attractive characters and incredible dialogues. The story is told mostly in real time dialogue from the perspective of the undercover cop. That may be the flaw. Coversation is a slow way to tell a story, even when the story teller is as good as French. There's pretty steady high level of tension in the story telling (the undercover is continually tempted to become Lexie Madison), but little variation. A few crises might have helped. About two-thirds of the way through the book, the outlines of the conclusion were pretty clear, but there was still a lot of book to read (total 466 pages in my paperback copy). And knowing in general what was coming made approaching the climax laborious.
But, I couldn't bring myself to skip ahead. I wanted to "hear" those conversations and explanations. French kept dragging me back into relationships that made up the stories of Lexie Madison. In spite of having to slog through the swamp of the ending, I really liked this book.
Have you read The Likeness? Write and tell this little bit of the world what you thought of it.
- Tana French's web page for The Likeness
- J. Robert Lennon's review of The Likeness at Ward Six
- Janet Maslin's review in The New York Times
- Barrie Hardymon's review at NPR Books
25 February 2012
Too complicated by half
Sue Scriven comes to our house regularly to help us stave off the dust bunnies, sticky crud on the dining room table, and general sediments of daily living. We are grateful and usually enjoy a week after she's been here because we don't have to dust or vacuum much. The following week we grumble and clean.
Sue knows about all the reading that gets done here and recently recommended The Coffee Trader, a book by David Liss. When I went to the library, that book wasn't on the shelf, but Liss' first book, A Conspiracy of Paper, was. So I brought it home.
The book, though written a dozen years ago and set in early-18th century London, is full of contemporary American memes. Like presidential candidate Ron Paul, there were lots of people in old London who were fearful of the "new" paper money. Like many 21st century politicians, there were many people worried about the "new fangled" national debt. And there were entrepreneurs and con men hawking derivatives based on the national debt and even lotteries based on the derivatives. Oh, and there were criminals working behind the scenes to create financial panics and sell forged shares of financial companies and ponzi scheme investments. ["There's an old saying about those who forget history. I don't remember it, but it's good." - Stephen Colbert]
At the end of the book, when it was too late to matter to me, Liss explains that "British money in the eighteenth century broke down this way: twelve pence equaled a shilling, five shillings a crown, twenty shillings a pound, and twenty-one shillings a guinea." (Remember these are the same people who came up inches, feet, yards, perches, and miles.) That complicated currency probably made sense to people who used it and didn't have much of it. A London laborer, Liss says, "might earn twenty pounds a year." Nevertheless, it seems overly complex from my 21st century vantage point. So does the story that Liss tells.
If I saw a diagram of the plot, I might admire the cleverness that went in to creating it and the creativity that linked elements. But, it was over complicated by half.
Same goes for the story telling in my mind. Maybe I am just a streamlined reader thrown back into a horse-and-buggy environment. But while trying to recreate the feeling of 18th century London, Liss spends a lot more time describing things that seem irrelevant than I thought necessary. When he wants to move the story along, the author can have a character send a message by street urchin across the city and get a reply in a couple hours and a couple paragraphs. Other times he takes pages of dialogue to reveal one tiny bit of information. I spent a lot of time frustratedly skimming for details that mattered.
One of the most interesting aspects of the book to me was that the main character was a non-practicing Jew in the London of 1720. After a career as a bare knuckle boxer and petty criminal, his uncle tries to bring him back into "the tribe" and an observant family. (In some scenes I was reminded of the outsider Easy Rawlins from Walter Mosley novels, and his struggles to reenter respectable society.) The anti-Semitism and legal restrictions on the roles Jews could play just a few decades after being allowed into the country were another of those things I was vaguely aware of, but had never thought about in detail. (BTW, that new national debt and the decision to allow Jews to once again live in England were related to the English Civil War, the Commonwealth of England, and Oliver Cromwell. Without a king, the nation had to borrow money to finance itself. And that borrowing required an international banking network. Since Jewish bankers in Holland were keys to the economic success there, Cromwell sought to expand the bankers' activities to England. That meant he promoted toleration and Jewish immigration.)
I might be tempted to pick up another of Liss' novels when I have lots of down time to enjoy the leisurely story telling, but I will know not to expect contemporary pacing. I'll still probably skim for relevancies, though. Maybe I should have begun with The Coffee Trader.
Have you read A Conspiracy of Paper or another of Liss' books? Write and tell this little bit of the world what you thought.
Sue knows about all the reading that gets done here and recently recommended The Coffee Trader, a book by David Liss. When I went to the library, that book wasn't on the shelf, but Liss' first book, A Conspiracy of Paper, was. So I brought it home.
The book, though written a dozen years ago and set in early-18th century London, is full of contemporary American memes. Like presidential candidate Ron Paul, there were lots of people in old London who were fearful of the "new" paper money. Like many 21st century politicians, there were many people worried about the "new fangled" national debt. And there were entrepreneurs and con men hawking derivatives based on the national debt and even lotteries based on the derivatives. Oh, and there were criminals working behind the scenes to create financial panics and sell forged shares of financial companies and ponzi scheme investments. ["There's an old saying about those who forget history. I don't remember it, but it's good." - Stephen Colbert]
At the end of the book, when it was too late to matter to me, Liss explains that "British money in the eighteenth century broke down this way: twelve pence equaled a shilling, five shillings a crown, twenty shillings a pound, and twenty-one shillings a guinea." (Remember these are the same people who came up inches, feet, yards, perches, and miles.) That complicated currency probably made sense to people who used it and didn't have much of it. A London laborer, Liss says, "might earn twenty pounds a year." Nevertheless, it seems overly complex from my 21st century vantage point. So does the story that Liss tells.
If I saw a diagram of the plot, I might admire the cleverness that went in to creating it and the creativity that linked elements. But, it was over complicated by half.
Same goes for the story telling in my mind. Maybe I am just a streamlined reader thrown back into a horse-and-buggy environment. But while trying to recreate the feeling of 18th century London, Liss spends a lot more time describing things that seem irrelevant than I thought necessary. When he wants to move the story along, the author can have a character send a message by street urchin across the city and get a reply in a couple hours and a couple paragraphs. Other times he takes pages of dialogue to reveal one tiny bit of information. I spent a lot of time frustratedly skimming for details that mattered.
One of the most interesting aspects of the book to me was that the main character was a non-practicing Jew in the London of 1720. After a career as a bare knuckle boxer and petty criminal, his uncle tries to bring him back into "the tribe" and an observant family. (In some scenes I was reminded of the outsider Easy Rawlins from Walter Mosley novels, and his struggles to reenter respectable society.) The anti-Semitism and legal restrictions on the roles Jews could play just a few decades after being allowed into the country were another of those things I was vaguely aware of, but had never thought about in detail. (BTW, that new national debt and the decision to allow Jews to once again live in England were related to the English Civil War, the Commonwealth of England, and Oliver Cromwell. Without a king, the nation had to borrow money to finance itself. And that borrowing required an international banking network. Since Jewish bankers in Holland were keys to the economic success there, Cromwell sought to expand the bankers' activities to England. That meant he promoted toleration and Jewish immigration.)
I might be tempted to pick up another of Liss' novels when I have lots of down time to enjoy the leisurely story telling, but I will know not to expect contemporary pacing. I'll still probably skim for relevancies, though. Maybe I should have begun with The Coffee Trader.
Have you read A Conspiracy of Paper or another of Liss' books? Write and tell this little bit of the world what you thought.
- David Liss' web page for A Conspiracy of Paper
- Andrew Roe's review at Salon.com
- James Polk's review in the New York Times
- Brad Katz's review in Mash Magazine
13 February 2012
Dan was right, again
A couple years ago, Dan Conrad said that Kate Atkinson's When Will There Be Good News? was one of the best books he'd read that year.
I've had mixed experiences with Atkinson's novels. Case Histories was really good. I couldn't even convince myself to finish Behind the Scenes at the Museum. The last half of Started Early, Took My Dog was good, but it took me a lot of work to get to the good bits.
Hoping for the best, I picked up Atkinson's When Will There Be Good News? the last time I was at the Northfield Library.
I was confused at the beginning, not because of how Atkinson wrote it, but beause I thought I'd already read the book. But I knew I hadn't read this one. Finally, I remembered that the stories in this book were in one of the BBC productions called Case Histories. The BBC producers created a miniseries out of the first three novels featuring Jackson Brodie. The setting of the first scenes in When Will There Be Good News? was different from the televised version, but the basic story was the same. Confusion resolved I read on.
There were fewer characters waved around as red herrings in the beginning than in Atkinson's other books, so I found it easier to keep track of what was going on. I also had vague memories of the television version, but I didn't remember a lot of details. I'm glad I didn't, because it made reading the stories better.
There are three stories in the book that revolve around the main characters. And there are interesting connections between the characters -- as there are in the other novels Atkinson has written.
I agree with Dan. This is the best of Atkinson's books I have read so far. Jackson Brodie, the "star" of several books, is relegated to a minor role in most of this book. He's in the hospital after nearly being killed in a train wreck. Not to worry, he heals enough and becomes a vital part of resolving things. And he's the victim of major fraud.
Brodie survives the train wreck because of first aid applied by a 16-year-old who was staying at her tutor's house next to the tracks. The tutor's car accident caused the train wreck. The teenager is also a nanny for a doctor and her baby. The doc and the baby go missing under suspicious circumstances. One of Brodie's old flames, still on the police force, is the lead investigator in that case. Oh, and the young nanny also has a brother who is dealing heroin and not being honest with his suppliers. Just to bring things full circle, there's a 30-year-old back story that ties the doctor to Jackson Brodie.
Jackson Brodie survived the train wreck and the loss of his wealth. The teenager who was the link between all the stories inherited part of her tutor's estate and is headed to university. The doc and her baby survived and got some revenge. There are loose ends that lead to the next book.
More Kate Atkinson? We'll see. There's so much to read and not enough time.
Have you read When Will There Be Good News? by Kate Atkinson? Write and tell this little bit of the world what you thought about it.
I've had mixed experiences with Atkinson's novels. Case Histories was really good. I couldn't even convince myself to finish Behind the Scenes at the Museum. The last half of Started Early, Took My Dog was good, but it took me a lot of work to get to the good bits.
I was confused at the beginning, not because of how Atkinson wrote it, but beause I thought I'd already read the book. But I knew I hadn't read this one. Finally, I remembered that the stories in this book were in one of the BBC productions called Case Histories. The BBC producers created a miniseries out of the first three novels featuring Jackson Brodie. The setting of the first scenes in When Will There Be Good News? was different from the televised version, but the basic story was the same. Confusion resolved I read on.
There were fewer characters waved around as red herrings in the beginning than in Atkinson's other books, so I found it easier to keep track of what was going on. I also had vague memories of the television version, but I didn't remember a lot of details. I'm glad I didn't, because it made reading the stories better.
There are three stories in the book that revolve around the main characters. And there are interesting connections between the characters -- as there are in the other novels Atkinson has written.
I agree with Dan. This is the best of Atkinson's books I have read so far. Jackson Brodie, the "star" of several books, is relegated to a minor role in most of this book. He's in the hospital after nearly being killed in a train wreck. Not to worry, he heals enough and becomes a vital part of resolving things. And he's the victim of major fraud.
Brodie survives the train wreck because of first aid applied by a 16-year-old who was staying at her tutor's house next to the tracks. The tutor's car accident caused the train wreck. The teenager is also a nanny for a doctor and her baby. The doc and the baby go missing under suspicious circumstances. One of Brodie's old flames, still on the police force, is the lead investigator in that case. Oh, and the young nanny also has a brother who is dealing heroin and not being honest with his suppliers. Just to bring things full circle, there's a 30-year-old back story that ties the doctor to Jackson Brodie.
Jackson Brodie survived the train wreck and the loss of his wealth. The teenager who was the link between all the stories inherited part of her tutor's estate and is headed to university. The doc and her baby survived and got some revenge. There are loose ends that lead to the next book.
More Kate Atkinson? We'll see. There's so much to read and not enough time.
Have you read When Will There Be Good News? by Kate Atkinson? Write and tell this little bit of the world what you thought about it.
- Kate Atkinson's web site
- Patrick Ness' review in The Guardian
- Lizzie Skurnick's review at NPR Books
- Kate Atkinson reading from When Will There Be Good News?
08 February 2012
Sacred Treasure
On the top of Gary Sankary's Best of 2011 Reading List was Rabbi Mark Glickman's book Sacred Treasure: The Cairo Genizah. The subtitle is "The Amazing Discoveries of Forgotten Jewish History in an Egyptian Synagogue Attic."
Gary explained to me (and probably to most of us) that a "Genizah is a storeroom/closet/attic that synagogues use to store scared texts that are no longer legible or usable." Often the old documents a genizah are collected and buried in a cemetery. But, the The Ben Ezra Synagogue Genizah had basically never been emptied since the synagogue was founded in the 9th century CE.
Scottish sisters on a Victorian-era adventure in Cairo bought an old document from the Ben Ezra Genizah they couldn't identify, in spite of their expertise in ancient languages. Cambridge don, Rabbi Solomon Schechter identified it for them. It was a one-page fragment of "a Hebrew manuscript of the book of Ben Sira or as it became known in Greek, Ecclesiasticus. Today that book is found in the Catholic Bible, it was excluded from the Hebrew and King James versions." It had been written around the year 900.
That discovery sent Rabbi Schechter out looking for funding and then off to Cairo. There he found the Genizah stuffed with hundreds of thousands of documents. The Genizah which began as a place to store old sacred documents had become a place to store old written documents of all kinds.
In Sacred Treasure, Rabbi Glickman tells the story of the Cairo trove of documents. Rabbi Schechter is only the first in a century-long line of scholars who have worked to identify, read, analyze, and catalog the thousands of documents.
Rabbi Glickman looking into the Cairo Gehizah, Photo: Jacob Glickman
Back in the '70s, I spent a lot of time volunteering on archaeolgical field work projects. I have a real appreciation for the careful work that goes into uncovering and interpreting material culture from long ago. I still recall the thrill of uncovering a large clam shell, cleaning it off, drawing it into the unit's map for its level, and photographing it. When it came time to remove the shell, I (we, because no one can do all this alone) found a small, 800-year-old corn cob under it. Wow!
So, there was Rabbi Scechter, peering into a room full of a thousand years' of history. He was able to purchase most of the documents and take them to England. Back in Cambridge, he began the process of cataloging, reading, translating, identifying, and understanding documents. It was tedious and tremendously exciting work. I understand that. What would any philosopher, historian, or religious scholar give to find something written by Moses Maimonides? What was the value of many things written by the famous sage? But that just begins to tell the story of what was found in the Cairo Genizah.
Rabbi Glickman does a great job of telling this story in all its complexity. He profiles the people and the problems -- like institutional competition. I really appreciated how well the various threads of the story track in Rabbi Glickman's skilled narrative.
I learned that Medieval and modern Jewish religious movements are as numerous and varied as Protestant demoninations. If I thought about my little knowledge of Israeli politics, I sort of knew that, but reading about the varieties of Jewish ritual and rules made that diversity come alive. Rabbi Glickman makes a point of that and a few other ways that the Genizah's contents illuminate the present as well as the past.
I wish he'd written more about what the documents tell us about beliefs, worship, diet, families, law, economics, and other things that are described in the Cairo documents. But, this is not a long, scholarly tome. It's an adventure story. And a darn good one.
Thanks, Gary for recommending the book. I'm passing on his recommendation.
It's not hard to get the book. It's available from Amazon.com. I ordered my directly from Rabbi Mark Glickman, 15030 232nd Ave. NE, Woodinville, WA 98077. The cost is $24.99 plus $3.50 shipping (Continental US) and $2.25 tax if you have it delivered to an address in the state of Washington. And he'll autograph your copy.
If you read it, write and tell this little bit of the world what you thought of it.
Expedition: Genizah, Rabbi Glickman's web site
"Cairo Genizah author describes treasure trove" from The Jewish Review
"Cairo’s Jewish medieval manuscripts" from PRI's The World (includes some great photos, including the one above)
Gary explained to me (and probably to most of us) that a "Genizah is a storeroom/closet/attic that synagogues use to store scared texts that are no longer legible or usable." Often the old documents a genizah are collected and buried in a cemetery. But, the The Ben Ezra Synagogue Genizah had basically never been emptied since the synagogue was founded in the 9th century CE.
Scottish sisters on a Victorian-era adventure in Cairo bought an old document from the Ben Ezra Genizah they couldn't identify, in spite of their expertise in ancient languages. Cambridge don, Rabbi Solomon Schechter identified it for them. It was a one-page fragment of "a Hebrew manuscript of the book of Ben Sira or as it became known in Greek, Ecclesiasticus. Today that book is found in the Catholic Bible, it was excluded from the Hebrew and King James versions." It had been written around the year 900.
That discovery sent Rabbi Schechter out looking for funding and then off to Cairo. There he found the Genizah stuffed with hundreds of thousands of documents. The Genizah which began as a place to store old sacred documents had become a place to store old written documents of all kinds.
In Sacred Treasure, Rabbi Glickman tells the story of the Cairo trove of documents. Rabbi Schechter is only the first in a century-long line of scholars who have worked to identify, read, analyze, and catalog the thousands of documents.
Rabbi Glickman looking into the Cairo Gehizah, Photo: Jacob Glickman
Back in the '70s, I spent a lot of time volunteering on archaeolgical field work projects. I have a real appreciation for the careful work that goes into uncovering and interpreting material culture from long ago. I still recall the thrill of uncovering a large clam shell, cleaning it off, drawing it into the unit's map for its level, and photographing it. When it came time to remove the shell, I (we, because no one can do all this alone) found a small, 800-year-old corn cob under it. Wow!
So, there was Rabbi Scechter, peering into a room full of a thousand years' of history. He was able to purchase most of the documents and take them to England. Back in Cambridge, he began the process of cataloging, reading, translating, identifying, and understanding documents. It was tedious and tremendously exciting work. I understand that. What would any philosopher, historian, or religious scholar give to find something written by Moses Maimonides? What was the value of many things written by the famous sage? But that just begins to tell the story of what was found in the Cairo Genizah.
Rabbi Glickman does a great job of telling this story in all its complexity. He profiles the people and the problems -- like institutional competition. I really appreciated how well the various threads of the story track in Rabbi Glickman's skilled narrative.
I learned that Medieval and modern Jewish religious movements are as numerous and varied as Protestant demoninations. If I thought about my little knowledge of Israeli politics, I sort of knew that, but reading about the varieties of Jewish ritual and rules made that diversity come alive. Rabbi Glickman makes a point of that and a few other ways that the Genizah's contents illuminate the present as well as the past.
I wish he'd written more about what the documents tell us about beliefs, worship, diet, families, law, economics, and other things that are described in the Cairo documents. But, this is not a long, scholarly tome. It's an adventure story. And a darn good one.
Thanks, Gary for recommending the book. I'm passing on his recommendation.
It's not hard to get the book. It's available from Amazon.com. I ordered my directly from Rabbi Mark Glickman, 15030 232nd Ave. NE, Woodinville, WA 98077. The cost is $24.99 plus $3.50 shipping (Continental US) and $2.25 tax if you have it delivered to an address in the state of Washington. And he'll autograph your copy.
If you read it, write and tell this little bit of the world what you thought of it.
Expedition: Genizah, Rabbi Glickman's web site
"Cairo Genizah author describes treasure trove" from The Jewish Review
"Cairo’s Jewish medieval manuscripts" from PRI's The World (includes some great photos, including the one above)
01 February 2012
Writing by recipe
I'm beginning to think that somebody, somewhere wrote an instruction manual for mystery writers and that Kate Atkinson and Camilla Läckberg followed the instructions.
I thought that the first Kate Atkinson novel I read, Case Histories, was well done. I even liked the way she began the book -- in snippets of story that seemed unrelated until well into the book. I wasn't quite as taken by the second Atkinson mystery I read, Started Early, Took My Dog. Alerted by my earlier experience, I began taking notes early in the reading. It still didn't measure up by my lights.
Then I tried to read Atkinson's first novel, Behind the Scenes at the Museum. I couldn't convince myself to even finish that one. Okay, it was her first try. But it won awards! Not from me.
Dan Conrad wrote a comment on my description of trying to read Behind the Scenes... about Camilla Läckberg's The Preacher. (I'd forgotten until I looked up the blog entry.) He was disappointed after reading Läckberg's The Ice Princess.
So I headed into The Preacher without Dan's warning in my head or The Ice Princess experience.
First of all, Läckberg must have read the same instructions that Atkinson did. I didn't take notes, but there were time when I wished I had. The first half of the book is made up of bits and pieces of story and characters in little seemingly random order. Trying to get a handle on who is who and what's going on in the various settings is a chore. Not enough to disuade me from reading on, but a chore. The only bits that are clearly identifiable are two-page descriptions of sadistic, misogynistic torture that are scattered throughout the book. After the first two of those, I just skipped the rest of them.
And there's so much filler in this 400-page book. Where was the persuasive editor to convince the author that losing 100-150 pages would not be a disaster. Of course you couldn't tell all the stories and you couldn't describe all the details, but the novel would be better. Write another book with the things you leave out.
So, the main story, crazy as it is, is okay. If Läckberg's early book had a strong, active woman character, this one doesn't. It might have helped. The side and back stories seemed really superfluous to me. I wanted this to be a "choose your own adventure" type of book which gave me choices at the end of chapters about what story I wanted to continue and which ones to abandon.
No such luck.
I still want to go back and read The Ice Princess. I hope Läckberg wrote that one before she read the instruction manual about writing a bunch of little stories, cutting them into 3-paragraph sections, and then randomly pasting them onto pages in the first half of the book.
Have you read The Preacher or The Ice Princess? What did you think of it (them)? Write and tell this little bit of the world.
I thought that the first Kate Atkinson novel I read, Case Histories, was well done. I even liked the way she began the book -- in snippets of story that seemed unrelated until well into the book. I wasn't quite as taken by the second Atkinson mystery I read, Started Early, Took My Dog. Alerted by my earlier experience, I began taking notes early in the reading. It still didn't measure up by my lights.
Then I tried to read Atkinson's first novel, Behind the Scenes at the Museum. I couldn't convince myself to even finish that one. Okay, it was her first try. But it won awards! Not from me.
Dan Conrad wrote a comment on my description of trying to read Behind the Scenes... about Camilla Läckberg's The Preacher. (I'd forgotten until I looked up the blog entry.) He was disappointed after reading Läckberg's The Ice Princess.
So I headed into The Preacher without Dan's warning in my head or The Ice Princess experience.
First of all, Läckberg must have read the same instructions that Atkinson did. I didn't take notes, but there were time when I wished I had. The first half of the book is made up of bits and pieces of story and characters in little seemingly random order. Trying to get a handle on who is who and what's going on in the various settings is a chore. Not enough to disuade me from reading on, but a chore. The only bits that are clearly identifiable are two-page descriptions of sadistic, misogynistic torture that are scattered throughout the book. After the first two of those, I just skipped the rest of them.
And there's so much filler in this 400-page book. Where was the persuasive editor to convince the author that losing 100-150 pages would not be a disaster. Of course you couldn't tell all the stories and you couldn't describe all the details, but the novel would be better. Write another book with the things you leave out.
So, the main story, crazy as it is, is okay. If Läckberg's early book had a strong, active woman character, this one doesn't. It might have helped. The side and back stories seemed really superfluous to me. I wanted this to be a "choose your own adventure" type of book which gave me choices at the end of chapters about what story I wanted to continue and which ones to abandon.
No such luck.
I still want to go back and read The Ice Princess. I hope Läckberg wrote that one before she read the instruction manual about writing a bunch of little stories, cutting them into 3-paragraph sections, and then randomly pasting them onto pages in the first half of the book.
Have you read The Preacher or The Ice Princess? What did you think of it (them)? Write and tell this little bit of the world.
- Dennis Drabelle's review in The Washington Post
- Peter's review at Nordic Bookblog
- Review by an unnamed Aussie at Reactions to Reading
25 January 2012
End it already!
I've read several of Charles Todd's mysteries featuring WWI nurse Beth Crawford. She's the one whose stories remind me of the Masie Dobbs stories, and they're as good as the lesser Masie Dobbs' stories.
I picked up another Charles Todd mystery at the library recently, and it made me wonder again about all this writing about the time between World War I and World War II. Todd has set "his" books in that time, as does Jacqueline Winspear. Laurie R. King sets some of her Mary Russell stories in that time frame as well. It doesn't seem -- Gatsby notwithstanding -- a very attractive period in Western history. Maybe it's attractive as a literary setting because it's far enough in the past so there are few people around with first hand experiences, but for which there is good and accessible documentation of the time. (I especially think of the descriptions of material culture in the Masie Dobbs stories.)
In any case, this book was not a Bess Crawford mystery, but an Inspector Ian Rutledge Mystery. I read one of these before and liked it, with reservations. Looking back, I have some of the same reservations about Wings of Fire.
Inspector Ian Rutledge is a WWI veteran suffering what we'd now call a severe case of PTSD. It gets in his way, but -- stiff upper lip and all -- he tries to push through and do the investigations he has to do. Interestingly, but less so than the first time around, Rutledge carries a memory that is a constant voice in his head commenting on what's going on. It's sort of like a Greek chorus, but I thought it became tiresome.
I wrote about A Test of Wills (the Rutledge mystery that preceded this one), "Rutledge's investigation seems to reach the same conclusions as the local one did, but he can't tie up all the loose ends. The voice in his head taunts him. People tell him only what they think is relevant. He keeps probing to find out what they are keeping from him. Of course, he's relentless."
Well, I found slight differences in Wings of Fire, but hardly enough to note. It's just a variation on the earlier story.
There's a textbook I'm familiar with in which the first third of the book endeavors to explain theory and concepts before it tackles the subject matter those things apply to. I find it difficult to deal with because I best understand the methodology when it's applied. (I also know that other people want all the abstract stuff organized in their heads before they tackle real-world topics.)
Well, the last third of this book is an extended unwinding of the mystery that only Ian Rutledge (even in his damaged condition) has figured out. Well, one of the murdered people had figured it out, but her letter explaining things wasn't found until after Rutledge had unraveled the mystery. That last third of the book was not much fun for me. I'd figured out what Rutledge had long before he had the climactic meeting with the bad guy. When I read A Test of Wills, I wrote that I was dissatisfied with the resolution. Same here. If another Charles Todd novel falls into my hands, I'll probably begin reading it. I don't know if I'd slog through another resolution like this one.
So, have you read Wings of Fire or another of Charles Todd's novels? What did you think? Write and tell this little bit of the world about your reactions.
I picked up another Charles Todd mystery at the library recently, and it made me wonder again about all this writing about the time between World War I and World War II. Todd has set "his" books in that time, as does Jacqueline Winspear. Laurie R. King sets some of her Mary Russell stories in that time frame as well. It doesn't seem -- Gatsby notwithstanding -- a very attractive period in Western history. Maybe it's attractive as a literary setting because it's far enough in the past so there are few people around with first hand experiences, but for which there is good and accessible documentation of the time. (I especially think of the descriptions of material culture in the Masie Dobbs stories.)
In any case, this book was not a Bess Crawford mystery, but an Inspector Ian Rutledge Mystery. I read one of these before and liked it, with reservations. Looking back, I have some of the same reservations about Wings of Fire.
Inspector Ian Rutledge is a WWI veteran suffering what we'd now call a severe case of PTSD. It gets in his way, but -- stiff upper lip and all -- he tries to push through and do the investigations he has to do. Interestingly, but less so than the first time around, Rutledge carries a memory that is a constant voice in his head commenting on what's going on. It's sort of like a Greek chorus, but I thought it became tiresome.
I wrote about A Test of Wills (the Rutledge mystery that preceded this one), "Rutledge's investigation seems to reach the same conclusions as the local one did, but he can't tie up all the loose ends. The voice in his head taunts him. People tell him only what they think is relevant. He keeps probing to find out what they are keeping from him. Of course, he's relentless."
Well, I found slight differences in Wings of Fire, but hardly enough to note. It's just a variation on the earlier story.
There's a textbook I'm familiar with in which the first third of the book endeavors to explain theory and concepts before it tackles the subject matter those things apply to. I find it difficult to deal with because I best understand the methodology when it's applied. (I also know that other people want all the abstract stuff organized in their heads before they tackle real-world topics.)
Well, the last third of this book is an extended unwinding of the mystery that only Ian Rutledge (even in his damaged condition) has figured out. Well, one of the murdered people had figured it out, but her letter explaining things wasn't found until after Rutledge had unraveled the mystery. That last third of the book was not much fun for me. I'd figured out what Rutledge had long before he had the climactic meeting with the bad guy. When I read A Test of Wills, I wrote that I was dissatisfied with the resolution. Same here. If another Charles Todd novel falls into my hands, I'll probably begin reading it. I don't know if I'd slog through another resolution like this one.
So, have you read Wings of Fire or another of Charles Todd's novels? What did you think? Write and tell this little bit of the world about your reactions.
- Charles Todd's home page
- An interview with Caroline and Charles Todd in January Magazine
- Lee Gilmore's review at The Mystery Reader
17 January 2012
Macro- and micro-novels
Many years ago I worked my way through a macro-novel called Centennial by James Michener. It was the kind of marcro-novel that Michener became famous for. It was one of a number of macro-novels I plowed through long ago. [The last one was probably Ken Follett's The Pillars of the Earth. Or maybe Barbara Tuchman's A Distant Mirror: The Calamitous 14th Century (okay, it wasn't a novel, but it read like one).]
By macro-novel, I mean a novel (or history) that takes a wide view of "life, the universe, and everything." (See Douglas Adams' Life, the Universe and Everything. Michener begins his historical novel about Colorado with geology and lots of anthropology. Follett writes about the generations who built a cathedral. Tuchman writes about the Black Death, the Hundred Years' War, religious politics, peasant uprisings, aristocratic politics, and the Little Ice Age. They are huge books that include enough ideas, characters, and stories to hold my interest for a long time.
I thought of Centennial twice recently. The first time was when I had a bad cold and cough. I went looking for tea and the local grocery store didn't carry lapsong souchong. I had fond memories of lapsong souchong from the time I read Centennial. Michener described how French fur traders in 18th century Colorado carried bricks of lapsong souchong. So I had to try it. I found it easily, but I was living in the big city then. Now, I'm shopping in a small town grocery store. Oh well, I found a soothing tea that worked to relieve my throat.
The second time I thought of Centennial was when I began reading Susan Vreeland's Luncheon of the Boating Party. The reason I thought of Michener's tome was that Vreeland's book is a micro-novel as opposed to Michener's macro-novel. Almost everything in the first half of the book took place in the head of Auguste Renoir. Vreeland paints some images of late 19th century Paris and illustrates some characteristics of Renoir, but there isn't much in the way of stories.
By the time I got to the middle of the book, I was tired of reading about Renoir's struggles to gather his models, get them to sit still, manage his love life, worry about the light... I would much rather have read a treatise about Renoir's painting or an analysis of Luncheon of the Boating Party. I would have much preferred to go to Washington, D.C. to see the painting and some of its contemporaries.
I quit reading the book and put it on the pile to be returned to the library.
Jeanette Hohman is a 92-year old acquanintance and reader of this blog (when I send her print outs). She asked not long ago why I read so few things besides mysteries. I replied that I was lazy and that mysteries are usually easy (Kate Atkinson, perhaps an exception). I should have added that I read a lot of serious stuff about government and politics -- including lots of news from six selected countries (you're probably fortunate that I write about that on a separate blog). And, I should have added that experiences like trying to read micro-novels like Vreeland's, Connie Willis' science fiction, Per Petterson's micro-novel, and even James Gleick's The Information, send me back to mysteries.
That's what I'm going to do. I'm going to pick up the Charles Todd mystery I got at the library. But, thinking about the macro-novels that I still have fond memories of, maybe I should devote a couple months to reading to something like Follett's World Without End (I've heard it's good). I've also heard good things about Edward Rutherford's London (a sequel to Sarum, another macro-novel which was based on an exhibit I saw at the City of London Museum).
By macro-novel, I mean a novel (or history) that takes a wide view of "life, the universe, and everything." (See Douglas Adams' Life, the Universe and Everything. Michener begins his historical novel about Colorado with geology and lots of anthropology. Follett writes about the generations who built a cathedral. Tuchman writes about the Black Death, the Hundred Years' War, religious politics, peasant uprisings, aristocratic politics, and the Little Ice Age. They are huge books that include enough ideas, characters, and stories to hold my interest for a long time.
I thought of Centennial twice recently. The first time was when I had a bad cold and cough. I went looking for tea and the local grocery store didn't carry lapsong souchong. I had fond memories of lapsong souchong from the time I read Centennial. Michener described how French fur traders in 18th century Colorado carried bricks of lapsong souchong. So I had to try it. I found it easily, but I was living in the big city then. Now, I'm shopping in a small town grocery store. Oh well, I found a soothing tea that worked to relieve my throat.
The second time I thought of Centennial was when I began reading Susan Vreeland's Luncheon of the Boating Party. The reason I thought of Michener's tome was that Vreeland's book is a micro-novel as opposed to Michener's macro-novel. Almost everything in the first half of the book took place in the head of Auguste Renoir. Vreeland paints some images of late 19th century Paris and illustrates some characteristics of Renoir, but there isn't much in the way of stories.
By the time I got to the middle of the book, I was tired of reading about Renoir's struggles to gather his models, get them to sit still, manage his love life, worry about the light... I would much rather have read a treatise about Renoir's painting or an analysis of Luncheon of the Boating Party. I would have much preferred to go to Washington, D.C. to see the painting and some of its contemporaries.
I quit reading the book and put it on the pile to be returned to the library.
Jeanette Hohman is a 92-year old acquanintance and reader of this blog (when I send her print outs). She asked not long ago why I read so few things besides mysteries. I replied that I was lazy and that mysteries are usually easy (Kate Atkinson, perhaps an exception). I should have added that I read a lot of serious stuff about government and politics -- including lots of news from six selected countries (you're probably fortunate that I write about that on a separate blog). And, I should have added that experiences like trying to read micro-novels like Vreeland's, Connie Willis' science fiction, Per Petterson's micro-novel, and even James Gleick's The Information, send me back to mysteries.
That's what I'm going to do. I'm going to pick up the Charles Todd mystery I got at the library. But, thinking about the macro-novels that I still have fond memories of, maybe I should devote a couple months to reading to something like Follett's World Without End (I've heard it's good). I've also heard good things about Edward Rutherford's London (a sequel to Sarum, another macro-novel which was based on an exhibit I saw at the City of London Museum).
- Susan Vreeland's web site
- Donna Bird's review at Greenman Review
- Kathy Jones' review at Blog Critics
- Kristin Merrihew's review at Mostly Fiction
14 January 2012
Fast books, slow books
Bird Loomis writes from a Democratic enclave (Lawrence) in a Republican utopia-to-be (Kansas). Luckily, the Kansans still allow the importation of books from the outside -- even those from outside the USA. And they allow e-mail out of Kansas as well. Thank you, Bird.
Over the past few months I’ve read five books by two authors, neither of whom I’d read before. Jo Nesbo is the better known, with his series of Norwegian novels (deftly translated) about detective Harry Hole. The other is Rebecca Pawel, a native New Yorker, who writes a fascinating series of mysteries about a Guardia lieutenant in Franco-era Spain of the 1940s.
I’ve come to enjoy both authors immensely, but my approach to the books has been quite different. Nesbo writes long, fast-paced, intricately plotted mysteries. I thought that I’d just about had it with alcoholic detectives, but Harry H. has won me over, in part because his drinking is not a constant, and it’s integral to his character and his up-and-down personal life. I haven’t read his work in any particular order, which is a little, but not too, problematic. I find that I read the long Nesbo books at a whirlwind pace. I start, and even if I’m not on vacation I find it hard to put the book down. (Not quite the 6-day Girl with the Dragon Tattoo marathon for all three books, but close.)
Pawel, on the other hand, is a “few pages a night before nodding off” kind of author for me. Like KC Constantine’s Western Pennsylvania novels about Rocksburg and its fictional police chief, Mario Balzic, Pawel’s books are less mysteries and more character studies. And what a set of characters – most notably Lieutenant Tejada, from an aristocratic, Fascist family, and his wife, who comes from a communist background and constantly makes life challenging for the family (as does Tejada). Still, they love each other and their son, and the series develops these relationships slowly and unpredictably. They genius of Pawel’s work is to make a sympathetic character (Tejada) out of someone whom most readers would ordinarily detest. But like Harry Hole, Wallander, John Rebus, and others, he is a good cop and, ultimately, a fair-minded individual.
I think I read the Pawel books slowly because I need time to keep following the various characters, placed back in history, but mostly because I want to ponder the relationships of Tejada with his wife, child, family, and social class. To be sure, there is a mystery to be solved, but the books’ resolutions are more about how personal ties evolve than the solving of a crime. In many ways, there is more to savor here than in the latest Connelly or Child or Nesbo.
In the end, I have no desire to read just “fast” books or only “slow” ones – but good ones. Nesbo hooked me almost immediately; Pawel took more time, but ultimately both made me go looking for more volumes, ever eager to read more.
- Jo Nesbo's web site
- My thoughts about The Snowman
- Monica Hesse's profile of Jo Nesbo in the Washington Post
- Kjetil Stensvik Østil's interview with Jo Nesbo in The Browser
- Ilya Marritz' profile of Rebecca Pawel in The Sun (New York)
- Steven Torres' interview with Rebecca Pawel on the blog named after him
12 January 2012
The last of Louise Penny's books
I was happy I got to read the first of Louise Penny's books, Still Life. It was charming and interesting.
So I picked up a second one, A Fatal Grace, when I was at the library. I evern renewed it because there were so many interruptions over the holidays (if grand daughters can be safely called interruptions.)
It took too long to read. It wasn't as charming or as interesting. The plot was far fetched. Most of the interesting characters from Still Life were in this book, but they weren't as interesting the second time around.
I did finish the book, so it wasn't awful. It just wasn't as wonderful as the first one of Penny's that I read.
Tiny, improbable village in southern Quebec where a second murder in as many years takes place. What are the odds? About the same as the odds of there being a second-hand book store there that supports its owner, as Penny contends. Now, I've read Carol Bly and Kathleen Norris and I'm willing to concede that there's probably more diversity in rural towns than I saw growing up in one. But the diversity in Three Pines stretches my sense of the possible. And like Cabot Cove, Maine, the violent crime rate is pretty high. I wouldn't want to live there and I doubt I'll visit again through Louise Penny's novels. (It's not the last of Louise Penny's books, but it's probably the last one I'll read.)
Have you read A Fatal Grace (published in Canada as Dead Cold and Sous la glace)? What did you think of it? Read other of Louise Penny's mysteries? What did you think of them? Write and tell this little bit of the world what you thought.
So I picked up a second one, A Fatal Grace, when I was at the library. I evern renewed it because there were so many interruptions over the holidays (if grand daughters can be safely called interruptions.)
It took too long to read. It wasn't as charming or as interesting. The plot was far fetched. Most of the interesting characters from Still Life were in this book, but they weren't as interesting the second time around.
I did finish the book, so it wasn't awful. It just wasn't as wonderful as the first one of Penny's that I read.
Tiny, improbable village in southern Quebec where a second murder in as many years takes place. What are the odds? About the same as the odds of there being a second-hand book store there that supports its owner, as Penny contends. Now, I've read Carol Bly and Kathleen Norris and I'm willing to concede that there's probably more diversity in rural towns than I saw growing up in one. But the diversity in Three Pines stretches my sense of the possible. And like Cabot Cove, Maine, the violent crime rate is pretty high. I wouldn't want to live there and I doubt I'll visit again through Louise Penny's novels. (It's not the last of Louise Penny's books, but it's probably the last one I'll read.)
Have you read A Fatal Grace (published in Canada as Dead Cold and Sous la glace)? What did you think of it? Read other of Louise Penny's mysteries? What did you think of them? Write and tell this little bit of the world what you thought.
- The author's web site
- Carol Wallace's review at Book Group of One
- Poet B. Morrison's review on her version of a reading blog
19 December 2011
Started early, took a long time
I wasn't totally discouraged by my attempts to make sense of Kate Atkinson's first novel. I still had good memories about Case Histories. Besides, I'd bought a paperback copy of the newest of Atkinson's books about the adventures of Jackson Brodie, Started Early, Took My Dog. Not only was it a paperback book, I bought it at the end of term sale at Carleton's book store.
As with Case Histories, the book starts out with a plethora of names and few other identifiers. I finally resorted to taking notes, like I did when I read Queen of the Night. Some of the people figured prominently in the stories. Some of the people just happened to be in the area. I was over two-thirds of the way into the book before I could stop checking my notes every couple paragraphs. Here are the notes I took at the back of the book. (I long for the days of the huge Russian novels I used to read that had the casts of characters listed at the front of the book.)
It was about two-thirds of the way into the book that Atkinson began to really tell her main story. That's probably why I didn't have to refer to my character notes as much. Atkinson has stories, lots of them: backstories, side stories, distracting stories, main stories. At the beginning there are few hints about which is which. And she writes little scenes from these stories and seemingly throws them into the book, often without warning. No chapters to speak of. Sometimes a date, sometimes not. Sometimes a horizontal line between scenes, sometimes not. And there are lots of people. Did I say that already?
I really don't want to work this much for a diverting mystery story (or two). I'm having second thoughts about going back and reading the two other Jackson Brodie books. In addition, the plots of the two main stories are, to my mind, overly complex. And the resolution was too quick and slick. It was almost as though Atkinson's word processor told her she had written 100,000 words and she felt she needed to end the book before she got to 105,000 words. [The endings of the television series Bones are like that. (It's one of the three or four TV series that gets watched at our house.) Big mystery, fantastical scientific investigation, a little detective work, and in the last 2 minutes the bad guy confesses or is said to have been arrested. Quick and slick.]
I liked wondering about the main mystery and one of the subsidiary ones. There was one good red herring. Some of the over-complexity was caused by a less than interesting back story. Jackson Brodie needs to get over himself before there's another story about him. Atkinson has to get over over-complicating her novels. Complexity and obscurity do not make for better story telling. (Although at times I think that's what critics imply.)
Have you read Started Early, Took My Dog? What did you think? Anyone besides Dan read other Kate Atkinson books? How did you react? Write and tell this little bit of the world about your response. Or you can just post a comment at the end of this blog entry.
As with Case Histories, the book starts out with a plethora of names and few other identifiers. I finally resorted to taking notes, like I did when I read Queen of the Night. Some of the people figured prominently in the stories. Some of the people just happened to be in the area. I was over two-thirds of the way into the book before I could stop checking my notes every couple paragraphs. Here are the notes I took at the back of the book. (I long for the days of the huge Russian novels I used to read that had the casts of characters listed at the front of the book.)
It was about two-thirds of the way into the book that Atkinson began to really tell her main story. That's probably why I didn't have to refer to my character notes as much. Atkinson has stories, lots of them: backstories, side stories, distracting stories, main stories. At the beginning there are few hints about which is which. And she writes little scenes from these stories and seemingly throws them into the book, often without warning. No chapters to speak of. Sometimes a date, sometimes not. Sometimes a horizontal line between scenes, sometimes not. And there are lots of people. Did I say that already?
I really don't want to work this much for a diverting mystery story (or two). I'm having second thoughts about going back and reading the two other Jackson Brodie books. In addition, the plots of the two main stories are, to my mind, overly complex. And the resolution was too quick and slick. It was almost as though Atkinson's word processor told her she had written 100,000 words and she felt she needed to end the book before she got to 105,000 words. [The endings of the television series Bones are like that. (It's one of the three or four TV series that gets watched at our house.) Big mystery, fantastical scientific investigation, a little detective work, and in the last 2 minutes the bad guy confesses or is said to have been arrested. Quick and slick.]
I liked wondering about the main mystery and one of the subsidiary ones. There was one good red herring. Some of the over-complexity was caused by a less than interesting back story. Jackson Brodie needs to get over himself before there's another story about him. Atkinson has to get over over-complicating her novels. Complexity and obscurity do not make for better story telling. (Although at times I think that's what critics imply.)
Have you read Started Early, Took My Dog? What did you think? Anyone besides Dan read other Kate Atkinson books? How did you react? Write and tell this little bit of the world about your response. Or you can just post a comment at the end of this blog entry.
- the author's website
- Jack Goodstein's review in the Seattle Post Intelligencer
- Janet Maslin's review in the New York Times
- Justine Jordan's review in The Guardian
- Emily Dickinson's poem, "I Started Early -- Took my Dog"
- Emily Dickinson's poem, "Hope is a Thing with Feathers"
05 December 2011
Skipping
I have read half a dozen of Thomas Perry's books. I have really liked them. (Search for Perry at the Delicious index for this blog.)
I picked up a recent Perry book at the library. It's one of a series he's written featuring Jane Whitefield: Runner. Jane Whitefield is a kind of magician who helps make people disappear because really bad guys are threatening their lives. She pulls out wads of cash, piles of previously established identities, formidable martial arts skills, and years of experience to create new people out of old ones.
Here are the Heart of Gold and Green Lantern awards for improbabilities and super heroism. The story is overwhelmed by those characteristics.
The other thing to note is that Perry's skills in creating and maintaining tension and suspense are as great as his sense of humor (that appears in his other books). Given the nature of the story: professionals searching across the country for a scared, pregnant, 20-year-old, tension and suspense cannot be relieved until the end of the story. Okay, but I'm not obligated to read 440 pages of gripping fear and anxiety. I read about half way through the book and then skipped to the last three chapters just to see how Perry tied up the loose ends.
Have you read Runner or another of Perry's "Jane Whitefield" novels? What did you think of it (them)? How did you deal with the tension? Is my imagination just too active? Write and tell this little bit of the world what you think.
I picked up a recent Perry book at the library. It's one of a series he's written featuring Jane Whitefield: Runner. Jane Whitefield is a kind of magician who helps make people disappear because really bad guys are threatening their lives. She pulls out wads of cash, piles of previously established identities, formidable martial arts skills, and years of experience to create new people out of old ones.
Here are the Heart of Gold and Green Lantern awards for improbabilities and super heroism. The story is overwhelmed by those characteristics.
The other thing to note is that Perry's skills in creating and maintaining tension and suspense are as great as his sense of humor (that appears in his other books). Given the nature of the story: professionals searching across the country for a scared, pregnant, 20-year-old, tension and suspense cannot be relieved until the end of the story. Okay, but I'm not obligated to read 440 pages of gripping fear and anxiety. I read about half way through the book and then skipped to the last three chapters just to see how Perry tied up the loose ends.
Have you read Runner or another of Perry's "Jane Whitefield" novels? What did you think of it (them)? How did you deal with the tension? Is my imagination just too active? Write and tell this little bit of the world what you think.
- The author's web site
- An unsigned review at Epinions.com
- John O'Connell's review at The Guardian
- Niki Masse Schoenfeldt's review at Curled Up With a Good Book
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