Curtis Westcott is Chief of Homicide in Boston in A Killling Game, first book in a series by Jeff Buick. In this story, a rich and powerful man’s daughter is kidnapped by a criminal who doesn’t want money, but revenge. And to show the police how smart he is.
As the story proceeds, Curtis realizes that the killer is leaving a series of messages for him. These messages contain hidden riddles which – if he can solve them – will make it possible for him to stop the murder.
That’s really all I think I’m going to tell you about the plot. Because frankly, I don’t think this book deserves a lot of description.
It follows a formula you see often in thrillers – the super-smart criminal mastermind plays a game with the police, confident that his superior intelligence makes him unassailable, but longing at the same time for “a worthy adversary.”
I’m pretty sure this never happens in real life. A writer can make it work, but it takes a lot of skill.
Also, the plot involves a trail of obscure brain puzzles, which the detectives have to solve before the clock runs out.
I’m confident that this never, ever happens in real life. I did not believe this aspect of the story for a single moment.
Also, it struck me as ironic that the plot calls for the interpretation of ridiculously obscure verbal clues, while the author himself didn’t trust the reader to understand his plain words – the book is in fact overwritten. It would benefit from a great deal of cutting.
This happens when an author assumes his audience is too stupid to understand him, or when he doubts his own narrative power, so he reiterates everything he says.
[Here’s a Deathless Principle from Walker’s School of Writing: Good writing is like leading a friend along a path to see a beautiful vista. Once you’ve led him to the ridge where he can look out and see it, don’t keep informing him what he’s seeing. If you led him to the right spot he’ll see for himself.]
So I didn’t care much for A Killing Game. Though I have to admit I powered through to the end, just to see how it came out. Which, I suppose, means the author actually did his job, even if he didn’t do it the way I’d have liked.
During this time, he had prepared his own lengthy speech, a philippic the equal of Cato’s addresses against Carthage. Everything about her was fake and phony. She was a cheat and a liar and a bad woman. She was a threat to goodness, and, inasmuch as silicone was made from sand, she was a menace to the continued existence of the world’s beaches.
[Disclaimer: The book under consideration here, City of Angles, was referred to me by a friend, and I received a free review copy from the author.]
Billy Rosenberg is a struggling Hollywood writer. On the strength of one successful novel he moved to California to work in the movies. But his career is struggling. He’s painfully aware, in a town where presentation is everything, of the impression he makes with his cheap shoes and rattletrap car.
So he’s surprised when beautiful, surgically-enhanced actress Vincenza Morgan (originally Kelli Haines of Eagan, Minnesota) sits down at his table in a coffee shop and talks to him. Vincenza is, in fact, scared. Her career had seemed about to take off, thanks to an indie film she just helped produce. She’d gotten A-list star Tom Selva to star in it, thanks to their mutual membership in the International Church of Life (think Scientology), the most powerful force in town. Everything looked great, until she opened her car trunk and found Selva’s corpse stuffed inside.
She knew she ought to call the police, but she was on her way to an audition, and the First and Greatest Law of Hollywood is you never blow off an audition; being dead would only be a marginal excuse. And now she thinks she’s being tailed by agents of the Church in a van. She could really use a place to stay tonight…
City of Angles is a comedy of manners – but it’s dark comedy, and the manners are Hollywood manners. The chief thing one learns in this story is that nobody ever says what they mean. Candor is kryptonite. One honest word might undermine the whole town and slide it into the ocean. The plot works out happily, though – depending on what you mean by “happily.” Which leaves the reader with things to consider.
I’m a sucker for a Hollywood tale – I’ve felt the city’s attraction but am very far from having the nerve to challenge it face to face. So I enjoyed City of Angles, which was expertly written and packed with sharp innuendo. [One technical error I noted was that the author places Burnsville High School in Eagan, Minnesota rather than in Burnsville where it belongs both in logic and fact. I can only assume that locations have been changed to protect the innocent.]
Avaldsnes Church on Karmoy island. Picture by me June, 2022.
I know what you’re thinking. You’re thinking this blog hasn’t been providing enough Viking News lately. Why would anyone come to a book blog, except to read about Viking News? Sure, I’ve given you a few saga reviews in recent weeks, but what you want (I have no doubt) is the kind of breaking, “you read it here first” information for which my name is, perhaps not renowned, but definitely -nowned.
Well, I’ve got one today. Not only is it a major archaeological story, but there’s a personal connection to me – which makes all the difference, I know.
The story was announced yesterday, but I waited till an English version appeared today to share it. Because I hate translating for free.
Just over a hundred years ago, the archaeologist Haakon Shetelig was incredibly disappointed when he did not find a Viking ship during an excavation of the Salhushaugen gravemound in Karmøy in Western Norway.
Shetelig had previously excavated a rich Viking ship grave just nearby, where Grønhaugskipet was found, as well as excavated the famous Oseberg ship – the world’s largest and most well-preserved surviving Viking ship – in 1904. At Salshaugen he only found 15 wooden spades and some arrowheads.
“He was incredibly disappointed, and nothing more was done with this mound,” says Håkon Reiersen, an archaeologist at the Museum of Archaeology at the University of Stavanger.
It turns out, however, that Shetelig simply did not dig deep enough.
About a year ago, in June 2022, archaeologists decided to search the area using ground-penetrating radar or georadar – a device that uses radio waves to map out what lies below the surface of the ground.
Now if you’ve been following this blog, you know that I have a personal connection to Karmøy island. My great-grandfather Walker was born there (under another last name, naturally), and baptized at Avaldsnes Church (pictured above). The three mounds described in this article are a short distance north of the church, and I don’t believe I’ve actually ever seen them.
Still, I was at Avaldsnes last June, precisely when they were doing the georadar surveys. That pleases me immensely. I was On the Scene – if clueless as usual.
In the second book of the Joe Boyd series, An Inconvenient Death, Joe, a police detective in the town of Culpepper, is camping with his family (apparently he’s a workaholic, and this is a good development). While his son is walking their new puppy, the dog locates a buried human skeleton. Although Joe calls the discovery in, he manages to convince his superior officer to let him continue his vacation, leaving his younger subordinate Hank to start the investigation on his own.
Hank proves to be very competent. Based on what remains of the clothing, along with a high school class ring found nearby, he manages to pinpoint the likely victim – a boy who worked in a local convenience store and vanished in 1988.
Meanwhile, in a writers’ group that meets at a local church, a couple female members are annoyed by one of the male members. He’s socially awkward and “creepy,” and he keeps bringing in pages from his work in progress – a book about how three high school boys murder a convenience store worker and hide his body in the woods.
G. K. Chesterton once said (I quote from memory), “There are two meanings to the word ‘good.’ If a man were to shoot his grandmother from a distance of 500 yards, I would call him a good shot. I would not necessarily call him a good man.”
There are two kinds of good book — a book that is morally good, or a book that is good in terms of the writing craft. An Inconvenient Death is morally good. Salutary virtues are praised and nobody uses a word harsher than “crap.” Even more admirably, it deals in a genuinely Christian way with the awkward issue of scandal in the church.
It is not, however, good in terms of writing. The author, like so many young authors, overwrites. He informs us what people are thinking and feeling without letting them reveal those thoughts and emotions through gesture and dialogue. He sometimes doubles his dialogue – first recounting a conversation, and then having that conversation repeated to another character in detail (this bores the reader). He tells us how people greet each other at the beginnings of conversations (also boring and unnecessary). There are grammar mistakes from time to time too.
Also, the suspense could have been ratcheted up considerably.
So, my bottom line is, I appreciate the effort to write a clean, uplifting mystery, but An Inconvenient Death wasn’t very well written.
I suppose this will happen more and more as I grow old and fuzzy-brained, and the list of books I’ve read stretches longer than the unabridged dictionary. I picked up a set of the first three books in the Father Tom series for Kindle, only realizing toward the end of the first volume, The Penitent Priest, that I’d already read it. And reviewed it here. And forgotten it completely.
The Amazon page says this is a revised edition, so maybe the changes were extensive enough to mitigate my embarrassment. I note that my main concern with the book the first time through was the number of coincidences in the plot. I felt the same way this time, but it didn’t bother me as much. Perhaps that’s one of the problems they addressed in the revision.
In any case, Father Tom Greer is a Catholic priest in Pennsylvania. He came to his vocation late in life, following the murder of his wife in Myerton, the town where they lived. The crime has never been solved. Shortly thereafter Tom cut all local ties and left town, eventually attending seminary, getting ordained, and being put to work as an archivist.
But now (the book is narrated in the present tense, something I dislike on principle. Though I can’t say it actually decreased my enjoyment any) the archbishop has assigned him to fill in for the priest at St. Clare’s Church in Myerton. Then one day, in the confessional, someone tells Tom something that makes him believe they witnessed his wife’s murder, and might even be responsible. Then he gets a look at his late wife’s laptop, which a friend has been holding, and learns from her e-mails that she had a stalker. But when he tells the police detective in charge of the case, she says that’s not enough for her to take action on.
This encounter is complicated by the fact that the detective turns out to be a former girlfriend of Tom’s, one he nearly married before he met his wife.
What I liked about this book – the prose is excellent. The dialogue is natural, smart, and engaging. The characters are believable.
What I disliked (though not as much as on my first reading) — the number of coincidences in the plot. They interfered with my willing suspension of disbelief.
Still, considering that this is a “clean” novel, without profanity or sex and with excellent moral values, I was very impressed with The Penitent Priest. Our hyper-Protestant readers may not consider a Catholic novel a “Christian” work, but I think most any Christian can read this book and appreciate its values and even (for the most part) its theology.
So I recommend it, all things considered. I enjoyed reading The Penitent Priest. I think the authors have talent and good instincts.
That same evening that Egil left home, Skallagrim had his horse saddled, then rode away from home when everyone else went to bed. He was carrying a fairly large chest on his knees, and had an iron cauldron under his arm when he left. People have claimed ever since that he put either or both of them in the Krumskelda marsh, with a great slab of stone on top.
Skallagrim came home in the middle of the night, went to his bed, and lay down, still wearing his clothes. At daybreak next morning, when everybody was getting dressed, Skallagrim was sitting on the edge of the bed, dead, and so stiff that they could neither straighten him out nor lift him no matter how they tried.
If you ask a saga fan which is the best saga, they’re likely to say either Egil’s or Njal’s Saga. In my case, it usually depends on which one I’ve read last. Both sagas excel in one quality you don’t expect in a medieval book – complex, layered characterization. In some ways they’re like modern novels.
But they don’t start out like novels. A novel writer tries to start with a bang, to engage the reader in the conflict from page one. Icelandic sagas are localized stories written for a localized audience. The first thing the Icelandic reader wanted to know was where the action would occur, and where in the matrix of interrelationships around him the story falls. So we start Egil’s Saga with the tale of Egil’s grandfather Thorolf, who supported King Harald Fairhair’s conquest of Norway, then fell out of favor and was finally killed by the king Then we see how Egil’s father Skallagrim relocates to Iceland (getting his vengeance along the way), and stakes his claim as one of the early settlers. Finally Egil himself appears – big and strong, ugly and soon bald, but wicked smart and the greatest of all skaldic poets.
Egil goes out as a Viking – what else could he do? – and also tries to claim his inheritance in Norway, becoming a mortal enemy to King Eirik Bloodaxe, whose son he murders. He fights as a mercenary in England (on the English side) and has the kind of set-piece side-adventures that tend to show up in sagas.
Eventually, we come to the dramatic climax of the saga – amazingly, not a battle or even a duel. It’s an act of headstrong audacity. Shipwrecked on the coast of Northumbria, Egil learns that Eirik Bloodaxe is the new king of the country. Instead of putting on a hooded cloak and making tracks, Egil heads straight for York, to beard the king in his den. Supported by his best friend, the king’s man Arinbjorn, Egil offers Eirik a proposition. In return for his life, he will compose a poem for the king so brilliant and memorable that it will secure his fame forever. When he succeeds (brilliantly), Eirik is left with no choice. To kill Egil now would shame him forever.
Make no mistake – Egil is a bad man. He’s a thief, a slave-taker, a cold-blooded killer. He cherishes his hatreds and dabbles in magic. And he doesn’t mellow as he gets older; only weakness makes him a little safer to be around.
Yet there’s pathos there as well. His poetry provides a glimpse into his heart as he mourns the friends and family he’s lost, and the injustices he’s suffered. He’s as faithful a friend as he is dangerous as an enemy. And his courage is mind-boggling. Possibly pathological (there are many theories about brain and psychological disorders he may have suffered from).
I was pretty effusive in my praise of the translation of the Vinland sagas in the collection I’m now reading, The Complete Sagas of Icelanders. I must admit I was less happy with this translation (by a different translator). I thought it erred a bit on the side of literalism, suffering the awkwardness that literal translation entails. (Stylistically, I prefer the Penguin edition.) I also noted a couple textual oddities I hadn’t remarked on before. One is name spelling. Some of the choices seem to me odd – Hakon for Håkon, for instance – it gives English reader the wrong impression about pronunciation. And Kari for Kåri – a Norwegian acquaintance once complained to me about using that spelling in The Year of the Warrior, as in modern Norwegian Kari is a woman’s name (I changed the spelling in the next volume). The orthography is oddly mixed – they use double quotation marks in the American style, but English spelling, as in “harbour.” A lot of characters’ nicknames are rendered in novel ways; I’m not sure that adds to the value of the thing.
What we have here, I think, is a scholarly translation. I still recommend the collection for its completeness, if you can afford it. But you can get Egil’s Saga in a perfectly adequate translation for much less.
Our friend Dave Lull has shared an article about the latest sign of the Apocalypse – the bowdlerization of the works of P. G. Wodehouse. The link he sent went to an article hidden behind a paywall, but my formidable investigative skills enabled me to locate a cognate report here, at National Review:
Wodehouse joins a growing list of prominent authors, deceased and living, whose works have been tinkered with by sensitivity readers, including Roald Dahl, R. L. Stine, and Agatha Christie. Penguin Random House, which recently relented to a degree on the Dahl edits, has released new editions of the Jeeves stories that include trigger warnings, the Telegraph reported.
The warning on the opening pages of the 2023 reissue of Thank You, Jeeves reads: “Please be aware that this book was published in the 1930s and contains language, themes and characterisations which you may find outdated. In the present edition we have sought to edit, minimally, words that we regard as unacceptable to present-day readers.”
It goes on to state that the changes do not affect the story itself. The 2022 edition of Right Ho, Jeeves has also been edited and features the same disclaimer.
The traditional word for this kind of activity is “Bowdlerization,” named for Thomas Bowdler (1754-1825), an English physician and social reformer who’s most famous for producing The Family Shakespeare, in which he (and his sister) cleaned the offensive words out of the Bard’s plays.
Thomas Bowdler used to be mentioned pretty often back in my college days, in the Age of Aquarius, when we were letting it all hang out and “keeping it real, baby.” We Baby Boomers, in the toilet flush of our youth, laughed at the weak-minded old English who’d get the vapors from hearing a dirty word or two. Thank Henry Miller we’d evolved past all that!
Well, in the 2020s we Boomers are still more or less running things, but in our dotage we’ve succeeded in sinking beneath Bowdler’s level. It ought to be noted that old Thomas did not hold a copyright on Shakespeare’s works. He never made any attempt to remove the original versions of the plays from the literary market; he simply offered an alternative to people who wanted one. Penguin Random House has changed the official, copyrighted text of Wodehouse for all readers, young and old, wise and foolish. “We have a responsibility to shield the public, you know.”
The Great Pendulum swings in accordance with implacable laws of physics. Swing too far toward license in one generation and you’ll swing back to authoritarianism in the next. It seems we humans live just long enough, generally speaking, to betray our principles.
From Dave Lull, the following citation. I don’t know where he got it.
Priscilla Jensen’s review of “An Admirable Point: A Brief History of the Exclamation Mark!” by Florence Hazrat (Bookshelf, April 7) reminds me of something the novelist D. Keith Mano wrote in National Review in 1975: “The exclamation point may be used only in dialogue and then only if the person speaking has recently been disemboweled.”
The third of postmodernism’s triumvirate of stooges, Michel Foucault (1926-1984), focuses his indignation on common sense because it carries “the tyranny of goodwill, the obligation to think ‘in common’ with others, the domination of a pedagogical model, and most importantly—the exclusion of stupidity.”
If like me you’ve read Francis Schaeffer and Allan Bloom, and if you’ve pondered C.S. Lewis’s “The Poison of Subjectivism,” you’re aware that the central intellectual battle of our time rages around Reason. Does reason give us a window on reality, something conccrete on which we can fully rest our weight, or is everything “subjective”; is one person’s world entirely different from another’s? Is thinking worth anything, or must passion rule all things?
My friend Mark Goldblatt, novelist, columnist, and educator, provides a useful guide in his recent book, I Feel, Therefore I Am: The Triumph of Woke Subjectivism. The book offers a short historical overview of how the Enlightenment came to enshrine Reason, and then how a rising tide of Subjectivism gradually infiltrated our institutions of higher education, turning the culture of the mind into streams of thought that must ultimately run dry.
He examines Critical Race Theory, showing how it employs Subjectivist philosophy to exalt feeling over fact, turning the quest for knowledge into a quest for raw power (because once reason is dead, we can’t have a discussion. All that’s left is a shouting match. And after shouting come fists). He goes on to outline how the Me-Too movement corrupted its honorable ideals by abandoning objective standards of justice, and how more and more people, in the spirit of transgenderist dogmatism, are now destroying their own bodies.
He ends by suggesting some means by which our schools of liberal arts, having become divinity schools of Woke religion, might be amputated and allowed to wither, before they can poison the whole body.
This book is only six months old, but it might possibly already be too late. The schools of the STEM disciplines, in which the author places much hope, seem to be already in the process of corruption, embracing Woke mathematics and physics (Want to fly in an airplane designed according to Woke math principles? You first; I’ll wait).
Still, I Feel, Therefore I Am is a worthwhile introduction for the thoughtful reader desiring some points of reference in the churning sea of Relativist culture. I enjoyed it and recommend it. Cautions for some rough language.
He was overcome by the poignancy of the situation. Here was a girl who had frankly admitted that in her opinion he was Prince Charming galloping up on his white horse and would have liked nothing better than to be folded in his embrace and hugged till her ribs squeaked, and here was he all eagerness to do the folding and hugging, and no chance of business resulting because the honour of the Bodkins said it mustn’t. Beat that for irony, he thought as he rubbed his shin. It was the sort of thing Thomas Hardy would have got a three-volume novel out of.
Having intensely enjoyed, and positively reviewed, The Luck of the Bodkins the other day, I thought I might as well go right ahead and review the sequel, Pearls, Girls and Monty Bodkin. (Monty also figures largely in a previous book, Heavy Weather, a Blandings story. I’ll have to be getting on to that one too, though it will be out of sequence.)
PG & MB redresses one of the few niggling problems that exist with TLOtB, otherwise a near-perfect confection. The sensitive reader can’t avoid the nagging sense that in getting engaged to Gertrude Butterwick, All England field hockey player, Monty has made a blunder. Monty is much like Bertie Wooster – except that he wants to be married – and one can hear Jeeves saying, if Bertie had ever found himself handcuffed to La Butterwick, “The young lady is undoubtedly healthy and vigorous, sir. But might I suggest that a person with her record of breaking multiple engagements might conceivably be a touch too volatile in temperament for the establishment of a felicitous domestic partnership?”
In short, the reader wants Monty to be happy, and under Gertrude’s thumb he’s likely to sink to the level of a third-rate power. Monty requires a woman a little more cheerful. A little more trusting. A woman less subservient to the commands of her blighted, vegetarian father.
So when Pearls, Girls and Monty Bodkin opens, one year to the day from the close of the previous novel –
[At this point I need to break off and blather a moment about the question of time in Wodehouse. The Luck of the Bodkins was published in 1935, and somewhere in the last couple pages it’s mentioned that Prohibition was recently repealed in the US. Monty’s deal with Gertrude’s father calls for him to hold a paying job for one year before they can be married. At the beginning of PG & MB, we’re told that that year has now passed. But PG & MB was published in 1972, nearly forty years later. One of its first pages mentions TV studio audiences. In the dreary world you and I inhabit, there was no point in history at which the first thing could have been separated by a single year from the second. But this is Wodehouse world, that foretaste of Paradise in which time exists only for the purposes of the story, and the world never changes much.]
So, as I was saying, this book starts one year after we left off. Monty has been toiling away, doing unspecified tasks, as a technical advisor at Superba-Llewellyn Studios in Hollywood. His secretary, Sandy Miller, has fallen head-over-espadrilles in love with him, but she knows his heart belongs to Gertrude. And now, he announces, he’s headed back to England to claim his bride.
However, when he arrives, Monty finds old Mr. Butterwick unwilling to close the deal. He has learned, he tells Monty, that Monty acquired his job with Superba-Llewellyn through blackmail (which is true), and so it doesn’t count. Monty finally persuades the old blighter to give him one more year.
Then Sandy shows up, to his surprise. She’s in England with her boss, Ivor Llewellyn, who has taken a country house for an extended sojourn. He has done this at the bidding of his imperious wife Grayce, who wants him to write a history of his studio. In fact, he needs a secretary to help him with the book. The perfect job for Monty!
The action switches to the country house at that point, and comes to focus on a valuable pearl necklace currently belonging to Grayce, a gift from Ivor. Ivor confesses to Monty that, because Grayce has him on a strict budget, he pawned the necklace some time back and replaced it with cultured pearls. Now their daughter is getting married, and the necklace is supposed to go to her. Ivor will pay Monty handsomely to steal the necklace and drop it in the water somewhere. They are unaware that there are three actual jewel thieves also staying in the house, plotting to relieve him of the job.
In terms of classic Wodehouse prose, Pearls, Girls and Monty Bodkin stands equal to any other work in his corpus, despite the fact that he was over 90 when it was published. Plot-wise, I’d have to say he’d slipped a little. The book seems to wrap up prematurely, with a lot of possible plot twists passed over. There are long stretches where Monty really has no problems at all, and just seems unaware of it.
Still, a very amusing book, and it’s great to see Monty settle with a suitable girl.
