All posts by Lars Walker

Fiction, Reviews

‘A Fire in Every Vein,’ by Lawrence J. Epstein

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Sometime in the late 1960s, Walker West is a young man at loose ends in New York City. He wants to be a writer, but has had no success. Witnessing an explosion, he helps to rescue a couple victims from beneath the rubble. One of them is a young woman, with whom he immediately falls in love. A moment later, the police come along to arrest that young woman for the murder of her fiancé. Walker impulsively promises her that he’ll prove her innocence.

So begins A Fire In Every Vein, by Lawrence J. Epstein. It’s the first book in a series of mysteries. As a novice investigator, Walker has one advantage the average guy doesn’t enjoy – his Aunt Agatha (a tribute to P. G. Wodehouse?), who is very rich and very influential. Being concerned over her nephew’s lack of motivation to date, she happily encourages his sudden enthusiasm by providing him with an office, an attractive female assistant, and a bodyguard. She also pulls strings to get him hired as a crime reporter by a New York paper, and as an investigator by the insurance company concerned, so he has two excuses to poke his nose into the case.

If that seems like a lot of what’s known nowadays as “privilege,” I thought the same thing. Money can be a great advantage for a fictional investigator (see Lord Peter Wimsey [who gets an endorsement in this book] and Nick Charles), but a protagonist in a story needs to struggle too. It often felt as if Walker was getting along too easily – though he suffers plenty of setbacks, most often because of his own rookie mistakes.

And that’s another problem with the story. A learning curve works just fine as a template for rising dramatic tension, but Walker seems to be almost laughably feckless.

I stayed with A Fire in Every Vein to the end because the author is a decent writer in the grammatical sense. He can string a sentence together, which puts him ahead of most novelists nowadays. And I couldn’t help identifying personally with Walker’s cluelessness.

But overall, the book didn’t work. The characters weren’t distinctive, and the dialogue was unnatural. Graceful and grammatical, yes, but not natural.

What finally disappointed me, though, was the ending, which (in my view) was so inconsistent with the tone of the rest of the book that it felt like a cheat.

I believe author Epstein has written further novels, and I’m glad of it. I think he has the makings of a good novelist. But A Fire in Every Vein just didn’t work for me.

Writing

Author’s journal: Back to revision

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Photo credit: Burst. Unsplash license.

This is the week I turned back to the keyboard. Narration practice is on pause, because my readers’ critiques are in. Most of them relate to typos, but some have to do with plot elements. I’m working now, thanks to a good suggestion, on weaving a small plot thread into one section, which ought to improve… the tone, I guess. It’ll make an underused character stronger, and give them a way to help advance the story. (I can’t afford to pay my characters to just loaf around, chapter after chapter!)

I’m still getting up at 6:30 am to get my writing time in, though my body has instituted base countermeasures. In order to prevent me getting more than six (sometimes four) hours of sleep at night, it’s moved my natural wake-up time back to 5:00 a.m. I suppose I could get up and write then, but I have no doubt my body would then start waking me at 4:00, and it would just be a war of retreat by inches, until I became fully nocturnal.

I saw a clip of Jordan Peterson, who has, I understand, adopted a carnivore diet. He said he’s gotten good results against depression by telling his patients to eat a high-protein breakfast shortly after waking up in the morning. I’ve been putting breakfast off till I got back from the gym (gym comes after writing, that’s the schedule) at about 9:00. So I’ll try Peterson’s way now. This morning I had my breakfast sausage first thing instead of later. We’ll see how that goes.

Otherwise, I have a deadline coming up the first of May for the small magazine I’m editing, and I suspect it’s be a nail-biter getting it all done on time.

Right now, my hopes and dreams are focused on getting into May. I figure things will ease up in May.

Come to think of it, that’s what I said about April.

Non-fiction, Reviews

‘Fooling Houdini,’ by Alex Stone

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A lot of the motivation behind cheating must come from the charge you get. To truly understand the psychology of a cheater, you need to see the world like a con artist. In this worldview, everything is rigged—the casino, politics, Wall Street, life—and there are only two types of people: grifters and suckers. (It’s a lot like in magic, where you’re either a magician or a layperson.) If you look around the table and don’t see a sucker, then, according to an old saying, the sucker is you.

I remember a time in my childhood when I wanted very much to learn magic. I never had the resources, and today I’m pretty sure my natural clumsiness would have doomed it anyway. But those memories came back as I considered a bargain deal for Alex Stone’s Fooling Houdini: Magicians, Mentalists, Math Geeks, and the Hidden Powers of the Mind. So I bought it. With some exceptions, I found the book enjoyable and educational, though I don’t think the author is someone I’d care to have lunch with.

He knows how to tell a story, though. He piques our interest by opening with an excruciating personal anecdote – how, as a green magician, he participated in the 2006 World Championships of Magic in Stockholm, and made an utter fool of himself in front of the some of the best practitioners in the world.

Then he tells the story of his journey with magic. He got interested as a kid, and his fascination grew, to the point where he neglected his graduate studies in Physics to attend classes and seminars, and spent more than he could afford on books and paraphernalia. He studies psychology and clowning to gain greater understanding of audience dynamics. He meets a colorful variety of master magicians – most interesting to me was Richard Turner, the world’s foremost “card mechanic,” who happens to be totally blind. He manipulates playing cards purely by touch. (Also, interestingly, we’re told he goes to church.)

The author does not come off as a terribly winning personality, but that may be due in part to his self-deprecating jokes. He writes a lot about the scientific/psychological underpinnings of the practice of illusion, and sometimes draws conclusions which annoyed me. For instance, he states, as if it were self-evident, that Jesus Christ was obviously a magician. In the spirit of all con men, he seems to view everything he sees as a game of one sort or another. Wall Street, he tells us, is just a casino with very high stakes.

His musings on Physics seem (to me) to draw exactly the wrong conclusions – the laws of science don’t rule out the existence of a Creator, as he seems to assume. For some of us, they affirm it. If entropy is the universal fact, where do those orderly laws come from in the first place?

On the other hand, I must admit his prose is excellent. Great lines abound, like: “A shrill carbon stink clung to the air like a bad habit.”

And he rounds his story out with a highly satisfying chapter telling how, more seasoned now, he redeemed his reputation as a magician with an original card trick that mystified the pros.

This is a very good book, with which I sometimes disagreed. Still, the quality can’t be denied, and I recommend it with a few reservations.

Fiction, Reviews

‘A Fatal Glass of Beer,’ by Stuart M. Kaminsky

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“I find his movies deeply sad,” Jeremy said as we were driving.

“I don’t think he’d be happy to hear that,” I said. “He thinks they’re comedies.”

“Comedy does not mean we must laugh,” said Jeremy. “It is the reverse of tragedy. It suggests that life can continue without hope.”

The late Stuart M. Kaminsky’s Toby Peters novels are amusing reads, and they take a high road. I mean by that that a novelist, when producing stories about old Hollywood stars, would naturally be inclined to give the public what they want – sleaze and scandal. But Kaminsky (who was, I think, a very decent man), chose to handle them lightly, in comic stories. We get to see the stars at their best and most sympathetic.

The challenge of that approach seems to have been considerable in A Fatal Glass of Beer, in which Toby’s client is W. C. Fields. It’s hard to make Fields a likeable character, but Kaminsky does manage to make him a sympathetic one.

It’s 1943. Toby Peters, who for comic purposes persists as a low-rent PI, in spite of all the celebrity clients he’s served over the years, is facing some changes in his life. His ex-wife, for whom he’s carried a torch for years, is getting married to a movie star. He consoles himself, however, with a new girlfriend. He’s considering moving out of his broom closet office in a dentist’s office, due to a conflict with the dentist’s wife. And he’s reached a truce with his estranged brother, the cop, now that his sister-in-law has cancer.

W. C. Fields shows up with a problem that could have happened only to him. Over the years, during his vaudeville days, he put his financial eggs in many baskets by opening savings accounts, under assumed names, in various banks across the US. Now someone has stolen a number of his bank books, and is going around to the banks and withdrawing the funds. Fields wants Toby to accompany him on a road trip, to hunt the scoundrel down and recover the bank books and stolen money. Toby can use the business, though Fields is a challenging travel companion. Toby enlists his midget friend Gunther to serve as driver, and they set out on their transcontinental odyssey in Field’s Cadillac, fully equipped with a built-in bar and a stock of liquor in the trunk.

The hunt is a slapstick affair, until people start getting killed. Secrets are revealed, leading to further secrets. And W. C. Fields comes through it all unfazed, insensitive to others’ needs, dependent on alcohol, securely anchored in the persona he has created for himself, though we perceive more and more that in his heart he’s deeply lonely and sad. That Kaminsky succeeds in making us care about him is a testimony to his characterization skill.

I’d describe A Fatal Glass of Beer as one of the best entries in this classic series.

Writing

‘Writing’ update: Old dog, new tricks

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This happens to be the exact microphone I am using, a Blue Yeti, a gift from a friend. Photo credit Chris Yang, chrisyangchrisfilm. Unsplash license.

Landmark achieved. Another step climbed. Pardon me for talking myself up tonight, but I actually accomplished something that had daunted me, and I need to try to overcome my reflexive tendency to downplay it.

So this is the situation – I have “mastered” the Audacity recording application. Audacity is a free app that’s probably the most common one used by at-home voiceover artists and narrators. I’ve been wrestling with it for some time now. Has it been months? I’d have to look it up, which seems like a lot of trouble.

In any case, you need to understand my history with recording engineering. (I mentioned this the last time I gave you an update.) I went to radio broadcast school and hold a (entirely undeserved, and I null and void now, I think) Radiotelegraph Engineer’s license. But I always struggled with the technical stuff. Working with Audacity, is of course, very different from what I fumbled around with in radio back in the 1980s, but I find it equally challenging. Audacity (not really a complicated app) combines the challenges of radio with the challenges of digital technology. For a child of the analogue age, a “digital immigrant” as they call us, it was less than comfortable.

But – and this is what gives me a small amount of satisfaction – I went to work at it systematically. During my morning writing session each day (except that I skip Sundays) I would set up my recording space (like many home voice artists, I employ my closet) and worked at learning Audacity. I watched a lot of how-to videos on YouTube. I studied the instruction book I bought. And I practiced. Cautiously, and with trepidation.

I decided that, due to the considerable stress unfamiliar technology causes me (I actually woke up from a dream one night, my heart pounding), I needed to take it in small steps. I tackled one challenge at a time, researching and practicing one single operation, one skill, at a time. Once I’d gotten the new thing down, I stopped. The Voices in my Head called me lazy. Said I should do something more now, not waste time. But I had decided that sufficient unto the day was the stress of that one step.

I repeated this program day after day. Some days I got nothing done. I hadn’t yet solved the problem. But I figured I’d accumulated sufficient stress for the present.

And gradually, I figured stuff out. The last step stumped me for a couple days – the operation of cutting and pasting, to make corrections on a track already recorded. My instruction book was unclear, and so were several videos I viewed.

This morning I sat down and just played with the app. Viewed a new video, which helped a little. Finally, I tried something that worked. I had it. I’m not a master of Audacity by any means, but I understand the basic operations, I think, that I need.

Of course, now I’m going to drop it completely for a while. It’s time to get back to The Baldur Game, my work in progress. That’s part of the overall plan.  Now that I’ve heard back from my beta readers, I need to evaluate their suggestions and get the book into final shape.

Then there’ll be the process of publishing the thing through Amazon, another technical challenge I’m uncomfortable with, but I imagine I can figure it out.

And when that’s done, the plan is to start recording The Year of the Warrior.

I do not lack things to occupy me, for the immediate future.

Something else happened today too. I was messing with another piece of new software, a publishing program I have to use for a side gig. And I figured something out on that too.

And I had another (fleeting) moment of satisfaction.

I then had an odd, unusual (for me) thought. I thought, “It’s kind of nice that I’m poor in my old age. If I were rich right now, I’d be vegetating, sitting on a lounge chair somewhere where it’s warm, letting my body run down. I know myself. I never move too far out of my comfort zone unless I’m forced to.”

Instead, in my 70s, I’m learning new stuff, expanding my skills. Keeping young (in a sense), in spite of myself.

God, the Author, seems to be at work plotting again. And plotting, as I’ve often said, means torturing your characters.

So be it.

Fiction, Reviews

‘Death of a Minor Character,’ by E. X. Ferrars

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I’m not sure how I came to do it again. I bought a mystery written by E. X. Ferrars, an author who uses initials instead of a first name, which is usually a sign of a female writer. I tend to find mysteries by women a little alien, but somehow I ended up with this one. I assume I must have gotten it for free. And, as with the similarly named author M. K. Farrar a few days back, I found the book surprisingly enjoyable. For the most part.

E. X. Ferrars was a British author, born Morna Doris MacTaggert. She had a long and successful career. Among her series characters were Virginia and Felix Freer, the protagonists of Death of a Minor Character, published in 1983.

Virginia Freer is a physical therapist living and working in a town some distance from London. A young friend is planning to return home to Australia, and asks her to a farewell party at her flat – in the same London building that’s home to her ex-husband (separated) Felix, with whom she’s still friendly. A fairly mismatched group, including Felix, show up for the party, including a jewelry artist and an old lady who lives in the building.

Not long after, a shopkeeper in Virginia’s town, a casual friend of hers, is murdered, as well the old lady from the party. What ties them together seems to be the dragon-motif silver jewelry the artist designs. Felix is moved  to investigate – not so much for the sake of the shopkeeper as for the old lady, whom he compares to one of those minor characters who get killed in books and movies without anybody giving a second thought to them.

E. X. Ferrars was a lively and original writer. What makes this book work is the characters of Virginia and Felix – especially Felix, who is a constant surprise. He is, we are told, a liar and a petty thief, always on the edge of legality. He doesn’t seem to really grasp ordinary moral concepts. But underneath he has a deep sense of justice.

I enjoyed the book, but I have to say I never really believed in Felix. I suspect the author (who was an atheist and a leftist) wanted to open people’s minds to the idea that there were more ways of being a good person than the stuffy old mores we grew up with.

I reject that. Liars and thieves are not “morally creative” (as I put it in my novel, Wolf Time), but people who lack a moral core. The way you do little things is the way you do big things. Dishonesty is, at bottom, just another kind of cowardice.

But I can’t deny that Death of a Minor Character was an entertaining and well-written novel. The conclusion, though, was a little anticlimactic.

Fiction, Reviews

‘Arms and White Samite,’ by B. A. Patty

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What Arthur saw was nothing like what Moren saw. He saw no silver trees, nor the shining suns of souls, nor the blue glow of possibility, of hope, or of longing. Arthur saw before him the legends, rising up in shapes like griffins and dragons, growing about him in the way that lilies grow up like miracles in a forest where once stood some forgotten cottage. They stole his breath, and for a time it was so quiet in his tent that even the roar of celebration outside seemed to vanish away.

B. A. Patty blogs at Grim’s Hall, one of the blogs I’ve been following for years. He’s a reader of my novels too. But he’s even less aggressive about marketing his novel, Arms and White Samite, than I am in regard to mine. In fact, I’d forgotten he had one until he offered a deal recently, and I picked it up. It’s an impressive book, one that deserves greater recognition than it’s received.

Our hero is Moren, a warrior of Arthur’s Company of the Wall (the book is set in “King” Arthur’s original historical context, with certain supernatural intrusions). One day a lady dressed in white rides into Arthur’s hall, pursued by a great, fearsome knight armored in black. In spite of Arthur’s men’s attempts to protect her, the knight carries her off. Moren takes upon himself the quest of rescuing the lady. He follows her through a forest, where he rescues another lady who becomes his companion, and later into a fortress, where he is taken prisoner. A group of his brothers follow to help – or rescue – him. Meanwhile, the Saxons are harrying the land, and Arthur faces the challenges and sacrifices of total war against an enemy led by a king who is more than human.

For me, the greatest appeal of the Arthurian stories has always been, more than the tales of chivalry and valor, the hints of mystery behind it all – ancient names of places lost to history, shadowy characters who seem not quite human in some undefined way. Arms and White Samite is rich in those elements. It’s actually as much about the realms of faery as about this world (though the battle scenes are excellent, and seem historically plausible).

Quite a lot of time is spent in discussions about the intersection of this world and the Otherworld, and the nature of life and eternity. Questions of theodicy (the problem of evil) are central. Although the matrix of the philosophy seems Christian, there are elements that seem Buddhist and syncretist. This left me puzzled, but I’m not sure I understood it well enough to judge.

There were a couple typos (at least I think they were typos; perhaps I misunderstood the antique diction), and on very rare occasions the author made the questionable artistic choice of using exclamation points in exposition.

Still, all in all, I think Arms and White Samite is the kind of book C. S. Lewis would have liked very much.

Authors, Poetry, Reading

What’s in an Oscar?

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Tonight, because such exercises please me, I wish to discuss (which means I write, you read) the history of a name. The name is Oscar. Not a terribly common name, but it shows up now and then in unexpected places. Oscar Madison in The Odd Couple. Eddie Murphy’s character in Beverly Hills Cop. Sylvester Stallone did a film called Oscar. And of course – speaking of films – there’s the famous statuette of the Academy Awards – said to have been informally named by Academy librarian and historian Margaret Herrick, who remarked that it reminded her of her uncle Oscar.

Also Oscar the Grouch.

The book I reviewed yesterday, Armored, featured a Mexican character named Oscar. But I think of it primarily as a Scandinavian name. So I wondered, where did it come from and what does it mean?

My finely honed librarian’s skills led me to an arcane scholarly source known to insiders as Wikipedia. There I learned the story of the name, which is not without points of interest.

What does Oscar mean? It actually comes (purely by chance) from two different languages. In Old English, it means “Spear of the Gods” (cognate with the Norse name Asgeir).

But its modern use springs from Old Irish, where it means “One Who Loves Deer.”

The name was one of those indigenous ones that turned out insufficiently popular to survive the coming of Christianity, with its multitude of saints’ names to hang on babies. So it went out of use and was largely forgotten.

Then along came a man named James MacPherson (1736-1796), a Scottish writer, politician, and all-around scoundrel. Though he sprang from an old Jacobite (Stuart-supporting) family, he jumped wholeheartedly over to the Hanoverians (the English conquerors) and profited thereby. He also participated in the Highland Clearances, evicting poor cotters from their homes so their lands could be repurposed for sheep grazing. Countless Scots were made homeless by this treacherous betrayal of ancient trust.

But McPherson is best remembered for a series of poems called the Ossian Cycle, which he claimed he collected from ancient Scottish lays he learned from simple bards. Most scholars and critics have long agreed that McPherson wrote them himself, throwing in a few borrowings from Scottish and Irish folklore.

Whatever their source, the published poems were a huge success with the reading public. The Romantic Movement was blossoming just then, and people were hungry for tales of high adventure in ancient times – tales that came from somewhere further north than Rome or Athens. I’ve written here before about the popularity of Tegner’s Saga of Frithjof. The Lay of the Nibelungs and the Icelandic sagas were also objects of fascination. The Ossian Cycle fit right in.

Three of the main characters in the Ossian poems are Fingal, the great hero, Ossian, his son, who is supposed to be the poet, and his son Oscar, now dead.

Among McPherson’s many admirers was no less a figure than Napoleon Bonaparte, Emperor of France. He hung the name on his godson, Joseph Bernadotte, son of his marshal Charles Jean Bernadotte. Charles Jean would go on to become king of Sweden (later of Norway too), and Joseph was eventually crowned King Oscar I. Thus did Oscar become a popular name with Scandinavians.

So hail to you, if your name is Oscar. Or if you live in Ossian, Iowa (nice town; I’ ve been there).

Fiction, Reviews

‘Armored,’ by Mark Greaney

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Mark Greaney is the author of the very impressive Gray Man thriller series. I’ve enjoyed them, though I haven’t kept up with them recently. But I saw he’d started a new series, about security specialist Josh Duffy. I got a deal on Armored, so I checked it out. Greaney still knows how to write a gripping story.

Joshua Duffy, private security operative, lost a leg in Beirut, in a heroic action to protect a client’s wife. This left him in the humiliating position of being unable to find any job better than mall cop. Even more embarrassing, his wife is working nights cleaning offices – and making more money than he is.

So when he runs into an old buddy at the mall, and learns that he’s been hired for a job protecting a UN delegation tasked with making peace between drug cartels in Mexico, he asks the friend to get him in. He does not tell him about his missing leg. To his surprise, he gets the job, and soon he’s flying south of the border with a ragtag collection of bottom-of-the-barrel bodyguards – the company they’re working for doesn’t have the best reputation.

Theirs is a mission marked for disaster – and not by chance. Josh and his new buddies turn out to be nothing more than counters in a big game being played by high-level players, who have no plans to let any of them go home alive.

Plotting a story like this one has to be a daunting task – I’m not sure I could do it. The action tends toward what I like to call the “cinematic” – the kind you believe when you see it on a theater screen, but which seems less plausible when reading. That fortune which proverbially favors the bold requires some pretty intricate choreography of events to achieve in a story where every bend of the road brings a daunting new setback. I never entirely believed this story, but it was just believably enough – and exciting enough – to keep me riveted.

I enjoyed Armored immensely, and recommend it without reservation. Cautions for language and violence. References to Christian faith are uniformly respectful.

Writing

Writer’s journal: Dormancy and perfectionism

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Photo credit Glenn Carstens-Peters. glenncarstenspeters. Unsplash license.

I imagine some of you are more interested in how my Work In Progress is coming along than in my flounderings in the unfamiliar waters of book narration. So I’ll tell you about that part of the business tonight.

The Baldur Game continues dormant for the moment. This is a good thing. Every writer (except for those wild geniuses who can solo on the first flight) has had the experience of getting a piece just as good as they believe they possibly can get it, and then they put it aside for one reason or another, and discover, on taking it up again, all kinds of howlers and barbarisms they’d never guessed at. It’s like the wallpaper in your house. After a while it goes invisible. Time away lets you see it with fresh eyes again, as if it were someone else’s work. And someone else’s work is infinitely easier to critique.

So I’ve got the book out right now for reading with three friends, whom I’ve instructed to be bloody, bold, and resolute. Give it to me straight. I may not be able to take it, but I’ll pretend I can. Act like a professional.

That’s what being a professional means, really.

One of the readers has already started offering suggestions, and some of them seem to me quite good. But following them up will mean thinking some things through, plot-wise. Plotting kills me. I’m not a plotter by nature. Four characters in The Baldur Game are noted as good chess players – Erling Skjalgsson (my hero, in case you’re new here), King Olaf of Norway, King Knut of Denmark, and Jarl Ulf of Denmark. I wonder how well I’ve portrayed those men, these good plotters. I’m told I don’t write women very well. I wonder if I write leaders well.

Then there’s the eternal problem of when to stop tinkering. There are writers, I’m told, who never get to the point where they think a work is good enough. There’s a character in Balzac’s Pére Goriot, if I remember correctly (I read it in college), who has been working on a novel for years, but has never gotten past the first sentence. He sits down to write each day, and immediately finds something wrong with that one sentence, and then spends his whole session revising it again. We know he’ll never complete the novel. His aspiration surpasses human capabilities.

I’m not like that, thank goodness. Eventually I do come to a point where I’m pretty sure that if I tinker with the thing any more, I’ll just spoil it.

It’s also possible I’m just lazy, and have thus failed to achieve my true potential.

But that sounds silly to me.