It’s always nice to discover a new hard-boiled detective writer (and character) who’s worth reading. All in all, I’m pretty satisfied with Chris Orcutt’s first Dakota Stevens mystery, A Real Piece of Work.

Dakota Stevens, the hero and narrator, is a former FBI agent who’s set himself up as a New York P.I. He mentions appreciating the classic detectives Marlowe and Spenser, which is a good sign. He leans more to the Spenser side, I think, being essentially an optimist. And he has plenty to be optimistic about, having for his partner not some dull John Watson but the sexy Svetlana Krüsh, a long-legged Russian-born chess master.

The plot involves the art world (oddly, I’ve been reading a lot of books involving art forgery lately), Middle Eastern terrorists, and Nazis (who make for pretty old villains by now, but I suppose you can wring a few more plots out of them).

The best thing about the story was the writing. Orcutt is an excellent wordsmith. The dialogue is good, the characters generally believable (except for the unusual percentage of gorgeous women in Dakota’s world, almost every one of whom throws herself into his arms. Perhaps this is an homage to the old days of the sexy paperback detective, like Shell Scott). My main complaint is with the plotting. One major plot point in particular was so obvious they might as well have perched a raven over one character’s door.

Cautions for language and adult situation. There’s lots of sex, but thankfully it’s not as explicit as I’ve seen in other novels recently. All in all a pretty good piece of work.

Among the many pleasures of the reading life, one of the rarest is the unassuming but excellent novel. That was what I found, to my delight, in Hell Around the Horn, by Rick Spilman.

Hell Around the Horn has no grand pretensions. It does not try to be a romance, or a mystery, or a political tract. It is what its manifest states – a straightforward account, fictionalized, of a memorable voyage by a windjammer and her crew in the year 1905.

The windjammer, if you’re not familiar with the term, was the last stage in the age of commercial sail. Like the clipper ships before them the windjammers drove under a cloud of sails, but they were generally steel- or iron-built, and bulkier in the hull to accommodate more cargo. Although a seeming anachronism, windjammer commerce endured as late as 1957.

The story is told through the eyes of four main characters on board the vessel Lady Rachel – Capt. James Barker, a young captain keen to make a profit on his first voyage as a partner, Apprentice William Jones, a teenager just learning the ropes (literally), Able Seaman Fred Smythe, an American sailor with a little education, and Mary Barker, the captain’s wife, who has come along bringing their two children. Continue reading Hell Around the Horn, by Rick Spilman →

Talk show host Hugh Hewitt has been promoting Daniel Silva’s Gabriel Allon spy novels for some time, so I finally tried one. I’m happy to report that Portrait of a Spy is an excellent novel, well-written, well-plotted, with engaging, believable characters. I highly recommend it, while at the same time confessing that I probably won’t be reading any more in this series. My reasons are not aesthetic or moral or political. More below.

Gabriel Allon is a skilled, even legendary Mossad agent whose working cover is his vocation as an art restorer, one of the best in the world. At the start of this novel, late in the series, he has at last broken his ties with Israeli intelligence, and is living with his beautiful wife in a secluded cottage on the Cornish coast. He’s excited about his latest commission, a recently identified lost Titian masterpiece.

And then one day, while visiting London, he witnesses a suicide bombing, one in a series of such bombings across Europe. He is drawn into the hunt for the masterminds, first back with Mossad, and then with the CIA as well. Their plan to locate and destroy the enemy involves a wealthy young Arabian heiress who has come (they’re pretty sure) to hate the jihadis.

No plan, as the generals say, ever survives contact with the enemy, and there are betrayals and deaths (and frustrating CIA political meddling) before the job gets done. It was all very suspenseful, and even moving.

Portrait of a Spy is a very good novel and (according to my lights) pretty much entirely on the right side of the issues. I recommend it highly, with the usual cautions for language, violence, and adult situations (not explicit).

The reason I can’t go on with the series is that I discovered something in reading it that I should have realized long ago. I’m just uncomfortable with spy stories. That world of deception and betrayal is tremendously stressful for me to think about. I could never live that way. I’m a very bad liar (not, I hasten to add, because of my high moral character, but because I just don’t do it well. My face gives it away). Spending time with espionage stories makes me uneasy.

You’re probably not like that, so you’ll very likely enjoy it.

My friend Robert Mullin sent me a manuscript of his novel Bid the Gods Arise a while back, and I read it and provided the following blurb:

Bid the Gods Arise possesses the music of epic and the color of myth. It’s a big story, spanning planets, but with a specific human heart. Once read, it lingers in the mind like a dream.

It’s not uncommon for me to receive manuscripts from people who’d like me to read and comment on them. It’s very rare that I can say much good. Bid the Gods Arise is an exception. A genuinely original work, it combines fantasy with interstellar travel far more successfully than you imagine it could.

The story involves two young men, Aric and Maurin, who are kidnapped from their home planet by interstellar slave merchants. Separated and sent to very different fates, they meet again at last and join with a company of others on a quest which involves both Aric’s true destiny and his greatest temptation.

This is a really good book, a Christian fantasy novel with no preaching. I recommend it.

“They [the previous generations in the region] had edges and angles, rough sides. You could get hold of them, you could tell what they were. And they weren’t always on the make; they already were something. They weren’t just getting to be something else all the time. They were already human beings.”

“You make them sound pretty ideal,” Magruder said without irony.

“It’s the truth.” She lifted the glass uncertainly to her mouth, she was a little tight. “If it isn’t, it ought to be. It’s what I remember.”

“Really, though, weren’t they pretty ignorant and backward – insulated?”

“All right if they were,” she said. “It’s not any better now; everybody’s insulated now – from everybody else. And still ignorant too; it’s just different, it’s all inside. And everybody’s hiding it; that’s why they look so slick. Do you know what we are? Scared; everybody is.”

America does have fine Christian writers in its recent history, beyond Flannery O’Conner and Walker Percy. It’s just that nobody knows about them. The works of Madison Jones were recommended to me, and I sent away for A Buried Land. It’s a very dense book – written with tremendous craftsmanship, with layers and layers of meaning and symbolism down to the bedrock, which is pretty far down.

Percy Youngblood is a smart young man in a small Tennessee town. When we meet him it’s before World War II, and he and his friend Jesse are working for the Tennessee Valley Authority, helping to build a dam that will flood Percy’s family farm and many others. Percy’s at odds with his father, who can’t see the point of destroying a way of life he likes just fine, in order to create a world he doesn’t want in the first place. Percy takes up with a local girl cast off by his friend Jesse, with unplanned consequences that leave him and Jesse carrying a shared, guilty secret.

After a hiatus in which Percy serves in the war, he returns home to take a job in a local law firm. As he tries to fit in with the town’s progressive set, he’s haunted by his guilt, and terrified because a certain person has come back to town – someone who may or may not suspect him and Jesse’s crime. As in every tragedy, the very actions he takes to protect himself work to his destruction.

A Buried Land is a true work of art as literature, and a harrowing Purgatorio of guilt and sin. It’s a hard read though, because there’s no whimsy here; no moment of relief. The downhill road is a long and oppressive one. Also, I fear that today’s readers will miss the point. Instead of locating the sin in Percy’s heart and actions, they will blame the Puritanism of the times, the laws of the times, and sexist oppression. Which is too bad, because there’s much to learn from this book.

Recommended, if you have the stamina for it. Adult themes, but no major language or explicit scenes to complain of.

It was disastrously easy to make bad horseracing pictures and only possible to do it at bankable level, in my view, if racing became the framing background to human drama.

Although the sentiments above, expressed by Tom Lyon, narrator of Wild Horses, refer to the movie business, they clearly express author Dick Francis’ own approach to writing mysteries. Racing is always the background, but the heart of the story is… well, the human heart.

Thomas Lyon, film director, is a native of Newmarket, Suffolk, England, and he has chosen to come home from California to do his latest film, based on a successful novel inspired by an actual murder that occurred during Tom’s childhood. A horse trainer’s wife was found hanged in a stable, and whether it was homicide or suicide remains a mystery.

The story starts with Tom at the death bed of an old friend, a farrier, who is dying of bone cancer. His friend’s mind is confused, and he makes a confused confession to Tom, thinking him a priest. Throughout the story that follows, Tom feels a strange kind of obligation, as if he were in fact a priest with a duty to God.

Although it’s been decades since the murder the movie is based on happened, it turns out that someone doesn’t want old stones overturned. Tom receives death threats, the film’s star is attacked with a knife, an old lady is wounded, and then there is a murder. And step by step Tom comes to the realization that his friend’s dying confession has a direct bearing on the mystery.

This is Dick Francis at his best. Tom Lyon is a very satisfying hero, ethical, brave, and not overconfident. A particular pleasure of the story is the joke Francis tells on himself (since he’d seen several of his own stories adapted, at least for TV), in making the script writer, also the author of the novel it’s based on, an arrogant, inflexible prima donna who is not as smart as he thinks he is and does nothing but make difficulties.

Only mild cautions for language and subject matter. Highly recommended. Good holiday reading, for instance.

Any author who offers a fresh take on an old genre and carries it off successfully, deserves praise. So all in all I praise Jim Cliff for The Shoulders of Giants, the first volume in a projected new private eye series.

Cliff’s hero and narrator is Jake Abraham, a young private eye just starting out in his own office in Chicago. He says he grew up on Jim Rockford and Spenser, and he’s a little starry-eyed – and aware of it. The novelty of his character is that instead of the expected cynical, hard-boiled sleuth we’ve seen so often, Jake is young and optimistic and not entirely sure of himself – but nevertheless good at his job.

In this story he’s hired by a disgraced former police captain to find his daughter, who has disappeared. Before long her murdered body is found, and then there are more bodies, and soon the police are looking for a serial killer. Because one of the detectives is a friend of his, Jake is allowed to hang around, and even to help (he’s unique among fictional private detectives in actually standing aside and shutting up when the police tell him to), and his inquiries lead him at last into a deadly showdown with a murderer.

Jake is a likeable character, and I generally enjoyed the story. I do have quibbles. Author Cliff seems to have done a fair amount of research on guns, but he doesn’t seem to have much hands on experience – he thinks you’re supposed to shut one eye when aiming, which most instructors will tell you not to do, and he has Jake, in a gunfight in a dark room, waiting for his opponent to talk in order to aim at the voice, when he would have been able to aim at the muzzle flashes. And there are a couple language problems. He doesn’t know what “enormity” means, and he confuses the word “illicit” with “elicit.” He also suggests a murder method to the forensic scientists which I’m pretty sure they would have been familiar with.

Still and all, a good start generally. I like Jake Abraham, and am positively inclined toward the next book. Cautions for the usual language, sex (including a gay bar), and mature themes.