Category Archives: Reviews

Your Average Joe, Unplugged, by Joseph D. Schneller


Believe it or not, God does not want you to win them all. At times, you will swing and miss, you will submit and be rejected, you will try and you won’t succeed. You may miss your mark on a single attempt or for an entire season. And no, it won’t be due to some specific sin.

Today we will discuss the wonderful calamity of failure.

Occasionally a book from which you expected little is a wonderful surprise. Full disclosure: Your Average Joe, Unplugged is published by my own current publisher, and I got a review copy for free. But I’ve passed over other books by that publisher. This book impressed me very much, and was a blessing to me.

Joseph Schneller lost his business, a restaurant franchise, in 2008, about the same time the economy took a nosedive. As he struggled with the challenge of job-hunting, paying the bills, and being a husband and father to his family, he wrote a blog chronicling his spiritual battles. Those blog posts became the book, Your Average Joe, Unplugged.

It’s a one-month devotional, but more than a devotional. Schneller walks us through his own experience, as he applies the Bible and its promises to the day-to-day challenges and fears of an unemployed “average Joe.” There is much insight here, and courage I can only admire. Also humor, very well done.

I can hardly think of a more timely book. Your Average Joe, Unplugged is highly recommended, especially for those seeking jobs, underemployed, or worried about their jobs.

And who isn’t right now?

Pattern of Wounds, by J. Mark Bertrand

One of the keys to a long career in law enforcement is learning how to tell police psychologists what they need to hear without sounding deceptive. The only alternative is good mental health, which to me has always seemed too unrealistic a goal.

That’s Houston Police Detective Roland March, hero of J. Mark Bertrand’s crime novel Pattern of Wounds, a sequel to Back On Murder. I liked the first book very much, and I think I liked this one even more. Bertrand is doing almost exactly the thing I’ve tried to do (with far less success) in my own fantasy novels—to portray the real world through eyes of faith, giving both believers and unbelievers a fair chance to make their cases.
Roland March is a Houston cop, at once admired and disliked in his department because of his erratic career history. Successful enough as a crime solver to have been the subject of two true crime novels, he went through a slump period (following the death of his daughter in a car accident with a drunk driver) during which he seemed to be on the way out. In this book he tells us something we didn’t know before about that period—he was cutting corners because he didn’t trust the justice system. Always staying within the limits of strict legality (or so he believed), he nevertheless bent the law in order to insure “true justice” as he saw it. Continue reading Pattern of Wounds, by J. Mark Bertrand

E-book: The Donzerly Light, by Ryne Douglas Pearson

I got this book free for my Kindle (it still is free, at least as of this writing), and I have to say it’s one of the better free books I’ve downloaded. Ryne Douglas Pearson is known as an author of techno-thrillers, but, as he explains in an Author’s Note, before he started in that genre he wrote The Donzerly Light, a Dean Koontzian supernatural thriller, which didn’t sell. He remained fond of it though, and the advent of e-publishing made it possible for him to offer it to the public.

The time is the late 1990s. Jay Grady wakes, tied up and blindfolded, in a dark closet, with a cast on a broken leg. Rough hands lift him up and carry him to an interrogation room, where he is questioned by a man who does not seem to be a policeman. Jay was captured after being seen shooting a man to death. He does not deny the act. Once, we learn, he was a Wall Street celebrity, a young man with a gift for picking winning stocks, a mover on the way up. Then he suffered what looked like a psychotic break, and disappeared. For years he survived as a transient. Now here he is.

Jay hides nothing. His life was altered forever, he says, when he stopped one morning and gave money to a panhandler on Wall Street. The panhandler rewarded him with a “gift,” a form of magic that allowed him to identify rising stocks ahead of the market. The gift might almost have seemed a divine one, except that it led Jay into all the stereotypical excesses and acts of selfishness that so frequently go with being young and rich. Then, when his power changed in a terrifying way, he fled his old life. But he could not avoid a final showdown with the supernatural forces in which he’d dabbled.

I found The Donzerly Light (the title refers to a child’s misunderstanding of the line from the national anthem) an utterly fascinating story, worthy of comparison with Dean Koontz in his middle period, before he started adding explicitly Christian elements to his stories. (I might note that this book treats Christians with respect, and Jay, although he shares a motel room with an attractive woman drawn into his adventure, does not share a bed with her).

Fascinating, moving, with a genuine, page-turning mystery at its bottom, The Donzerly Light is a winner. If you have an e-book reader, I recommend it. Mild cautions for language and adult situations.

Uncle Abner, Master of Mysteries, by Melville Davisson Post

“Abner,” replied Dillworth, “how shall we know what justice is unless the law defines it?”

“I think every man knows what it is,” said Abner.

“And shall every man set up a standard of his own,” said Dillworth, “and disregard the standard that the law sets up? That would be the end of justice.”

“It would be the beginning of justice,” said Abner, “if every man followed the standard that God gives him.”

“But, Abner,” replied Dillworth, “is there a court that could administer justice if there were no arbitrary standard and every man followed his own?”

“I think there is such a court,” said Abner.

This passage, from a story entitled, “The Tenth Commandment,” in the book, Uncle Abner, Master of Mysteries, by Melville Davisson Post (published 1918), encapsulates, in its moral libertarianism, much of what I found fascinating, and irritating, in this collection. I would like to recommend it for some readers, but have a hard time saying what kind of readers those might be.

“Uncle Abner” is a Virginian backwoodsman living some time in the early 19th Century (I was never able to work out exactly what period. The clues were all over the map.) Most of his stories are narrated by his hero-worshiping nephew (hence the “Uncle”). Abner is a Christian of unimpeachable (frankly overdrawn) integrity and intelligence, a man without official office who nevertheless acts as an investigator whenever a murder is discovered in the neighborhood. His reading of the human heart is infallible, his observations invariably correct, his judgments infallible.

He has little regard for human institutions of justice. When he discovers a murder he’s as likely to let the guilty party off as to turn him over to the authorities, sometimes on the basis of reasoning that seemed pretty obscure to me. He seems to believe that God’s justice is active and inescapable, not only in eternity but in the present, and regards himself as God’s instrument.

In short, he’s a man many of us would like to be, and is also kind of insufferable. In addition I think his theology weak (at one point he says that the devil “is very nearly equal, the Scriptures tell us, to the King of Kings.” The Scriptures tell us no such thing).

The puzzles are interesting, some of them noteworthy in the history of mystery writing. The stories reminded me of Chesterton’s Father Brown mysteries, but were less didactic in terms of theology, and the characters less rounded.

I’d like to recommend this book to adults, but I suspect most readers (even Christians) will find them a touch naïve in terms of realism. I’d like to recommend them for children, but the depictions of black people (mostly slaves at that point in time in Virginia) are not the kind I’d like to see children exposed to.

So make your own judgment.

No fool he

The redoubtable Anthony Sacramone has been energized once again in his blogging at Strange Herring, which makes the world a sweeter and better place in so many ways. Today he reviewed the new film, “Our Idiot Brother.” He kind of liked it, but was not blind to its conceptual failings. Especially in the area of honesty, as seen through Hollywood eyes:

The moral of our story is that honesty is the best policy. And “openness” to others is the free-est form of expression. It sounds so simple and right. Except, well, this is Hollywood. And even its moralizing needs some desanitizing.

It’s possible to be so “open” to the other that one becomes a mere experiment in someone else’s “life journey.” One can also use “honesty” as a cover for merely being frank. You know the difference between being honest and being frank, right? Abraham Lincoln was honest. Adolf Hitler was frank.

The frank person makes no bones about the fact that he is robbing you, but insists that this “admission” also makes him honest. The frank person admits to cheating you, or cheating on you, and insists that needs must be met, and what about those banks and insurance companies and Wall Streeters?

To be honest means more than calling a spade a spade. It is also means more than mere earnestness. It is a a habit of mind, heart, and soul. It is a form of personal integration — integritas — that emanates from the center and not from attempting to Crazy Glue all the broken pieces back together with hollow apologies and confessions of being merely human.

All Things Considered, by G. K. Chesterton

If you like reading blogs, you’ll probably like reading G. K. Chesterton. Chesterton did the thing bloggers do long before blogging existed, and he did it better than the best of us. If he were alive today his blog would be the most popular one in the world. It would drive liberals crazy much of the time, but conservatives would take offense now and then too, and both sides would likely post indignant comments to tell him how STOOPID he was.

All Things Considered is a collection of columns Chesterton wrote for the London Daily News during the years up to World War I. They’re not his absolute best work. He admits in the preface that many of them were written under tight deadlines, when “there was no time for epigrams.” And what he wrote frequently got snipped down, pretty arbitrarily, by editors.

But even under adverse conditions, Chesterton offers a wealth of opportunities to the happy highlighter. Instead of reviewing All Things Considered (an act of hubris), I’ll just list some snippets to give you a taste.

First of all I want to mention that this book includes what may, very probably, be the first use of the word “groovy” in the English language. Seriously. Chesterton doesn’t use it as the hippies did, and I’m pretty sure they weren’t quoting him when they re-coined the adjective, but it’s right here, in a column called “Humanitarianism and Strength”:

Have you ever noticed that strange line of Tennyson, in which he confesses, half consciously, how very conventional progress is?—

“Let the great world spin for ever down the ringing grooves of change.”

Even in praising change, he takes for a simile the most unchanging thing. He calls our modern change a groove. And it is a groove; perhaps there was never anything so groovy.

*

The real objection to modernism is simply that it is a form of snobbishness. It is an attempt to crush a rational opponent not by reason, but by some mystery of superiority, by hinting that one is specially up to date or particularly “in the know.”

I believe firmly in the value of all vulgar notions, especially of vulgar jokes. When once you have got hold of a vulgar joke, you may be certain that you have got hold of a subtle and spiritual idea. Continue reading All Things Considered, by G. K. Chesterton

Fair, partly cloudy


The Minnesota State Fair. Artist’s Conception.

It occurs to me that I should have taken pictures at the State Fair on Saturday, like Lileks does. But then I realize, it was hard enough dragging myself around the fairgrounds, let alone taking a camera. I know people have tiny little cameras in their cell phones nowadays, but I’m a straggler on the dragging edge of technology. I only get things after they’re passé (except for my Kindle, which was a gift from… well, I won’t embarrass him again).
It was possibly the most perfect day for the fair I’ve ever seen, from the perspective of weather. Nice temperature, and it started sunny and then clouded over without actually raining more than the occasional tiny spit. This was great for the concessionaires, not so great for Avoidants and Introverts. You know that place in the gospels where Jesus is pushing through a crowd, and stops and says, “Who touched Me?” because (He says) “I felt power go out of Me”? I didn’t heal anybody (may have injured some) but when we pushed through a crowd of teenagers who suddenly appeared around us, screaming for some pop singers (or something) at a radio station booth, I felt the power go out of me, all right. I was a shell of a man by the time I got free of that.
The conclusion was obvious. I need to lose even more weight, and get some exercise. Which I’m trying to do.
Or else give up the fair.
I need to retract an endorsement.
Hunter Baker (funny, I was just thinking about him) commented on my review of Lee Child’s Killing Floor, writing the words I always dread:

I have read a lot of Lee Child books, but had to stop a couple of years back. He revealed himself in a couple of books to be pretty seriously anti-Christian. And made the Reacher character share those views. That did it for me…
I was a major fan of his. It began small with Reacher refusing to fly Alaska Airlines because they put a small Bible verse on each tray. In a subsequent book, there is an extremely bizarre Christian character who is some kind of caricature of American evangelicals. Once I read that one, I just decided Lee Child didn’t need any more of my money.

Sad, but not really a surprise. No more of my hard-earned will flow to Lee Child either.

Film review: Conan the Barbarian

With this review, I consciously renounce all right to any respect as a film critic. I loved Cowboys and Aliens, which right-thinking people seem to despise, and now I’m going to admit to the world that I enjoyed the new Conan the Barbarian, which everybody except me and a few Facebook friends seems to loathe.

I’m going to start by moving my recommendation, which I usually leave for the end of the review, to the beginning. The good things I’m about to say about Conan the Barbarian should not be taken as an endorsement for most of our readers. This movie earns its “R” rating. There is much violence, and enough graphic, special effects-enhanced gore to please Odin’s ravens. Also considerable female nudity, often in situations involving bondage. I think this was a major error on the part of the filmmakers. They could have made a movie just as good without voluntarily reducing their paying audience through shock techniques and salaciousness.

On the other hand, the “R” rating is not inconsistent with the original material.

I approached Conan the Barbarian with something less than low expectations. I mistrusted the re-boot project from the first, and Michael Medved, whose opinion I respect, hated it. So I was pleasantly surprised when, somewhere along the way, I realized I was enjoying the show. Continue reading Film review: Conan the Barbarian

Film review: Twelve O'Clock High

I’m sure every one of you has seen the movie Twelve O’Clock High already, but I never saw it until last night. I know I write too much about movies in this books blog, but I want to meditate on the film a little bit, particularly as an exercise in storytelling. It’s a superior example of the art.

What you’ve got in Twelve O’Clock High is two layers of story going on at one time. There’s the surface story—the sort of thing a small boy watching it would come away with, and then there are the truths the story conveys, buried under the surface but identifiable if you’re looking for them.

The surface story is pretty simple. The 918th Heavy Bombardment Group, based in England at the very beginning of American participation in World War II, is suffering heavier than average losses. The men, and their commander, Col. Keith Davenport (Gary Merrill), think they’re jinxed. Their commanding general thinks the problem is more practical, and sends in hard-nosed Brig. Gen. Frank Savage (Gregory Peck) to whip the unit into shape. This he does, through hard—sometimes cruel—discipline. As the men learn to repress their individual fears and concerns and operate as a group, they manage to achieve their goals and lower their losses.

But that’s not the real story. The real story is what’s going on inside the men. I don’t mean any disrespect to John Wayne (frankly I think John Wayne could have handled the Frank Savage part just fine), but you understand what I mean when I say this isn’t the typical kind of war movie we associate with John Wayne. Gregory Peck’s Gen. Savage sometimes pushes the men too hard, and he’s not as confident as he seems. There’s a splendid little moment when his adjutant, Lt. Col. Stovall (Dean Jagger) says, “You know the difference between Col. Davenport and Gen. Savage? Gen. Savage is about this much taller.” In the end, Davenport’s and Savage’s roles get very neatly reversed.

Because the real message here is that war is impossible. Fighting in a war is like walking a tightrope while carrying ever heavier burdens, while crosswinds change at random. No man can bear the strain indefinitely. The strongest iron breaks at last, through constant fatigue.

A friend of mine who’s a combat veteran says this is the most realistic war movie ever made. That’s remarkable when you think that it was made in 1949, taking into account all the special effects advances that have been made since then, and changes in audience toleration for on-screen gore. What sets Twelve O’Clock High apart is outstanding storytelling, a profound understanding of the human heart.

Killing Floor, by Lee Child


After my unpleasant experience with Philip Kerr’s Field Gray, I was in the mood for something less ambitious and more fun. I found it in Lee Child’s first Jack Reacher thriller, Killing Floor.
Child, an English television writer who does a very creditable job portraying American characters and settings, knows a few important truths about thriller writing. He knows that “movie logic,” the phenomenon that allows movies to get away with a lot of unlikely or impossible story elements because “I just saw it right there,” also works—to a certain extent—in action novels. The very unlikely coincidence on which this book’s plot pivots doesn’t bear close examination, but Child treats it matter of factly and keeps the interest up, and most readers come along for the ride. I know I did. Enjoyed it too.
His hero is Jack Reacher, a former military policeman who was raised a Marine brat. Having left the Marines, he is now traveling the United States, getting to know the country of which he is a citizen, in which he has never actually spent much time. And so, purely on a whim, he gets off a bus and walks to a tiny town called Margrave, Georgia, where he is immediately arrested by the police. A man has been murdered, and the stranger is a natural suspect. By the time Jack’s alibi has checked out, he’s met a very attractive lady cop he wants to know better, and come to feel a certain responsibility for a fellow prisoner, a rich man who doesn’t know how to handle himself in lock-up. But when he learns the identity of the murdered man, Jack’s course of action is decided. He has an obligation.
Fortunately for the good guys, Jack’s a very dangerous man—the very kind of man you want around when you’re up against a murderous, amoral conspiracy.
Killing Floor has all the virtues—and some of the faults—of an inspired first novel. Some of the detective work seemed a little too neat to me, and one of the big mysteries probably won’t be as much a mystery to readers today as it was when the book was published, more than a decade ago. But I took it on its own terms and had a great time. I’m already reading the second Jack Reacher novel, Die Trying, which starts with another coincidence almost as dubious as the one that kicks off this book.
Jack Reacher has some similarities to Stephen Hunter’s Bob Lee Swagger, but the classic character he reminded me most of was John D. MacDonald’s Travis McGee. Travis McGee, although he had a permanent address, lived on a house boat, and so was metaphorically adrift in the world. Jack Reacher is literally rootless, describing himself at one point as a hobo. The two have similar attitudes, and even resemble each other.
Killing Floor is recommended for grown-ups.
Update: Endorsement retracted. The reasons may be found here.