Category Archives: Reviews

‘Dark Side of the Street,’ by Jack Higgins

There was a time when I was a great fan of the late Jack Higgins’ books. (His real name was Henry Patterson.) In time I began finding him repetitive, and I gave up on him. But I don’t mind picking one up for old times sake, now and then, if I happen to find one I haven’t read before. Such was the case with Dark Side of the Street.

Higgins explains in a foreword that this book was one of his early ones, written with the idea of competing with the James Bond franchise. His character Paul Chavasse is a very Bond-ian British intelligence agent. In this outing, Chavasse is called in on a special assignment to help the police, based on his experience in undercover work. They want him to commit a crime, get caught, and go to prison in order to ingratiate himself with a prisoner.

The background is this: The criminal he’s supposed to befriend, Harry Youngblood, was one of three men convicted of a major theft, and the money has never been recovered. Both his partners have already been sprung from high security prisons and have utterly disappeared. What nobody knows is that these men have not been spirited off to anonymous lives in foreign countries. They were in fact murdered for their loot. When Chavasse befriends Youngblood in prison and joins him in his escape, they will both be walking into a waiting death trap.

Dark Side of the Street benefits from some decent characterization – author Higgins humanizes the ruthless Youngblood, without romanticizing his essentially selfish and brutal nature. There’s also a sad subplot involving an unattractive, lovestruck girl.

The story includes a scene involving a mortuary and the embalmment of a beautiful young woman. It seemed familiar because it was – I’ve encountered the same scene twice in other books by Higgins – one of his weaknesses was a tendency to recycle material.

The layout of the book was marred by a lack of double spacing between chapter sections – meaning the reader frequently finds himself in a new scene with new characters, with no warning. This is the sort of error that happens increasingly in e-books these days, and it’s annoying.

But otherwise, Dark Side of the Street wasn’t bad as light entertainment.

Phantom Thriller: Review of Phantom Orbit by David Ignatius

Guest review by Adam H. Douglas

David Ignatius’ new novel, Phantom Orbit (2024), is like a Zen koan asking: When is a thriller not a thriller? 

Let me explain.

Those of you familiar with Mr. Ignatius know he is a renowned reporter for the Washington Post who writes a twice-weekly column there. He is also the author of several works of fiction, mostly thrillers. Personally, I wasn’t familiar with his creative writing until I picked up this new novel. 

As you might expect, his writing skills are very good. The man can craft the textures of a wide variety of global cultures and wield national idioms with a time-honed and deft ability. His professionalism shines through on every page. 

That’s the good part. 

On the flipside, this was a frustrating, meandering read that I would’ve given up on about a quarter of the way through if not for a sense of masochistic curiosity that made me wonder how long it would remain so pointless.

Three Decades of Backstory 

The story of Phantom Orbit follows three characters over three decades, from the mid-90s to the current time. 

Our first hero is Ivan Vladimirovich Volkov, a one-time student of astronomy and astrophysics at Tsinghua University (Beijing), who is feeling the effects of the dissolution of Soviet Russia. As a young man studying hard, he hooks up with a visiting American woman named Edith Ryan—our second heroine. The two have an intense romantic relationship that ends in a tearful separation. 

Ivan greatly regrets the breakup yet wonders if he might’ve dodged a bullet. After all, there were subtle indications that the young woman might’ve been a CIA operative. 

Our third character is Professor Cao Lin, a distinguished researcher and member of the Academy of Sciences who eventually becomes head of a committee on “special projects” that reports to the Central Military Commission. Essentially, he’s there to get China’s spy/intelligence space program working, including attacking the Americans by whatever means they can manage. 

Promises to Keep

Phantom Orbit commits what I consider to be one of the most grievous sins for thriller novels (or indeed any novel genre if you get right down to it): Failing to follow through on its promises. 

The book is marketed as a taut page-turning thriller that is part The Martian, part The Da Vinci Code. The dust jacket teases us with the story of a Russian student (Ivan) stumbling upon an “unsolved puzzle” contained in the writings of the famous 17th-century astronomer Johannes Kepler. Ivan brings this puzzle to a prominent scientist within China’s space program, expressing his determination to find the solution that could have “significant implications for space warfare.”

Sounds intense and dynamic, right? Moreover, the book’s prologue is practically textbook-format for attracting thriller aficionados. Here’s a summary:

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‘True Grit,’ by Charles Portis

The bandit chieftain made no reply. He brushed snow and dirt from my face and said, “Your life depends on their actions. I have never busted a cap on a woman or anybody much under sixteen years but I will do what I have to do.”

I said, “There is some mix-up here. I am Mattie Ross of near Dardanelle, Arkansas. My family has property and I don’t know why I am being treated like this.”

I was appalled to read, in Donna Tartt’s excellent Afterword to this edition of Charles Portis’ True Grit, that the book was out of print for a while. That was, apparently, due to the fact that its association with a John Wayne movie drove it beyond the pale for the kind of intellectuals who got a drubbing in last night’s election. Fortunately, that injustice was remedied in 2010.

True Grit, which I first read back in the 1970s, is – I almost need not say – a really wonderful book. It’s the kind of work that can be read on several levels – as a sheer, headlong adventure tale, or as a commentary on Victorian American culture, the Western genre, female empowerment, or even Christianity. There’s something for almost everybody here.

The story – for those few who haven’t at least seen one of the movies – involves Mattie Ross, a feisty, precociously hard-nosed 14-year-old Arkansas girl who hires US Deputy Marshal Rooster Cogburn to hunt for Tom Chaney, the man who murdered her father, in the Indian Territories in the 1870s. She insists on going along with him, to make sure she’s getting her money’s worth.

Surprisingly, I find the contrast between the two True Grit movies (John Wayne in 1969 and Jeff Bridges in 2010) illuminating in discussing the book as a literary work. It’s common to assert that the more recent movie is truer to the book. I would say that’s only right in a sense.

As stated above, the book can be taken on many levels. On the surface, it’s almost a perfect John Wayne vehicle, and I was unable to decouple his voice from Rooster’s character as I read. They softened the ending for the 1969 version, but that’s generally how a John Wayne movie works. By and large, it was quite a faithful adaptation.

The 2010 version has many excellent qualities. It has a more authentic look than its predecessor. The use of gospel music is especially evocative, and Mattie’s age is correct.

However, the Coen brothers made some alterations of their own. The sequence where Mattie and Rooster are separated from LaBoeuf, and they cut a hanged man down from a tall tree, does not appear in the book anywhere, and I’m not sure what purpose it serves.

But that version delves deeper into the subtext, into the layers of social commentary and religion. It’s a more profound movie.

They’re each True Grit in their own way, it seems to me.

Whichever approach you prefer, you’ll find it in the book. If you haven’t read it, read it. It’s not long. It’s just perfect.

Highly recommended.

(I might mention, as a footnote, that I believe that True Grit marked a watershed in the writing of Western movie dialogue. The somewhat stilted diction Portis uses in the book, meant to emulate the writing of a middle-aged woman in the early 20th Century, was lifted verbatim for the movie characters. It worked so well in evoking the period that writers have been copying it ever since.)

‘The Green Ripper,’ by John D. MacDonald

Death comes while you are struggling with your application or lack of application of the Judeo-Christian ethic. While you work out the equation which says, If I don’t kill him, he will kill me, so even if I have been taught not to kill, this is an exception—while you are working that out, he is blowing chunks of bone out of your skull. The quick and the dead is an ancient allusion. They were quick and I was quick and lucky.

I always knew it was coming. Even when this book first came out (and I read it back then) I had to expect that when John D. MacDonald gave his hero Travis McGee the girl of his dreams, a big, healthy, well-balanced woman who seemed to be made for him, he would have to kill her off in the next book. (The author is the true villain of every story.) And so it was. The Green Ripper is the darkest and saddest of the Travis McGee series, and incidentally a harbinger of what future detective fiction would be.

Gretel Tuckerman, Trav’s new woman, has taken a job at a property development and health spa near Fort Lauderdale. One day she notices a stranger on the grounds, and recognizes him from a brief encounter years ago in California. A couple days later she is dead, apparently the victim of a rare disease carried by an insect bite.

But before long, a stricken McGee and his friend Meyer get a visit from some government agents with questions. Thanks to Meyer’s security clearance, they get to ask a few questions of their own. It appears there’s a terrorist network within the US, connected to a secretive religious cult in California. It was Gretel’s misfortune to recognize one of its members, and apparently they murdered her by clandestine means.

This is where McGee goes underground. He assumes a new identity, that of a working fisherman with a drinking problem, headed to California to find his daughter, whom he believes joined the cult. He will find the cult. He will join them. Get to know them. Make friends.

And he will get terrible revenge.

Here, I believe, we see the genesis of the detective thriller as we know it today – the Jack Reacher and Gray Man books and others in the same vein, some better, some not so good. Most Travis McGee books are about the mystery, the problem, with a generous helping of violence thrown in. Today, most detective series are primarily about the violence, with just enough of a mystery to hold the plot together.

As an old fogy, I generally find the older way more enjoyable. And as far as I recall, MacDonald never again went as far into ultra-violence as he did in this story. It’s not that I judge The Green Ripper a bad novel, it’s just that the combination of grief and vengeance makes it a downer.

Also, Meyer, supposedly a genius, makes a lot of economic predictions in this book that haven’t played out well in the real world. On the other hand, we have here an object lesson about avoiding religious groups run by women.

So, not my favorite Travis McGee. But it’s a great series.

‘The Sentence is Death,’ by Anthony Horowitz

I like and respect the English author Anthony Horowitz, but I’m less than in love with his Hawthorne and Horowitz books. The premise seems to be an interesting twist on the old Holmes & Watson formula – Hawthorne is a former police detective who has persuaded Horowitz, as an author, to accompany him on private investigations and write about them, with the profits divided. Horowitz shoehorns the stories (apparently) into his actual life circumstances. The Sentence is Death takes place, ostensibly, during the period when Horowitz was a writer for the Foyle’s War TV series.

In this story, the police have asked Hawthorne to consult on a murder investigation. A celebrity divorce lawyer has been murdered in his kitchen, bludgeoned with an expensive bottle of wine. Of course, the victim does not lack for enemies who might have wanted him dead, but there is also a broader range of suspects, some related to a caving accident he was involved in years back. Oddly enough, one of the other survivors of that accident died under mysterious circumstances within a few days of the murder. Also, why did somebody paint a number on the kitchen wall?

There’s nothing wrong with the writing The Sentence Is Death, nor with the characters or the plotting. It’s just that author Horowitz has labored to create a Sherlock Holmes-style character who seems to embody most of Holmes’ annoying characteristics and none of his charm. Hawthorne is surly, secretive, and thoughtless. He himself becomes part of the ongoing mystery, as Horowitz tries to figure out who this guy is and where he came from – a project with which Hawthorne cooperates not at all. Frankly, I do not like Hawthorne, and find him bad company.

Also, I must admit I figured out whodunnit this time. This is not because of my genius as a detective, but because I’ve gotten to where I can (sometimes) recognize the tricks authors use to divert our attention from serious suspects.

Still, The Sentence is Death is a well-done book. My reservations are all personal. So you should discount for that.

The Diary of a Country Priest by Georges Bernanos

How hard it is to avoid offending somebody! And however hard you try, people seem less inclined to use goodwill to their advantage, than unconsciously eager to set one goodwill against another. Inconceivable sterility of souls — what is the cause of it? Truly, man is always at immunity with himself — a secret sly kind of hostility. Tares, scattered no matter where, will almost certainly take root. Whereas the smallest seed of good needs more than ordinary good fortune, prodigious luck, not to be stifled.

Parisian author Georges Bernanos published Journal d’un Cure de Campagne (The Diary of a Country Priest) in 1936. It’s a quiet, at times devotional, novel about a young priest eager to serve his parish while his superiors on all sides tell him to calm down. The scant story consists mainly of a few lengthy conversations and a few more brief scenes, the climax of all of them coming in chapter 5 of 8.  

A fictional diary has a natural dramatic resistance to overcome. It’s a secondhand account from a first-person narrator, so you know it isn’t happening as you are reading and the narrator makes it through to write it down. I found it helpful that the priest acknowledged this by confessing he couldn’t record his conversations exactly as they occurred, which was good because it meant he could write more of what he intended to say than what he spat out at the time. 

The book begins with the unnamed priest describing his parish “like all the rest” and “bored stiff.” In almost every character, we can see a spiritual apathy, which he describes as a “cancerous growth” and “like the fermentation of a Christianity in decay.”  Even his superior preach hope only “by force of habit.” Few of his congregation faithfully attend mass, and some have lifestyles that violate God’s moral laws, but they all believe they are Christians in good standing and should be treated as such. As one holy man put it, the priest of our book shouldn’t disturb them by spurring them to greater faithfulness. If they are bitter, conniving, or perverted, what of it? Why risk a scandal by calling them out? 

But our priest does risk a scandal. As he spurs himself into visiting every house in the parish over a period of one-to-three months, he cannot refrain from saying what needs to be said. At least, I think that’s what we’re told he does. We don’t see much of that, and what he says in the larger recorded conversations doesn’t touch on the gospel (at least not clearly enough). Many good lines about our need for the Divine and the uselessness of life without the Father, but nothing about Christ’s atonement. As a soldier in the book says, the church has defined a secular space for the world and stepped away from it, leaving most people to wait on a curb and wonder what to do. 

Our priest does record his desire to uphold church doctrine through catechizing children and pressing adults in matter of the faith. When someone from the community dies of suspected suicide, he’s the one who raises the question with an elder priest. The response he gets is that God is the only judge and what’s the use of saints if just men can die without some grace to justify them. 

One of the best threads in this book is the priest’s wrestling with prayer, feeling completely worthless half of the time, and coming out of it after arguing about it with someone else. Have monks who spend most of their days in prayer confessed it was a waste of time? No. That communion has sustained them, because the Lord’s grace is tangible sustenance.  

There are a few pages of distinctly Catholic flavor, which I imagine helps push this book into the favorite category for many readers.  

There are no time markings in the narrative, so it’s hard to tell whether even a year passes between these covers. Whatever the amount of time, our priest suffers with a restricted diet for most of it, subsisting on bread and sour wine and painting a bold parallel to Christ. But in the final chapter, he appears to learn a profound lesson in grace from an unlikely source. 

Photo by Free Nomad on Unsplash

‘Romeo’s Fire,’ by James Scott Bell

I was tired. Tired of thinking about death. I remembered something Kafka said, that the meaning of life is only that it stops. I wanted to punch Kafka in the face. But he’s dead too.

James Scott Bell’s Mike Romeo books are pleasant, fairly light action mysteries in the hard-boiled genre. James Scott Bell, a top-level Christian novelist, knows his business. His main character here is a former cage fighter who now works as an investigator for a wise old Jewish attorney in Los Angeles. Mike is a great reader, always quoting the classics.

In Romeo’s Fire, they have a new client, a homeless boy who killed another homeless man with a knife. He claims self-defense – it’s the use of a knife in California that got him in trouble. Mike’s boss thinks he can plead down to manslaughter and get the kid off with no jail time. They get him remanded to a group home, from which he promptly disappears. Now it’s Mike’s job to find their client.

One amusing element in this story was that after Mike gets arrested (of course he gets arrested. Doesn’t every private eye get arrested in every private eye novel?), he solves the problem the old-fashioned way, by just bulling through a police guard. He makes it work too.

Also notable is the realistic depiction of today’s Los Angeles, especially its homeless problem and impotent police protection. There are also Christian themes, which author Bell renders more palatable through making Mike a seeking agnostic.

The Mike Romeo mysteries are always fun. I recommend Romeo’s Fire, and James Scott Bell is a fine storyteller.

‘A Woman Underground,’ by Andrew Klavan

Since in Winters’s interior world, it was always the year 1795, he did not like to curse in front of a lady, so he swallowed his first reaction and said, “That’s awful.”

I wish Andrew Klavan’s Cameron Winter novels were two or three times longer than they are. It’s a gift of God that a writer of Klavan’s caliber has become a Christian, thus permitting the creation of amazing books like these (though the Christian subtext is always kept sub). I suppose not everyone reacts to them as I do. Some people don’t like them, after all. And perhaps I respond viscerally to the main character himself, because I identify with him.

In any case, A Woman Underground begins with one of our English professor hero’s stories from his past, as told to Margaret, his psychologist. It’s a disturbing story about a colleague of his from his days as a government assassin, the straightest arrow of all straightest arrows and a devout Christian, who disappeared on assignment in Turkey and Cameron was sent to find out what happened to him….

But Margaret interrupts him. She wants to know whether he’s phoned the woman he met in the last book, the one with whom he had a mutual attraction. No, he hasn’t. Why not? Well, he’s been dealing with some things…

Yes indeed, he has. He’s still obsessing about Charlotte, the girl he fell in love with as a child. She learned some shocking things about her family years ago, and just went off the rails, running off with a fringe political group.

You need to find Charlotte, to get some closure, Margaret tells him. And almost immediately, Charlotte appears – sort of. Cameron goes home to his apartment and smells her childhood perfume in the air. An examination of his building’s security recordings shows that a woman did come to his door. It looks like it might have been her. She’s carrying a book. That book will be the clue that leads Cameron on a trail into the shadowy world of the right-wing underground, to lies and betrayals and shattered illusions.

The previous Cameron Winter books have run on a formula – Cameron’s “strange habit of mind” kicks in – his brain enters a sort of fugue state, where he intuits a crime that the police can’t see. And so he goes in to meddle and see that justice is done. This time, the big mystery is his own, and though the “strange habit” makes its appearance, this time it’s to help him solve mysteries rather than to discover their existence. This way works just as well.

I know I’ll read it again. I read them all again. A Woman Underground is a stellar addition to one of the best mystery series going.

‘Sins of the Fathers,’ by James Scott Bell

But then the guy smiled. His teeth were like pylons coated with ocean grime.

I’m a great fan of James Scott Bell, one of our best Christian thriller writers (after Andrew Klavan, of course). But for me at first, Sins of the Fathers labored under a few handicaps.

First of all, there’s a female protagonist. I just avoid them in these days of Mary Sues (not that a male writer is likely to write a female Mary Sue.)

Secondly, the setting is early in the 21st Century, when conditions in our country (and specifically in Los Angeles, where this story is set) were somewhat different from today. This was the days of tough, lock ’em up LA prosecutors (I believe one of our current presidential candidates was part of this). It was a very different environment from what we see in California today.

Finally, this is an expressly Christian novel. It’s not the kind I generally prefer, where the Christianity is mostly subtextual (though Heaven knows I don’t practice what I preach in my own books).

So I was a little slow getting into Sins of the Fathers. But it won me over, decisively.

Lindy Field is a defense attorney, but she hasn’t worked in a while. She suffered a bitter defeat in the case of a minor she defended, and she suspects a police cover-up. She actually suffered a psychological breakdown, and hasn’t worked for a while.

But her legal mentor asks her to take on a fresh case. It’s a high profile one, concerning a boy who opened fire with a rifle on a middle school baseball game, killing several boys and one coach. Public anger is high. A powerful victims’ advocacy group is calling for the maximum penalty.

Even worse, the assistant DA who beat Lindy on the last case will be prosecuting this one.

But her mentor thinks she can win. Get a sentence of mental incapacity for the kid. He says he believes in her. So she takes the case.

It will lead to frantic social pressure, media scrutiny, and an attempt on her life. But Lindy – for personal reasons that are only gradually revealed – needs to hold on. She needs to save this kid.

In terms of characterization and plot, I’d say Sins of the Fathers is as good as any thriller novel I’ve ever read, whatever the intended audience. There were delightful surprises, and I was moved by the book’s resolution.

I’ll admit I thought there was a little too much “God talk.” People bringing up Christ and faith in casual conversation, so that the message of the book could be explicitly stated. Of course, this was nearly 20 years ago. Society was different then. You could probably discuss such things in an LA courthouse in those bygone days.

Anyway, if you’re looking for an overtly Christian thriller, written at the very highest level, I can wholeheartedly recommend Sins of the Fathers.

‘The Road to Middle-Earth,’ by Tom Shippey

This was Tolkien’s major linguistic heresy. He thought that people could feel history in words, could recognize language ‘styles’, could extract sense (of sorts) from sound alone, could moreover make aesthetic judgments based on phonology. He said the sound of ‘cellar door’ was more beautiful than the sound of ‘beautiful’. He clearly believed that untranslated elvish would do a job that English could not.

I didn’t really know what I was getting into when I bought Tom Shippey’s The Road to Middle-Earth. I had read his Tolkien biography, Author of the Century, and generally enjoyed it. When I stopped to see my friend Dale Nelson recently, he praised TRTME as one of his most prized books. So I thought I’d give it a try.

And it is a fine work. A deep-diving overview of J. R. R. Tolkien’s ideas, work life, and achievements. But it may have been more of a book than this reader was qualified to handle.

I was pleased that the author seems to have moderated his comments about Augustinianism and Manicheanism, which (in my opinion) went too far in his Tolkien biography, where he actually labels C. S. Lewis a Manichean. What he’s actually talking about is our conception of evil – is it (as Augustine – and C. S. Lewis, whatever Shippey says – insisted) a lack, a corruption of the good, or does it have existence in itself? He seems to be convinced that if you believe the Augustinian view, you can’t really embody evil in a character. I’ve never accepted that – it’s enough to have a character submit to evil and live out its qualities.

My personal difficulty with the book, I’m afraid, was that I haven’t read enough of the post-Rings Tolkien material. I’ve read the Silmarillion, and several of the books involving single stories, but I couldn’t make it through the books of Lost Tales, and never even tried to read The History of Middle Earth. That means that a lot of the material Shippey deals with in the later chapters of this book was unknown, or only vaguely known, to me.

But if you’re a true Tolkien geek, I would say this is a book you absolutely ought to read. It’s been revised twice, and the author conscientiously corrects previous errors (mostly errors of ignorance).

Highly recommended, for its proper audience.