Category Archives: Authors

Death, Tolkien, and sagas

I’m feeling better today, thanks for asking, so let’s think about death, shall we?

The short Tolkien clip above resonated with me. I forget where I saw it first – probably on Facebook, where I waste too much time.

I’m not sure what I’d have thought about that statement, that great books are all about death, before I started working on The Baldur Game (not to say I’m claiming it’s a great book). If you’ve been following the Erling Saga, you know that this will be the last book in the series. And that can only mean one thing. We’re going to be saying goodbye to at least one important character.

A weird, semi-intentional chronological harmony has followed my Erling books. The first novel, The Year of the Warrior, came out in 2000. That’s precisely 1,000 years after the events described, which culminate in the Battle of Svold, usually dated to the millennium year. That’s what the title means – the Latin numeral for 1,000 is M. And (according to one of my characters) M also stands for Miles, which is Latin for soldier or warrior.

The books have loosely kept pace with the millennial anniversaries since then. If I were following the pattern strictly, I’d have left The Baldur Game’s release to 2030, because it ends in 1030. But the book begins in 1024, and I figure that’s close enough for my purposes. It would be hubristic to assume I’ll still be alive in 2030. I won’t give you my precise age, but I’ll be a little surprised if I live that long. (Though it’s looking more likely as it approaches, which astonishes me.)

And yes, the book is about death. I realized that as I was constructing it. There are recurring images of the sea, of chaos, which in the Old Testament evoked death.

And of course Norse sagas are always about death. There may be numerous other themes – honor, love, freedom, loyalty – but in the end they’re about how the characters faced their deaths.

Like all men, I’ve mostly tried to avoid thinking about my own death – though I’ve made an effort to prepare for it as a Christian. But old age tends to concentrate the mind, as Dr. Johnson said about the prospect of being hanged in a fortnight.

One of the values of literature, I think (and I think Tolkien would agree) is that it prepares us to face the things that must be faced.

Maybe we authors can help ourselves too.

(And before you ask – my health is fine, as far as I know. My chief malady, from my youth, has been melancholy.)

Two Hours with Ted Gioia

Music and culture writer Ted Gioia talked on camera with David Perell of the podcast “How I Write” to talk about his life of reading and writing. I just watched it, and it’s marvelous.

Ted, who has been writing on Substack for three and a half years, shared the interview with a short excerpt about musicians getting inspiration from dreams. In the almost two-hour interview, he discusses becoming a well-read man over many years, reading books for content or style, chasing publishing trends, writing honestly for yourself first and then for readers, and how our worldview as well as social pressure presses us toward select kinds of inspiration.

It’s well worth your time. Many good thoughts were shared. You’ll note some that I didn’t, so feel free to comment on it here.

Personal appearance alert: Nordic Midsummer Festival

If you’re in the Twin Cities area, I’ll be present selling books, with the Vikings, at the Nordic Midsummer Fest at Buck Hill in Burnsville, on Saturday.

Information here.

Praise for Wildcat, a Biopic on Flannery O’Connor

Author and professor Karen Swallow Prior reviews a new biopic film by Ethan Hawke about one of our favorite Southern authors, Flannery O’Connor.

“One of the film’s greatest feats is packing so many of O’Connor’s life experiences and thoughts—as expressed not only in her stories but also in her Prayer Journal, letters, essays, and lectures—into a dense, intricately woven film that runs under two hours. Hawke’s restraint reflects perfectly the restraint of the life O’Connor lived …”

I’m probably wrong

Jon Fosse. Photo credit: Jarvin – Jarle Vines. Creative Commons Attribution, Share Alike 3.0

Our friend Dave Lull sent me a link to this article from Literary Hub. It’s about the work of Nobel Prize-winning Norwegian playwright Jon Fosse (whose Septology I reviewed for Ad Fontes). What particularly interests me about this article is that it’s written by a woman who has translated Fosse’s plays into “American” English.

I was particularly struck by the fact that Sarah Cameron Sunde, the author of the article, deals in particular with a translation issue on which I have views of my own. And her views are the opposite of mine. The difference hangs on how to translate a simple, two-letter word: “Ja.” (It means yes.) She writes:

One such word that appears again and again (over 150 times, in fact) in Natta Syng Sine Songar is “ja”—I had noticed that this repetition was missing in the British translation, and instead the translator had chosen to replace each “ja” with what he thought it meant in each given moment—which often meant “yes” and sometimes deleting it entirely, when it seemed like filler word. But the repetition felt critical to me for several reasons: 1) the everyday quality of the word as it is spoken, not written, 2) the way this “ja” could function to build tension between live performers, 3) and how it unites the characters despite the vast space between them.

In my Ad Fontes review of Septology (which was generally favorable to the translation by Damion Searls) I criticized his repeated use of the word “yes” to translate “ja” in the text. My own view is that the Norwegian “ja” serves multiple purposes in Fosse’s Nynorsk dialect. It can stand for “Well,” or “All right,” or “I don’t know,” plus a host of other expressions. For that reason, I felt it ought to be translated with several different everyday interjections. Sunde translates it “yeh” in every case, in her work. Perhaps that’s a good choice in the context of theatrical production, but I question it.

Nevertheless, Sunde’s article is an insightful and interesting one.

Belated R.I.P, Joss Ackland

Tonight, like your high school teacher when he had a hangover and couldn’t face the prospect of lecturing, and so rolled out the old film projector, I once again fall back on video, bereft of useful ideas. I happened to be watching one of the old Inspector Dalgliesh mysteries with Roy Marsden, and Joss Ackland showed up in the cast. That always reminds me of his tour de force performance as C. S. Lewis in the original 1985 BBC television film of Shadowlands – which in my opinion remains the only watchable version. The travesty Richard Attenborough foisted on the public in 1993 was not actually about C. S. Lewis, but about some imaginary scholar Attenborough made up, who was emotionally stunted until being saved by True Love. (I’ll stipulate that Debra Winger was better as Joy Davidman than Claire Bloom was – purely because she was more abrasive. That is, in my opinion, almost the theatrical film’s only virtue.)

You can view the 1985 version here.

This version, excerpted above, is much closer to the original events, and to Lewis’ personality. Douglas Gresham praised Joss Ackland’s performance as his stepfather. Ackland didn’t much resemble Lewis, except in physical bulk, but he had a similar booming voice, and he seems to have sought out ways to make his performance authentic.

The clip above dramatizes the critical point in the plot where Joy, stricken with cancer and newly married to Jack Lewis, experiences a remission and goes home to the Kilns to live with Jack, his brother, and her two sons (there were, in fact, two boys – one got cut in the transition from small to large screen).

Joss Ackland usually played villains or rather nasty people (one exception was a cameo as D’Artagnan’s father in Richard Lester’s The Three Musketeers). I would pay considerable money (if I had any) for a voice like his. I looked him up on Wikipedia, and found that he died last November. 95 years old, which is a good run.

What’s in an Oscar?

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).

J. K. Rowling and the prisoner of conscience

First of all, I’m not a fan of J. K. Rowling. This view does not rise from my having read her works and finding them wanting. I’ve never read them at all (saw one Harry Potter movie). I have been advised by some that I ought to read them simply to make myself familiar with a major creator in our (sort of) shared genre. And I admit that’s fair enough.

My problem is that the biblical prohibition against witchcraft is ingrained deeply in my… my blood, or bones, or DNA or something. I’ve always been against witches, even when I portrayed them sympathetically (as I did in Wolf Time). That’s just one of those places where I Do Not Go. Some readers tell me the HP books have Christian themes. It may be true. But I can’t bring myself to check it out.

More than that, Ms. Rowling has more than once expressed opinions on various topics that I disagreed with. If she is a Christian, as the claim is, she’s a rather different kind than I am.

Nonetheless, right now she’s one of my heroes (you’re not supposed to say heroine anymore, are you?). She has done the right thing – the hard thing – at just the moment when it needs doing.

This from the BBC:

JK Rowling has challenged Scotland’s new hate crime law in a series of social media posts – inviting police to arrest her if they believe she has committed an offence.

The Harry Potter author, who lives in Edinburgh, described several transgender women as men, including convicted prisoners, trans activists and other public figures.

She said “freedom of speech and belief” was at an end if accurate description of biological sex was outlawed.

Earlier, Scotland’s first minister Humza Yousaf said the new law would deal with a “rising tide of hatred”.

The Hate Crime and Public Order (Scotland) Act 2021 creates a new crime of “stirring up hatred” relating to age, disability, religion, sexual orientation, transgender identity or being intersex.

Her own response was exemplary, and will resound to her honor in future ages:

Ms Rowling said: “I’m currently out of the country, but if what I’ve written here qualifies as an offence under the terms of the new act, I look forward to being arrested when I return to the birthplace of the Scottish Enlightenment.”

That’s precisely right.

The issue is not whether an opinion is correct or not. It’s not whether it’s sensitive or not. It’s not whether the person speaking is one you like or not.

J.K. Rowling holds opinions I disagree with. I would not have her muzzled by the law for that. I wouldn’t have the law muzzle Susan Sarandon, or Joy Behar, or Greta Thunberg or Alexandria Ocasio-Cortez. Shoot, I wouldn’t muzzle Ismail Haniyeh, the head of Hamas, as long as he wasn’t actually organizing violence. That’s our system. Everybody gets to talk. Even the crazies.

I read a book about Thomas Jefferson when I was a kid. It explained his conviction that if everybody gets to talk, the people will be able to pass judgment on their arguments. I thought that was pretty cool.

It may be that we haven’t got the common sense to make that kind of judgment anymore. But we won’t re-learn it by being protected from “hurtful” ideas.

Avalsdnes Viking Farm

I was looking for another kind of video for tonight. Back when the Kristin Lavransdatter film was shot, I read somewhere that they were preserving the sets they used for Kristin’s father’s farm in the Gudbrandsdal, to have as a tourist attraction. But I can’t seem to find any mention of it, so it must have either never happened, or it failed to thrive.

Instead, I found this relatively new video, about the Viking farm at Avaldsnes. This is the place where I attended the Viking festival 2 years ago. It’s very familiar to me now, and brings back good memories.

Some of you might even be interested in visiting yourselves.

I’m still proud of making that walk twice a day, at my age. Not bad for a fat American. (Confession: I cheated and wore modern shoes.)

Remembering C. S. Lewis’ memory

As you may recall (though it won’t be on the test), I’m a long-time member of the New York C. S. Lewis Society. I’ve been getting their monthly Bulletin for just as long. But the latest issue (Nov./Dec. 2023) features something novel – my name listed as an attendee in the minutes of a meeting. Being among those present was never convenient for me when they met in person, but since Covid, the meetings have been held on Zoom. The regular meeting date is, unfortunately, a night on which I usually have an obligation, but last June I finally got in, in a virtual manner.

Aside from that momentous development, this latest issue also features a headline article of considerable interest. It’s a reprint of a notable memoir by the late Alastair Fowler, originally published in the Yale Review (October, 2003). Dr. Fowler had C. S. Lewis as his dissertation supervisor while he attended Oxford University, beginning in 1952.

His memoir seems a fairly even-handed one – he clearly liked and admired Lewis very much, but he’s careful to describe his weaknesses, both as a supervisor and as a man, and to include some unsaintly details.

This article is particularly notable, though, as the one that finally exploded the unfortunate theory promoted by the late Kathryn Lindskoog in her 1988 book, The C. S. Lewis Hoax. Ms. Lindskoog insisted that Lewis’ abandoned novel, The Dark Tower, which his secretary Walter Hooper published in the collection, The Dark Tower: and Other Stories, was a counterfeit. She accused Hooper of writing it himself, and passing it off as a Lewis fragment. A lot of heat got generated by this accusation. But Dr. Fowler’s memoir states explicitly: “He showed me several unfinished or abandoned pieces… these included The Dark Tower, and Till We Have Faces. Another fragment, a time travel story, had been aborted after only a few pages.”

The Dark Tower is certainly different from Lewis’ other works, and many readers have found it distasteful. But Lewis wasn’t a one-note author, and he made conscious efforts to avoid that. Till We Have Faces, for instance, is quite unlike anything else he wrote.

There’s also a fascinating section on Lewis’ remarkable powers of memory:

Kenneth Tynan, whom Lewis tutored, tells of a memory game. Tynan had to choose a number from one to forty, for the shelf in Lewis’ library; a number from one to twenty, for the place in this shelf; from one to a hundred, for the page; and from one to twenty-five for the line, which he read aloud. Lewis had then to identify the book and say what the page was about. I can believe this, having seen how rapidly he found passages in his complete Rudyard Kipling or his William Morris.

I’m pretty sure (but here I rely on my own, far less robust, memory) that I read an account elsewhere which exaggerated this feat. That account claimed you could name a book, suggest a page and a line, and Lewis could recite it on the spot, verbatim. That always struck me as implausible, especially as Lewis often misremembers quotations in his letters. Fowler’s version seems far more likely, but still testifies to a remarkable memory.

Membership in the New York C. S. Lewis Society is not expensive, and I’ve always found it rewarding. I might also mention that our friend Dale Nelson adorns many Bulletin issues with his “Jack and the Bookshelf” column. The Society’s web page is here.