Category Archives: Fiction

The Unreliable Narrator

Anne Enright talks about her novel, The Forgotten Waltz, with The Paris Review:

Gina Moynihan is the kind of person who realizes what she’s saying in the saying of it. And I think many of us are similar. Until you start articulating something, you don’t quite know what it is, and you don’t see the mistakes or flaws in your own argument until they’re in the air. She’s in the process of realizing what she’s saying, in the process of realizing what she knows or what she has refused to know—that’s the journey of the novel.

The wonderful thing about this kind of unreliability is that it reflects the unreliability of our own narratives about our own lives. You tell a story about how you ended up at this place, rather childishly thinking that there is no other place that you could have ended up—especially when it comes to love, which has this destined, momentous feel to it. I was balancing that momentous and eternal sense of love with the cause and effect of meeting people and shagging them or not.

What Our Superheroes Say About Us

Steven Greydanus discusses this summer’s superhero movies.

Perhaps Captain America offers the best depiction of what makes for a good hero: being a good person in the first place. … Like others of his generation, Steve’s character was tempered in the forge of the Great Depression as well as the shadow of world war. Next year’s Avengers movie will throw this Greatest Generation warrior into the mix with the Tony Stark generation. What will that show us about ourselves and the world we live in? I’m almost afraid to find out.

Suicide Run, by Michael Connelly

Harry Bosch is not my favorite among Michael Connelly’s continuing characters. That honor goes to Terry McCaleb, whom Connelly killed off a few books back (McCaleb makes a welcome appearance in one of the stories in this book). But I appreciate Harry more than Connelly’s replacement for McCaleb, Micky Haller, the “Lincoln Lawyer.” Not that there’s anything much wrong with Haller. He’s just newer and (to all appearances) less damaged by life than the others. It’s the scars and calluses on the older characters that make them interesting to me.

Suicide Run is a collection of three short stories starring Harry (Hieronymus) Bosch, Los Angeles police detective. Warning: It’s a short collection. Much of the bulk of the book is taken up by a preview of Connelly’s next novel, The Drop. Since I never read such previews (they only frustrate me), I was a little disappointed in that.

But I enjoyed the stories nonetheless. In “Suicide Run,” Bosch investigates the murder of a beautiful Hollywood starlet, disguised as a suicide. In “Cielo Azul,” he goes to visit a killer on death row, in an attempt to persuade him to reveal the burial site of one of his victims. In “One Dollar Jackpot,” he tackles the murder of a famous female poker player, shot to death in her automobile.

The genius of the Harry Bosch stories, in my view (and in all Connelly’s work), is the compassion at their heart. Harry, like a character in a painting by the artist he was named after, lives in a world filled with horrors and apparent irrationality. Yet his personal vocation is to speak for the dead, to do them the last possible service through seeing that their killers pay the price.

For me, the outstanding story here was “Cielo Azul,” a bittersweet tale in which Harry goes on a seemingly hopeless quest to learn one truth before it’s too late. I don’t know what author Connelly believes about God or the afterlife, but he asks the right questions here, and that’s something.

Recommended for adults.

Chekhov Writes about Nicole Kidman, Eminem, etc.

Ryan Britt praises Ben Greenman’s efforts in his short story collection, Celebrity Chekhov: Stories by Anton Chekhov (P.S.). Ryan says, “Speculative fiction should not only push the boundaries of what is possible in the various dimensions of existence, but also what is possible within the boundaries of creative expression itself. In this way, Celebrity Chekhov is no laughing matter, but actually quite profound. However, you’ll probably laugh out loud anyway.”

The Shakespeare Manuscript, by Stewart Buettner

This disappointing novel is another book I can bury in my “not very good, but at least I got the e-book free” file.

I was drawn to Stewart Buettner’s The Shakespeare Manuscript because of the remarkable (though surely coincidental) parallels between it and my own novel, Blood and Judgment.

Both books deal with the discovery of a lost Hamlet manuscript—in my story an original draft, in this one an original of a lost prequel, “Hamlet Part I”.

Both involve the relationships and frictions involved in the production of a play—in my case an amateur company, in this case a professional one.

My book, however, was a fantasy. This book is… I’m not sure. It seems to be a sort of mystery, but the stakes are never raised high enough to build much tension, and the only death that occurs turns out to be natural.

And that’s the problem with The Shakespeare Manuscript. A lot of people run about doing things and irritating each other, but there’s no real dramatic arc.

The book starts with a New York rare books dealer, Miles Oliphant, on a trip to England, being mugged. While he’s unconscious in hospital and still unidentified by the police, a box of manuscripts he sent home is opened by his daughter, April. She finds a manuscript among the papers which, she soon realizes, looks very like a lost play of Shakespeare’s, in his own hand. Continue reading The Shakespeare Manuscript, by Stewart Buettner →

Publishing update



The Gunderson House, Kenyon, Minnesota, which I borrowed for my new book.

[Thousand Ills That Flesh Is Heir To Dept.: My cold continues pretty much unchanged, like a visitor you expected to come for dinner, who means to stay a month. I still have no voice. It’s a little disturbing to realize that I can actually get through 99% of my day without needing a voice.]

Some of you seem to be interested in the new book, which I’m planning to publish digitally. I thought the process would take a while, but I sent the document file to Ori Pomerantz one day, and he got it back to me, tentatively formatted for Kindle, the following night. I think he’s formatted it for Nook too. The big slow-down may be the read-through I’m doing now myself, and the time it takes for me to whip some cover art together.

I can’t promise a release date, and no doubt there will be delays, but as far as I understand what’s going on (not much), it looks to be available soon.

Eventually, if I sell enough electronic copies, I may be able to get some dead tree books printed.

What’s the novel about?

Well, it’s called Troll Valley (you may recall the name of the place from Wolf Time). It’s set at the turn of the twentieth century, in my default literary locality of Epsom, Minnesota, a small town based on my home town.

The main character is Christian Anderson, a boy from a wealthy family, who has a deformed arm and a fairy godmother.

Major themes include Lutheran pietism, the goodness of God, grace, and the Evangelical-Progressive political alliance of that time.

I’m rather surprised to find, doing my read-through, that I quite like the book. I’m prejudiced, of course, but I think it holds together pretty well.

More as the situation unfolds.

The Offensive Stories of O'Connor

Jonathan Rogers has written a spiritual biography of Flannery O’Connor. He writes about it here, saying, “People are offended by Flannery O’Connor’s stories, and they ought to be. They’re offensive… [They are] startling figures drawn for the almost-blind… If the stories offend conventional morality, it is because the gospel itself is an offense to conventional morality. Grace is a scandal; it always has been. Jesus put out the glad hand to lepers and cripples and prostitutes and losers of every stripe even as he called the self-righteous a brood of vipers.”

Making Culture Courageously

Filmmaker Anthony Parisi makes some good points in his overly negative review of the movie, Courageous. He writes:

Films like this reinforce the unfortunate impulse that anything we create must be explicitly “Christianized” or evangelistic. Churches are to spread the kingdom not by some sort of cultural revival but by the unglamorous life of local ministry God has founded on Word and sacrament. Making movies falls far outside the bounds of what the church has been called to do.

I sympathize with that first sentence. I chafe at the notion of seeing every cultural good in terms its value for evangelism. But I can’t agree with his next two sentences. Perhaps he means the institutional church should not make movies, and he’s probably right, but the church, as in the whole body of Christ or all Christians, should make movies if they have the skills and talent to do so. That’s what Mr. Parisi does himself or a variation of it.

Andy Crouch argues in his book, Culture Making: Recovering Our Creative Calling, that the only way to change culture is to make culture. Criticizing and boycotting the cultural goods others have made doesn’t go far enough, because we aren’t making anything to take the place of what we don’t like. With Sherwood Pictures, we have a group of people making movies (and movie tie-in material), and I wonder if they haven’t climbed up to a level where the Chesterton maxim applies: Anything that’s worth doing is worth doing badly.

Movies are not teaching illustrations. I felt that strain while watching Fireproof. Clearly, Mr. Parisi would make different movies, perhaps even better ones. Showing more of what Christ did for us and less of our moral lifestyle, as he says, would improve the story, but I think Courageous is a respectable story in its own right. It isn’t a bad film. I don’t say anything worth doing is worthy doing badly to say Courageous is a terrible movie. I mean it’s good movie which could be a lot better, if the producers had pushed toward the things Mr. Parisi describes. “The gospel,” he observes, “pulls us out of our fragile self-worth built on performance and centers our identity on God’s love for us in Christ.” If one of the Courageous movie characters had been shown blowing it repeated and asking his wife and children’s forgiveness, pointing to the grace of Christ in his life despite his sin, that would have been powerful. Perhaps something like that can make it into the next film. I wish them the best on it.

Speaking of movie tie-in material, I encourage you to look into this four-week study on fatherhood issues produced as a follow-up to the movie.

Redcoat, by David Crookes

Here’s another book I uploaded to my Kindle for nothing, and it was well worth the price. Not a great novel, Redcoat was certainly entertaining, and it held my interest.

The time is the 1870s. The hero is Jeffrey Guest, a young British officer in South Africa. The son of a poor Cornish farmer who sacrificed to purchase a commission for him, Jeffrey encounters the condescension of a senior officer, the sadistic Spencer Shackerly. When Shackerly is paralyzed and left comatose by a mine cave-in, Jeffrey, also injured, is sent home, where he proposes to his sweetheart.

But Shackerly regains consciousness, and blames Jeffrey for causing the accident. When soldiers come to arrest him, Jeffrey flees, first to America, then to Canada (where he joins the Mounties), and then to Australia. Wherever Jeffrey goes, Shackerly’s agents, sometimes assisted by the Pinkerton Detective Agency, are dogging him.

The story is acted out on a broad stage, and there’s plenty of action. Unfortunately, the author, David Crookes, doesn’t develop his hero as a hero deserves. Again and again, the really decisive actions are taken by Jeffrey’s friends and family, while his uniform response (until the very end) is merely to run away. He’s likeable, but he’s one of the least interesting personalities in the book.

Crookes also shows great weaknesses as a stylist. He falls back on clichés again and again (“mind like a steel trap,” “scarcer than hen’s teeth”), and his prose can be highly infelicitous:

“Angered and hurt, Lucy glowered contemptibly at her daughter.” (The word he wants is “contemptuously,” and “glowered” by itself would have been even better.)

“French showed his rash impatience once again….”

“…a lengthy article exulting the new force of brave young men who were to bring law and order to the untamed Canadian west.” (The word he wants is “exalting.”)

“The most contributing factor to their malaise was the rapidly dwindling supply of food….”

That’s just lazy writing. Such a thing is not uncommon among self-published writers, and Crookes is one of those.

Still, the story moved along and delivered plenty of spectacle and action. I recommend it as an entertainment for readers with a tolerance for mediocre prose. Profanity and adult themes are minimal.

Coming to TV: The Adjustment Bureau Series

The SyFy Channel has announced its intentions to adapt the movie The Adjustment Bureau into a series. The movie was based on Philip K. Dick’s “Adjustment Team”, which was more nihilistic than the movie, and I hope the series doesn’t return to the author’s original intent either. It could gain more attention and viewership by holding their adjustment team members and their chairman to an inscrutable nobility, never doing anything outright evil, but acting in ways the characters misread, even worry that they are good for them.