Frittering. I’ve been sitting here frittering like a River City school boy at a pool hall. It often goes this way, even when I have a good idea to write about. This time I didn’t have a good idea, so let’s share some links.
Machen’s Classic Book: “On topic after topic, Machen demonstrates liberalism’s misunderstanding of the enormity of sin: ‘If sin is so trifling a matter as the liberal Church supposes,’ Machen writes, ‘then indeed the curse of God’s law can be taken very lightly, and God can easily let by-gones be by-gones.’ But if God is holy and sin is as the Bible describes it, the state of the sinner is desperate.”
Music asked nothing, required nothing, needed nothing, betrayed nothing. It appeared instantly when called, even in memory. It was made of the ineffable magic in the empty spaces between – and the relation of – its otherwise unremarkable components.
“Wow,” I thought. “There’s a Mark Helprin novel I haven’t read yet.” A bargain deal had appeared, and I checked on Amazon and found I hadn’t bought it. So I did. Only then did I discover that I’d read Paris In the Present Tense before. I must have gotten a free review copy or something. However, I was only briefly discomfited by this. A Helprin novel always bears – and rewards – re-reading.
Jules Lacour is a septuagenarian Jewish music instructor in Paris. He is neither rich nor famous, though he is one of the geniuses of his generation – because this generation cares nothing for genius. But Jules has lived content with his art, except for missing his late wife.
But now his grandson has leukemia, and Jules wishes he had money to get him treatment. An offer from an American insurance conglomerate, to write them a signature tune, gives him brief hope, which they then dash callously.
So when Jules discovers that he has a previously undiagnosed brain aneurism that could kill him at any moment, he concocts a plan to make the company pay, and thereby to give his grandson a chance at life.
My big problem with Paris In the Present Time, you’ve probably guessed, is that our hero is an unapologetic fraudster. I don’t approve of fraud, no matter how bloated and greedy the target. However, that’s a question the book scarcely considers. The story is about love – Jules’ love for his parents, murdered by Nazis. His love for his wife, who died too soon. For his daughter and his grandchild. For a beautiful young student who is transparently smitten with him, and for a woman of more appropriate age whom he meets too late. But equally it’s about his love for Paris, and especially his love for music. The book is lush with gorgeous description and meditations on the meaning of it all. This is a book for reading slowly and savoring. It sweeps the reader into realms of transcendence.
Also, it meshed with – and helped to feed – my recent delusions of glimpsing some kind of Unified Theory of Existence. Helprin seems to have had some of the same thoughts I’ve had – maybe I stole some of them from him.
Insurance fraud aside, Paris In the Present Tense is a wonderful book. You ought to read it.
Clare Coffey talks about the annual criticism people shovel at one of the best Christmas movies of all time, Frank Capra’s It’s a Wonderful Life. She said she could dismiss most of it as small-minded or stuck in its own bitter slough from which no reply could deliver. But one criticism, that of Mary’s role, seemed to stick. Why did Mary need George to save her from a single life? She was a vibrant young woman in her own right. If George hadn’t been around, she would have chosen another path for herself.
But after seeing the film on the big screen, Coffey noticed something that changed her mind.
The scenario that the counterfactual world presents us is explicitly foreshadowed by Mary’s playful, obviously ridiculous rejoinder, “to keep from being an old maid.” Once I realized this, it became my interpretive key to the problematic later scene.
From the beginning, it is Mary who chooses George, not the other way around.
Like every child of the 50s, I know Perry Mason in the form of Raymond Burr on TV. (I hated the show when my mother watched it, but now I find it quite delightful in reruns.) And I’ve read a couple of PM short stories over the years. But I’d never read a Perry Mason novel before. Critics indicate that Erle Stanley Gardner, the author, was not big on characterization, which usually means a book won’t be my kind of thing.
But I got a deal on The Case of the Terrified Typist and I tried it anyway. And you know what? I now know why the Perry Mason series was so popular. Gardner knew how to spin a tale.
Trial attorney Perry Mason has a big document that needs retyping, and his secretary Della Street is having trouble finding a competent typist. She calls an agency, but they can’t promise much. Then a woman shows up in their office and, asked if she’s the typist, she says yes. She turns out to be a whiz at it, and gets a lot of work done very quickly, very accurately. Then she disappears as mysteriously as she appeared.
When Perry and Della learn that the police are in the building, looking for a woman who robbed a diamond import business, they do a search and find a clump of chewing gun attached to the bottom of the typist’s desk. Inside that clump are valuable diamonds.
That’s the neat hook that opens The Case of the Terrified Typist. As the story proceeds, Perry will be hired to represent one of the diamond company’s employees against charges of murdering a diamond smuggler. Surprisingly, Hamilton Burger, the district attorney, chooses to bring murder charges without a body being found.
The whole story was complex, but it was also lively and suspenseful. I had a good time reading it. It made few demands and entertained me thoroughly. I just might read more Perry Mason.
Here’s the scenario: Jim, an Australian man, purchases a very old house in an out-of-the-way corner of Sidney. While doing renovations, he notices a basement concealed and sealed off beneath the floor of one room. He assumes this feature might have historical significance, so he notifies the government, which sends an assessor, a young woman, to look at it. To his astonishment, Jim discovers that this woman is his long-lost daughter, with whom his wife ran off long ago. Though he searched for them, he never found them, until now.
On top of that, they soon realize that the house he has purchased was built by an ancestor neither of them ever guessed they had.
If all this sounds a little far-fetched, I entirely agree. But it’s a tribute to the storytelling skills of Graham Wilson, author of The Mysteries, that I was entirely swept up in the book and overlooked its gross improbabilities.
We learn about Jim’s life and his struggles to rise from poverty. We learn of his ancestor Michael, who built the house – how he was transported as a convict from Ireland, served his time at hard labor, and built a semi-legal fortune along with his stone house. As his descendants discover his story, the reader learns it too.
I thought the story slowed somewhat toward the end, and perhaps too many details about Michael’s life come to light. But I read The Mysteries all the way through, and quite enjoyed it.
There were orthographic errors – word confusions, and sometimes quotation marks missing at the start of a paragraph. But I’ve seen far worse.
Sexual morality here is conventional contemporary, and attitudes toward Christianity tend to be critical, though few in number. Still, the storytelling was top-notch, and the book had undeniable charm. I do recommend it.
I got a deal offer on Jeffrey Archer’s latest novel, Traitors Gate. I figured that since I’d never read any of his books, I might as well give one a chance.
Verdict: I can understand why Archer is a popular author. But Traitors Gate never really gripped me.
William Warwick is a high-ranking officer with the London police force. Among his duties is serving as part of the security detail that transports the Crown Jewels from the Tower of London to Buckingham Palace on state occasions. Another member of the detail is Ross Hogan, his best friend. A further thing they share is a common enemy – a high society con man named Miles Faulkner. Warwick and Hogan have stopped Faulkner’s schemes before, and early in this story they foil him in an attempted art theft. Faulkner vows revenge and hits on a plan to steal the Crown Jewels – not to sell them, but simply to publicly humiliate Warwick and Hogan, and ruin their careers.
Traitors Gate was technically impeccable. It delivered the kind of thriller excitement advertised on the cover. But for this reader, it all seemed pretty superficial. I didn’t really believe in the characters, and it all seemed kind of overprocessed, like white bread.
This book is part of an ongoing series. One challenge series authors always face is whether to describe characters who’ve been described in previous volumes. It’s always been my practice to assume the reader has started with this book, and provide new descriptions. It doesn’t take long, and it’s not hard to make it natural. But Archer doesn’t bother with that. Only new characters get descriptions, and even attributes like racial identity – not entirely irrelevant to this story – may be withheld until half-way through the book.
So, I’d say all in all Traitors Gate is a good airport book, one that will keep you entertained and not bother you at all with any deeper themes or moral challenges.
I got a deal on Dead In the Dark, which proved to be the 17th volume of an 18-book police series by Stephen Booth. The series, as best I can discern, centers on the relationship between Inspector Ben Cooper and Detective Sergeant Diane Fry, but at this point she’s been reassigned to a sort of major crimes unit in a different area (they both live and work in Devonshire, England). There seems to be some friction between them at this stage.
Ten years ago, a man named Reece Bower was accused of murdering his wife, who had disappeared without a trace. The police were ready to arrest him on circumstantial evidence when a plausible witness reported seeing the victim alive. The case went no further, but public opinion condemned Bower. Now he too has disappeared, equally inexplicably.
Meanwhile, DS Fry is part of a team investigating the murder of a Polish immigrant, found dead in his flat after being stabbed in an alley. Suspicions naturally turn to nationalist groups resentful of immigrants.
I think my unfamiliarity with the series left me at a disadvantage in reading Dead In the Dark. The characters seemed somewhat unfocused in my mind. The story seemed kind of wide-ranging and scattered, and the ultimate solution of Bower’s disappearance struck me as implausible.
There were political elements too. I think author Booth made some effort to be evenhanded, but in the usual English style he tends to equate the right wing with racism.
Still, the writing was good. Dead In the Dark wasn’t a bad novel, but it might be better to start reading the series closer to the beginning.
In the Faroes you’re overshadowed by mountains wherever you go, and now – in their absence – I realized I’d got used to their overbearing presence, like a stern father, always looking on disapprovingly.
I’ve raved about the previous two novels in Chris Ould’s Faroes series, and I’m happy to report that The Fire Pit is just as good. Maybe better. It is unclear whether the series is intended to go on from here, as most of the unresolved plot threads from the previous books get tied up here. But I hope there will be more.
Suspended English detective Jan Reyna is still in the Faroes when The Fire Pit begins, but he’s preparing to leave. He needs to go home and settle his problems on the job, one way or the other. But first he’s stopping off in Denmark, to see the place where his mother committed suicide when he was 5 years old, and see if he can spark any memories. While he’s there, his autistic Danish researcher will discover that his mother worked at a secretive mental institution, which she fled suddenly just before her death.
Meanwhile, his Faroese detective friend Hjalti Hentze must investigate the apparent suicide of a reclusive man. Then he’s called to the site of an abandoned hippie commune from the 1970s. There two skeletons have been discovered in secret graves – an adult woman and a female child. This is the same commune where Jan’s mother lived for a while – and before long Hjalti will be joining Jan in Denmark, their mysteries having merged.
The Fire Pit (and all the Faroes mysteries) are exactly the kind of detective novels I like best. Although there is action and suspense, the emphasis is on character and motive. There’s even a moment of Christian wisdom (though provided, sadly, by a woman pastor).
I was also pleased that Horsens, Denmark, where my Danish ancestors hailed from, gets a couple mentions.
I highly recommend The Fire Pit along with its predecessors. Top-notch Scandinavian Noir, unmarred by nihilism.
13th Century illustration of the Battle of Stamford Bridge from Matthew Paris. It looked nothing like this.
I’m still slogging through a Very Long Book (a good book, but comprehensive), so tonight I’ll report on another tale from The Complete Sagas of Icelanders. This is the last story in Volume I, which means I’ll be coming to longer sagas again in the next one. I’m not sure what I’ll do to vamp while I’m reading future long books.
To my delight, this tale turned out have considerable personal interest. It involves Erling Skjalgsson’s grandson, Eystein Orre (son of Erling’s daughter Ragnhild and Thorberg Arnesson – you may remember the story of Thorberg’s courtship from King of Rogaland). Eystein had a sister named Thora who would, in time, become concubine (or wife, sources differ) to King Harald Hardrada, and would die with him following a legendary charge at the Battle of Stamford Bridge in England.
Our tale is the Tale of Thorvard Crow’s-Beak. Thorvard is a wealthy Icelandic merchant. He sails to Norway where he speaks to King Harald, inviting him to come down to his ship and accept the gift of a sail. (According to this article from the Viking Herald, the manufacture of one sail for a Viking ship could take as long as fifty years [!] Perhaps they mean 50 years in man-hours).
I’ve mentioned previously that King Harald appears uncharacteristically genial in most of these saga tales. But in this one we see him in his usual temper. He tells Thorvard, curtly, that he got an Icelandic sail once before, and it tore apart under wind pressure. So he’s not interested in another such gift.
However, Thorvard then offers the sail to Eystein Orre, the king’s best friend, and Eystein, on examining it, recognizes it as an excellent specimen. He accepts it with thanks and invites Thorvard to stop and see him at his own home when he sails back to Iceland. When Thorvard does so, Eystein gives him generous gifts.
And to cap it we are told that, on a later occasion, Eystein’s ship outsails the king’s. And when the king asks where he got this fine sail, Eystein tells him it’s one he had turned down. A nice final note for the storyteller – it could even be true.
I was surprised to see “Eystein Orre” translated as “Eystein Grouse” here. Orre does mean grouse, even in modern Norwegian, but I’m sure I read somewhere that Eystein got his nickname from Orre farm in Jaeder. Perhaps that’s the meaning of the farm’s name. If Eystein lived there, it would likely have been due to inheritance from Erling.
The Tale of Thorvard Crow’s-beak is one of the more plausible stories in the collection, just trivial enough to believe.
Heljarayga was a small, natural cove no more than a hundred yards wide at its midpoint. Beyond that I couldn’t see much. The mist hung like a damp dust-sheet over the headlands and above the almost mirror-smooth water it appeared to ebb and flow slightly, gossamer fine. The stillness made you want to hold your breath. Nothing and nobody moved.
I knew a few things about the Faeroes before I started reading Chris Ould’s mystery novels. One of my Norwegian cousins (gone now) was married to a Faeroese woman (still around). The hymn, Tiðin rennur, which Sissel sings so beautifully, comes from there…
And they still hold an annual whale hunt in the old Norse tradition. The old Norse tradition was to herd whales into a bay or inlet and beach them in the shallows, then kill them there. It was an important element of survival in a subsistence economy. (My own ancestral home in Norway is a farm called Kvalavåg, which means “whale bay” or “whale inlet.”) But the custom has been abandoned in most places. In the Faeroes it still continues, stubbornly maintained as a central element of local culture. This has not entirely escaped the notice of anti-whaling organizations, and that fact generates the central conflict of The Killing Bay, second of Ould’s Faeroes mysteries.
Our hero, Jan Reyna, is still in the Faeroes. He’s an English police detective (born in the Faeroes but raised in England) currently on suspension, not sure if he even wants to go home. He rather likes the Faeroes, and most of the relations he’s met there, but he doesn’t really feel at home.
The female cousin who’s hosting him brings him along to witness the grindadráp, the whale hunt. He’s not enthusiastic about the thing, but doesn’t feel qualified to judge. While there he meets Erla Sivertsen, a female Faeroese native who’s working as a photographer for an environmental protest group, documenting the kill. While there Erla clashes with Finn Sólsker, a local fisherman, but violence is averted.
Not long after, Erla is discovered murdered, and the local investigators, led by Jan’s new friend Hjalti Hentze, have it as their first job to check whether Finn has an alibi. (This is awkward because Finn happens to be his son-in-law.) When Erla’s coat and hat are discovered hidden in Finn’s fishing hut, Hjalti is forced to arrest him, but he’s not convinced of his guilt. In addition, why is he getting pressure from his superiors to close the case before he’s examined all possible leads?
The mystery in The Killing Bay was well-constructed and solid, but it was the setting that really riveted me, as it did with the previous book, The Blood Strand. Author Ould does a masterful job of evoking the setting and atmosphere of the islands. I felt like I’d been there.
Highly recommended. Cautions for language and mature themes. Environmental politics are treated with an even hand.
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