Harry Starke is a high-end private eye working in Chattanooga. (No doubt Phil Wade has run into him). Son of a successful personal injury lawyer, he works out of a nice office and owns a beautiful home. He’s dating a woman police detective. As Harry Starke, the first book in this series begins, he watches a beautiful young woman flee a couple of tough guys in a seedy bar, tries to rescue her as she flees over a bridge on the Tennessee River, and watches helplessly as she plunges to her death.
In the tradition of fictional private eyes, he immediately vows to find out who’s responsible for her death. The girl turns out to be the daughter of a prominent surgeon, who immediately hires him to investigate. With the help of his highly competent staff (though he does the dangerous stuff alone, of course), and in cooperation with Kate, his police squeeze, he follows the clues to the offices of a local drug dealer, who appears suddenly more prosperous than he should be, and a corrupt local politician. With occasional stops to investigate a secret sex club.
Harry Starke kept me reading to the end, but I didn’t really like it a lot. It seemed superficial to me, assembled from shiny parts like a TV series pilot, with nothing behind the facades on the set. I especially thought Harry’s relationship with Kate, the cop, was implausible. Would any real-life police department allow a private operator whom a detective was dating to consult on a case and run around with her, chasing suspects?
The language, I should note, was fairly clean for this kind of novel. There were several sexual encounters, but they weren’t described explicitly. However, there was one sexual moment that was just creepy for this reader. It was that creepy moment, though not that moment alone, that decided me that I probably won’t be investing in any more Harry Starke books.
Today was a rainy day. Not snowy, rainy. This is not unheard-of in March in Minnesota, but it’s far from the norm. My front yard is entirely free of snow – there’s a little left in back, where the stuff gets piled up at the northeast corner of the house, but even that may be gone now. I haven’t looked out there in a few hours.
The rain has been slow, drippy stuff through most of the day, but I’m hearing thunder now.
A wild surmise begins to burgeon in my heart – we may have seen the last of this winter. The forecast doesn’t show any cold weather or snow for a couple weeks. Of course, we can still get snow even in April, and often do. But the sunshine seems to have gained the upper hand at this point. If we get any more snow, it’s unlikely to establish a beachhead.
Work goes slowly on the new Erling book, but it does go. I’m mostly adding stuff at this point. I’ve got the armature of a book, but it needs fleshing out.
Just wrote a scene (meant to be funny) about haggis, because Macbeth is in the story. This sort of thing is a tad self-indulgent, and if I were a purer artist, I’d probably consider it beneath me. But in my experience, very little is beneath me.
Outside the car’s window Paris flashed by, the sluggish river Seine appearing and disappearing beside them, seeming to slow their progress with her magnetic pull, a seductress winking through the plane trees, teasing them with glimpses of her silvery skirts, and with the threat of more death, more bodies hidden within their deadly folds.
Along the river Seine in Paris, there is a class of booksellers known as bouquinistes, occupants of much-coveted stalls. Hugo Marston, head of security for the US embassy, is fond of browsing their offerings, and has made particular friends with an old man named Max. As The Bookseller opens, Hugo asks Max for something special, out of his private stock – a conciliatory gift for his girlfriend, who recently abandoned him and returned to the US. Max offers two rare books – an Agatha Christie first edition, and a rare copy of the poet Rimbaud. Before he leaves, Hugo witnesses Max being bullied by a thug, who forces him down to the river bank. Max is shoved onto a boat, and Hugo is unable to do anything to prevent it. When he reports the abduction to the police, they seem uninterested – and quickly drop the investigation.
Meanwhile, Hugo discovers that the Rimbaud book is an extremely rare signed copy, worth hundreds of thousands of euros. Why did he sell it to Hugo for less than a thousand? Was he trying to send a message, leave some kind of clue behind? When Hugo learns that Max was once a Nazi hunter, and when other bouquinistes start turning up dead in the river, Hugo begins his own independent investigation. His friend Tom, a CIA operative, comes along to watch his back and help out with the rough stuff. And Hugo meets a charming female journalist with a shocking secret.
The Bookseller was a first novel for author Mark Pryor, and for my money it was a home run. (Our commenter Paul alerted me to it.) The writing was superior, and I liked the characters very much. Hugo and Tom have great rapport, and they’re fun to watch in action. I look forward to reading the next books in the series.
The usual cautions for language are in order. Some time is spent on Hugo’s agnosticism, but he himself is forced to admit occasionally that it’s inconsistent with his actual life experience.
I was pretty happy with this book at the beginning – A Wolf At the Gate, by Lexie Conyngham, offered pretty good prose, along with evidence of some serious research on Viking Age life. But as I read on, I grew less happy with it.
Ketil, the apparent hero of the book, is in the service of Earl Thorfinn of Orkney (which sets the story in time a little later than my Erling books). Ketil generally operates outside of Orkney, and he’s about to sail away, but the earl calls him back to investigate a murder. Ketil solved a previous killing for the earl, so he’s assumed to be good at that sort of thing.
Secret murder is rare among the Norse, and this murder is all the more puzzling because the victim, a man in the earl’s service named Steinar (recently back from Colonia in Saxony, which I take to mean Cologne) seems to have been universally liked. He was a devout Christian, rather strict about church rules, but harsh only with himself. Someone split his skull with an axe in front of his own house.
I said that Ketil was the apparent hero of this book, because he is in fact just the Inspector Lestrade here. The real detective is a woman named Sigrid, a childhood friend of Ketil’s who now lives as a widow in Orkney. She was the one who actually solved the previous murder. Gradually she and Ketil renew their friendship – there’s some suppressed attraction there, but both of them deny it. Together they consider the multiple puzzles that face them – does the murder of a man just back from Colonia have anything to do with the fact that an abbot from Colonia is visiting the island? Does someone covet Steinar’s beautiful wife? Or was the killer Ketil’s follower Lambi, who seems to be a sneak thief?
The further I read in this book, the more disappointed I grew. First of all, the characterizations were fairly flat, especially the male characters. Author Conyngham seems to have a problem I’ve often noticed in books by women – she doesn’t get men at all. There’s a famous line (unjust but funny) in (I think) the movie, As Good As It Gets, where Jack Nicholson, asked how he writes women so well says, “I think of a man. And I take away reason and accountability.” Conyngham writes men by thinking of a woman, and taking away any clue.
Also, the story began to bore me. Although the plot gets sweetened by further murders, I never felt any sense of urgency, any idea that great things were at stake.
Also, the narrative falls into what I believe to be serious factual falsehoods about the Christian church. It’s not an anti-Christian book as such, since most of the serious Christians are depicted sympathetically. But the author states and reiterates – and this is a major plot element – that the Catholic church denied baptism to the children of slaves, and to deformed babies.
I had never heard of this before. It entirely contradicted my own understanding of the matter. Now maybe author Conyngham, whose biography says she’s a historian, knows something I don’t know. But my online searches find documentation directly contradicting these contentions.
On the issue of slaves, this article from Christianity Today, by Rodney Stark, is behind a paywall. But the passage I need is right there above the barrier — “That the Church willingly baptized slaves was claimed as proof that they had souls, and soon both kings and bishops—including William the Conqueror (1027-1087) and Saints Wulfstan (1009-1095) and Anselm (1033-1109)—forbade the enslavement of Christians.”
I also found numerous references online to the historical fact that the early Christians made it a practice to hunt through the dumping sites where the Romans – quite legally – habitually discarded their unwanted babies. The Christians would baptize these infants, adopt them, and raise them in the church. One of the primary excuses the Romans gave for “exposing” babies this way was that they were born deformed.
So in the end I was both bored and irritated by A Wolf At the Gates. Too bad. It showed promise.
Temperature around 50 today. This pleases me. I left the house three times – to the gym, to the grocery store, and to pick up pizza. All the trips were satisfactory, except for the grocery store, because I forgot to get pizza. Which isn’t so bad, because I’d planned to get carryout today anyway. I can get a large Domino’s for about nine bucks with a coupon, and I get four meals out of it. Which turns an indulgence into an economy.
Something about that scheme doesn’t seem right, though. I’m still waiting for the universe to rain justice down on me, for my hubris.
Watched an amusing old English movie this afternoon. Castle In the Air, from 1952. Based on a stage play. It’s slightly Wodehousian, in having a mix of classes, romantic misunderstandings, and competing prevarications.
The Earl of Locharne is played by David Tomlinson, who seems to American eyes a strange choice for a romantic lead (he’s best remembered for a later role, as the father in Mary Poppins). I have an idea that the British film industry was slightly short on talent in those days, and had to cast less-than-beautiful people just to fill the roles. The same is true – to an extent – of Helen Cherry (Mrs. Trevor Howard), who plays “Boss” Trent, the earl’s assistant and love interest. She’s just slightly less than beautiful, but I can easily imagine falling in love with her anyway.
In any case, the earl’s great cross to bear in life is the ownership of Locharne Castle, which is falling apart faster than he can afford to fix it. He operates it as a residential hotel, for tenants who constantly complain about the cold drafts and the lack of hot water. And oh yes – there’s a ghost, a beautiful phantom named Ermyntrude, who is actually good-natured and helpful. (Filmmakers loved superimposing ghost images in movies back then. It was a special effect that was easy, cheap, and didn’t look cheesy.)
A man from the National Coal Board arrives to assess the property. The board is considering acquiring the castle (by requisition, not purchase), so everyone is doing their best to impress him with the castle’s ruinous condition and unsuitability for habitation. But when a rich and beautiful American divorcee shows up, pondering buying the place for good money, he has to talk it up to her. Meanwhile, a genealogist with Jacobite sympathies (played by Margaret Rutherford) is on site, working out charts to prove that the earl is the rightful king of Scotland.
All very silly, and pleasant, and the ending’s happy. Enjoyable fluff, in the tradition of… did I mention Wodehouse? Cautions for sometimes incomprehensible Scottish accents.
Although made famous by his two political allegories, Animal Farm and Nineteen Eighty-Four, Orwell’s mastery of English prose shows best in his essays. In “A Hanging,” and “Shooting an Elephant,” Orwell produced little morality tales filled with vivid concrete images. . . . However, it was through his essays and his political journalism that Orwell left his most lasting mark. “Politics and the English Language” became a kind of Bible for a generation of political writers, with its simple rules for good writing.
Hemingway is largely unread today except for short stories, and he is easy to parody. In fact, in some ways he was parodying himself after World War II. His novel Across the River and Into the Trees—E.B. White spoofed it with “Across the Street and Into the Grill”—is an example of the worst excesses of Hemingway’s prose.
I remember thinking, as a young man, that my prose style was sparse like Hemingway’s, but it’s closer to the truth that my style is sparse as in lack of effort. And lest I slip into musing over my failures, let me ask what you’re read of Hemingway and Orwell. I remember reading a Hemingway’s short story in college and getting a lower grade on the analysis than I expected. I felt I had too little to go on to judge the meaning of the story. Still bitter about it.
I don’t think I’ve read anything by quotes by Orwell, though I may have seen an adaptation of Animal Farm.
False spring is what we call it. At least I think so. I’m not actually sure I’ve ever heard anyone say “false spring.” But if that’s not what they call it, they ought to. I’ll take full credit. Registered trademark.
Anyway, the sun shone, and the temperature got into the upper 40s (farenheit, for our European readers). The snow is more than half gone from my neighbors’ lawn to the east. It seems barely diminished on my neighbor’s lawn to the west. And I’m kind of in the middle. I supposed the inequity has to do with the angle of the sun. Or systemic sexism – but in that case, it favors the woman.
Anyway, it was so nice out I decided to go on the back porch this afternoon and work on the new Erling book. I’d been stalled in my revision; a timeline problem that overwhelmed me one evening a month ago. Since then I’ve been spooked about it, sure it was beyond my powers to solve. I decided I was in a rut and needed to change my writing environment, so I sat on the porch, rolled my pants up to get some sunlight, and gave it another look.
I think I solved the problem – which means there’s probably a couple loose threads I’ll still need to fix in a later revision. But anyway, I’m on the job again.
James Lileks complained (sort of) about this warm spell a few days back. He noted that it won’t last, that we’ll get more snow and all this warmth and sunlight will have been but a cruel tease.
I sympathize keenly with that sentiment. If there’s one thing I’m all about, it’s looking at the dark (and cold) side. But you know, the knowledge that more snow is coming doesn’t make today less sweet. The air was no less mild. The photons my legs absorbed were no less Vitamin D-incentive.
It’s not just about false spring, either. You’ve got to think that way every day, when you get to my age.
Interesting concept. Over the top execution. That’s how I’d describe Stuart Doughty’s The Art of Danger, first book in his John Kite series.
John Kite is a former London policeman, now working as an investigator for an insurance company that writes policies on objects of art. What no one knows is that John Kite is not his real name. He has a secret history, a former life from which he has cut himself off completely.
The theft of an obscure painting by a middling German Renaissance painter wouldn’t appear to offer any major challenges. But when John shows up with the ransom money to buy the painting back for its owner, no one meets him. Instead, someone gets killed, and John is plunged into a convoluted mystery involving Middle Eastern terrorists and an English public relations guru. John doesn’t know how a forgettable, not-at-all-priceless portrait could relate to the World Cup finals in Qatar. But he will learn the truth, even if it takes high-speed car chases and a helicopter pursuit.
John Kite is an interesting character, and art crime is an intriguing field for mystery fiction. John’s gradual revelations of his past, and the surprising things he himself learns, were strong plot elements. I felt the second half of the book lost credibility though, as the author resorted to high-speed chases right out of a Hollywood movie to tie up his story with a bang.
Through the window of his taxi, he watched rain-streaked red sandstone tenements drift past, the colour leeched from them somehow by lack of light, like watching a black-and-white movie of his childhood spool by.
Peter May excels at creating interesting protagonists for his novels. He’s given us another winner (at least for this reader) in John Mackenzie, hero of A Silent Death. Mackenzie is a policeman with issues – highly intelligent but utterly lacking in interpersonal skills. Kind of like Monk, or Cumberbatch’s Sherlock Holmes (in fact, Cumberbatch would be a good casting choice if this book is ever filmed). He made himself unwelcome at the Metropolitan Police, and now works for the National Crime Agency, not a step up career-wise.
It’s as much to get rid of him as anything else that his boss sends him to Spain, to collect a criminal being extradited. Only when he arrives, he finds that the criminal, a murderer and drug dealer named Jack Cleland, has escaped. This fact is of particular, urgent concern to Spanish officer Cristina Sanchez Pradell, who is tasked with meeting and escorting Mackenzie. Jack Cleland blames Cristina for the death of his fiancée, and has vowed to take his revenge on her – by targeting her husband, her son, and her blind-and-deaf-aunt, Ana.
As Mackenzie applies his considerable brain to the problem of where Cleland might be hiding, Cleland kidnaps Ana. Surprisingly, an odd relationship gradually rises between the two outsiders, as Mackenzie also learns a few things about being human from Cristina.
Silent Death was engrossing, poignant and exciting. I rate this book very high. Occasional references to religion are not positive, but are fair from the characters’ point of view.
I recently reviewed a novel that I found a little difficult to read. Blake Banner’s Immortal Hate was not like that at all. It was fast and easy and very quickly finished. Popcorn reading, well done according to its kind.
Harry Bauer, hero of Immortal Hate and the other books in the Cobra series, is an international assassin working for the customary shadowy international organization. His brief is to eliminate the worst of the worst monsters in the world. He’s good at it, and remorseless.
“The worst of the worst” certainly applies to General Kostas Marcovic, fugitive Serbian warlord, who was guilty of one of the greatest atrocities in the recent Balkan troubles. Now he’s been identified as living under a pseudonym on the Caribbean island of St. George. Harry’s orders are simple – go in, kill the man (make it look like an accident if possible) and leave without making a fuss.
That, however, is not Harry’s style. On the ferry to the island he meets Helen, an attractive woman who runs a bar on the island. Helen senses that this is a dangerous man, and sets about enticing him to help her friend Maria extricate herself from the affections of a local drug lord. Harry is in no way reluctant to help out – he has a particular hatred of drug merchants – but Helen is not prepared for the swift and ruthless way Harry will go to work.
But that’s just the beginning. It turns out there are two old Serbians living on the island, and each claims the other is the real Marcovic.
On top of that, there’s a hurricane coming.
Over the top, lightning-paced and morally problematic, Immortal Hate was the equivalent of a Hollywood action movie. I enjoyed it, but I’m not entirely proud of myself for it.
Websites store cookies to enhance functionality and personalise your experience. You can manage your preferences, but blocking some cookies may impact site performance and services.
Essential cookies enable basic functions and are necessary for the proper function of the website.
Name
Description
Duration
Cookie Preferences
This cookie is used to store the user's cookie consent preferences.
30 days
These cookies are needed for adding comments on this website.
Name
Description
Duration
comment_author
Used to track the user across multiple sessions.
Session
comment_author_email
Used to track the user across multiple sessions.
Session
comment_author_url
Used to track the user across multiple sessions.
Session
These cookies are used for managing login functionality on this website.
Name
Description
Duration
wordpress_logged_in
Used to store logged-in users.
Persistent
wordpress_sec
Used to track the user across multiple sessions.
15 days
wordpress_test_cookie
Used to determine if cookies are enabled.
Session
Statistics cookies collect information anonymously. This information helps us understand how visitors use our website.
Google Analytics is a powerful tool that tracks and analyzes website traffic for informed marketing decisions.
Used to monitor number of Google Analytics server requests
10 minutes
__utmb
Used to distinguish new sessions and visits. This cookie is set when the GA.js javascript library is loaded and there is no existing __utmb cookie. The cookie is updated every time data is sent to the Google Analytics server.
30 minutes after last activity
__utmc
Used only with old Urchin versions of Google Analytics and not with GA.js. Was used to distinguish between new sessions and visits at the end of a session.
End of session (browser)
__utmz
Contains information about the traffic source or campaign that directed user to the website. The cookie is set when the GA.js javascript is loaded and updated when data is sent to the Google Anaytics server
6 months after last activity
__utmv
Contains custom information set by the web developer via the _setCustomVar method in Google Analytics. This cookie is updated every time new data is sent to the Google Analytics server.
2 years after last activity
__utmx
Used to determine whether a user is included in an A / B or Multivariate test.
18 months
_ga
ID used to identify users
2 years
_gali
Used by Google Analytics to determine which links on a page are being clicked
30 seconds
_ga_
ID used to identify users
2 years
_gid
ID used to identify users for 24 hours after last activity
24 hours
_gat
Used to monitor number of Google Analytics server requests when using Google Tag Manager
1 minute
_gac_
Contains information related to marketing campaigns of the user. These are shared with Google AdWords / Google Ads when the Google Ads and Google Analytics accounts are linked together.
90 days
Marketing cookies are used to follow visitors to websites. The intention is to show ads that are relevant and engaging to the individual user.
A video-sharing platform for users to upload, view, and share videos across various genres and topics.
Registers a unique ID on mobile devices to enable tracking based on geographical GPS location.
1 day
VISITOR_INFO1_LIVE
Tries to estimate the users' bandwidth on pages with integrated YouTube videos. Also used for marketing
179 days
PREF
This cookie stores your preferences and other information, in particular preferred language, how many search results you wish to be shown on your page, and whether or not you wish to have Google’s SafeSearch filter turned on.
10 years from set/ update
YSC
Registers a unique ID to keep statistics of what videos from YouTube the user has seen.
Session
DEVICE_INFO
Used to detect if the visitor has accepted the marketing category in the cookie banner. This cookie is necessary for GDPR-compliance of the website.
179 days
LOGIN_INFO
This cookie is used to play YouTube videos embedded on the website.