I probably wouldn’t have purchased J. R. Mathis’s mystery novel The Penitent Priest if I’d noticed that its tagline said “A Clean Murder Mystery.” (Puts me in mind of the old joke about “a nice old-fashioned murder with no immorality in it.”) When the first recommendation a book offers is its lack of dirty words and sex scenes, it’s not usually a guarantee of literary quality. But The Penitent Priest turned out better than I would have expected.
Father Tom Greer came to the priesthood late in life, after the murder of his beloved wife. So he’s somewhat nervous when the archbishop assigns him to temporarily replace the parish priest at St. Clare’s in Myerton, Pennsylvania. Myerton is where he lived as a married man and buried his wife, and where he abruptly left a number of old friends when he dropped out of sight afterwards. So he has some personal fences to mend.
But when an unseen stranger tells him secrets no innocent person should know in the confessional, Father Tom knows he has the opportunity to finally identify his wife’s killer. But he’ll also have to face his own fears and guilt.
I was impressed with the writing in The Penitent Priest. You rarely run into a novelist these days who can parse a decent English sentence and spell words right. The plotting, unfortunately, was less wonderful. As is not uncommon among starting authors, author Mathis has laid on too many coincidences. Why should the archbishop assign Father Tom to precisely this parish, considering his personal history and the fact that he’s still a person of interest in his wife’ murder? And is it really likely that the woman to whom Tom was engaged before he met his wife should show up as a police detective here?
Also, the big surprise at the end of the story might as well have been printed on the title page in big red letters.
But because I liked the writing, and because Father Tom is a good character, I bought the sequel.
Having at last finished Neal Price’s very long – and enjoyable – survey, Children of Ash and Elm: A History of the Viking Age, I find my feelings definitely mixed. There is much in this book that I admire and value. I learned from it. But I found what seem to me certain debilitating flaws in it.
I might mention, first of all, that (although he does not cite Viking Legacy, the great book to which I am immortally linked as translator) author Price takes the same line on the historical validity of the sagas – that they are not straight history and cannot be treated as such, but that they do contain useful information for the historian who employs them with care:
Even the most sceptical of literary researchers, those who generally reject the Old Norse texts as viable sources (however remote) for the actual Viking Age, do not always go on to confront the question this viewpoint requires: why, in that case, would medieval Icelanders have created—over several centuries—the most remarkably detailed, comprehensive, and consistent corpus of historical fiction in the world?
Author Price is an accomplished archaeologist, who has spent decades studying the Viking Age. His research is extensive, and he writes with the authority of long familiarity. His purpose in this book is more than to tell the story of the Viking Age. It is to draw on his learning and experience to try to convey to the modern reader the essence of the Vikings – how they saw the world, how they felt. I think he succeeds to a commendable degree.
Most big books on any subject try to offer a new theory or insight, and Children of Ash and Elm does this through a couple (relatively) new ideas – that the Viking Age began earlier and lingered longer than is generally assumed, and that the two Viking enterprises, the “west Viking” and “east Viking” currents, were in fact one and the same, with no real separation.
Hidebound non-specialist that I am, I must admit I’m not convinced by these arguments. Inception and terminus dates are notoriously hard to nail down, but Price points especially to a mass ship grave containing Swedish skeletons, found in Estonia and dated around 750 AD (he always uses CE dating, of course). I don’t entirely buy this argument. It’s hard to identify a “Viking raid” on the basis of a single burial, however impressive.
As for the unity of east and west, I have long held, and continue to hold, that the location and power of Denmark is a central issue in understanding the Viking Age. The simple fact that passing into or out of the Baltic required paying tolls to the king of Denmark tended to send Norwegians west and Swedes east, just to avoid his domains. The compartments weren’t watertight, but I think they existed.
I noted what seemed to me a telling omission in the book’s account of Viking slaving activities. Price makes no secret (quite rightly) of the fact that the Vikings routinely took and trafficked in slaves, and profited greatly from the trade. He speaks movingly of the suffering of those in bondage. But he seems to minimize the role of the Muslim world in it. He does mention the Arab markets, but only more or less in passing. Reading this book, you’d think most Viking slaves ended up toiling on Scandinavian farms. In fact, the great majority were headed into the insatiable maw of the Islamic slave markets.
The book was also marred, for me, also by occasional genuflections toward political correctness. Here and there, author Price finds it necessary to apply concepts like “privilege,” “intersectionality,” and “gendering” to the Vikings. I don’t think this is useful or illuminating in historical context.
Nevertheless, I found Children of Ash and Elm fascinating and informational. It’s written (and well-written) with a clear passion for the subject and a practiced critical eye. I recommend it, with cautions.
Once, in the Russian urban centre of Novgorod, where the waterlogged soil preserves such things well, I breathed in the scent of fresh pine a thousand years old, the whole site just saturated in the fragrance from all the woodworking waste lying where the Viking-Age carpenters had left it.
What we have above is a genuine treasure of Sherlock Holmes lore. The original popular image of Sherlock Holmes came from Sidney Paget’s illustrations for the Strand Magazine in London (bald, long nose). But in American magazines, the foremost illustrator was Frederick Dorr Steele, who based his image on the handsome actor William Gillette, who played Holmes more than 1,300 times on stage in a play he wrote himself. Steele’s Holmes largely superseded Paget’s as the popular image of the great detective.
In 1916, Essanay Studios of Chicago filmed the play (with additions), and Gillette played the role yet again. This historic film was long believed lost, but in 2014 a print was discovered in France. This version had been released as a serial for the French audience, and included extra material not found in the American version. This French version has been splendidly restored, and the dialogue cards have been recreated using Gillette’s script. The orange and blue tinting is original.
Artist Paget bestowed Sherlock Holmes’ deerstalker cap on him, but it was Gillette who gave him the curved calabash pipe, which did not wiggle so much when the actor talked. I hadn’t heard about the re-discovery of this film, and am still astonished I can see Gillette himself in the role.
Like many an aging actor before and since, he’s playing younger than his actual age, with a love interest about old enough to be his daughter.
Douglas Gresham has begun talking about his difficulty experiences as a child with his brother, David, and how Lewis and Uncle Warnie did all they could to care for this dangerously schizophrenic boy.
“When I was a small child,” Gresham told Jonathon Van Maren, “he was continually trying to get rid of me. This went on into our teen years.” He said he remembers “running like crazy or defending myself from my rather insane brother. . . I would never have said anything to harm him or upset him while he was alive, because oddly enough I still loved him as a brother. In fact, I wept when he died.”
“Jack went out of his way to do everything he possibly could for that lad, and none of it was accepted.” (via Prufrock News)
Today I offer you this classic to set up the Irish-American song that mocks it. Mick Moloney says all the lads and lasses are singing, humming, or whistling “Daisy Bell,” and it’s driving him batty. No doubt that’s a short trip.
And so we move from confusion to confusion, with Jacobsen dipping his toe into a deep topic only to withdraw it, his attention suddenly drawn elsewhere. “Why are we so busy all the time?” he asks. Fear of death is the answer he lands on, only to back immediately away: “Regardless of whether a fear of death is behind the busy condition,” he writes, we’re busy. Then he jumps to other causes: fragmentation, consumerism, acedia. It gets worse; by the end of the chapter, he’s blaming the acedia on the fragmentation and consumerism. In Jacobsen’s narrative a primary cause is a possible cause is a consequence is an OH LOOK, A SQUIRREL.
I have often wanted to read the Bible through again. They ask officer candidates in my church whether they have read the whole book. I think they leave it at that, not asking how many times they’ve read it through, just whether they have.
I have never read the Bible cover to cover in a systematic way. I can only say I’ve read all of it because I had to read through the Old Testament for a survey class in college. I’ve read the whole New Testament in the course of many studies, but I think if we could look at the data, I’d be surprised to see how little I’ve read of some books (I may have read 2 Corinthians only once).
This year I wanted to read all of it, and here at the end of August I’m probably far more behind than I realize. I’ve read from Genesis to 2 Samuel 1, most of Psalms, Matthew, half of Mark, Galatians, and Ephesians, I think. I don’t like skipping around as some reading schedules recommend, but after getting through the Pentateuch, I needed to change the pace.
Reading long passages of the Bible has always been a problem for me. I tend to read slowly, and when reading the Bible, I can barely stop reviewing what I just read prayerfully or studiously. A passage spelling out geographical details can get me thinking I need to remember what’s north and what’s east. And the weeds are just too deep most of the time.
My greatest reading aid has been listening to David Suchet read from the NIVUK on BibleGateway.com. He has a marvelous voice and delivers passages more smoothly than other readers I’ve listened to, but the main benefit is that he doesn’t stop. He reads one paragraph of land rights for a tribe and moves on to the next. When I read that paragraph and find that I starting thinking of something else, I go back to the beginning and read it again, and consequently do not get through a day’s reading. But because I take in so much by listening, I still hope to finish the book by the end of the year.
Listening to Suchet reading Judges in two sittings drove home the darkness of that history. Samson wasn’t a detailed story plucked out of context. It was a noir tale told in an alley with a hint in the air of burning homes. It may have been when Samson was praying for final vengeance against the Philistines that I thought, “This isn’t about to let up. It’s only getting darker.” Had I been reading, I may have stopped at that point, but I was listening and kept on to the end.
What ways have you found helpful for reading long passages of the Bible, or do you recommend it?
Ever see one of those old comedy movies, set in the Middle Ages or sometime, in which the orchestra suddenly breaks into swing music and everybody starts jitterbugging? (I recently watched “A Knight’s Tale” for the first time, and they did the same sort of thing , with different pop music. I fear this will not age well.)
I had much the same feeling today as I was reading Neil Price’s generally excellent book, Children of Ash and Elm. In a chapter called “Border Crossings,” he takes a break from a mostly well-informed and insightful study of Viking Age history to impose 21st Century concepts on an alien culture.
There are clear suggestions of queer identities in the Viking Age (with a caveat for the retrospective application of contemporary vocabularies).
Give him points for self-awareness, anyway. Retrospective application is precisely what’s going on here. I speak from a position of prejudice, of course, but it saddened me to see a good study like this marred by what I consider (I could be wrong, of course) a transient intellectual fad.
In fact (except for the admittedly problematic Grave Bj. 581 in Birka, which I can’t explain, but neither can anyone else), he is able to demonstrate nothing about the Vikings themselves other than that they had an extremely “gendered” (his word), male-dominated culture, in which there is evidence of a certain amount of deviance. You could say the same about the Victorians. He admits it plainly at one point, saying, “There are no positive depictions of same-sex relationships in the textual sources.”
To put it in terms comprehensible to current academics, Price is “appropriating” Viking culture, forcing his own paradigm on them in a way that they would have found offensive.
I wasn’t finding what I wanted from a barbershop quartet today, but I did come across this recording from the 2013 Fischoff National Chamber Music Competition. It’s saxophone quartet playing “Memory” from a set written by Marcelo Zarvos for a string quartet. Here you see soprano, alto, tenor, and baritone saxophones played at a breathless pace by the Kenari Quartet of Indiana University, Bloomington.
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