New Podcast Is Both Curious, Repulsive

S-Town is the to-rave podcast of the month. It comes from the people who make This American Life and the podcast that spawned 100 imitations, Serial. I heard about Serial at some point in the middle of the run, I think. Maybe it was at the end of its first season. I heard many good things from many people, but I never listened to it. Podcasting, developed in 2000, just hasn’t been my thing, because portable tech hasn’t really been my thing. Whenever I heard a podcast, it was through my PC, kind of like the cans-and-string method. Only in the last few weeks have I begun to use a loaner iPad for something it’s actually good at.

So I was ready when I caught word of the new S-Town, which released all seven episodes on March 28. That initial word described a true crime podcast, but S-Town is a different story. (spoilers)

It begins with the wildly colorful, possibly genius John B. McLemore reaching out to Brian Reed about a murder that happened in his home town, Woodstock, Alabama, about which he needed a barrel of venom to describe. Everyone, including himself at times, was a loser, a failure, an idiot, and many more vulgar labels. His old school was Auschwitz. The police were corrupt. The county had one of the highest rates of child abuse and molestation anywhere. At least a couple people asked John why he didn’t move away since he hated the place so much.

John B. can work himself into a fit by thinking of how no one is outraged over countless liberal talking points, and this murder is a prime example. Everyone knows who did it. The man himself has bragged about it. Why doesn’t anyone give a rat’s rear-end?

The story shifts from that question to focus on John B., which isn’t a selling point. He’s a babbling brook of liberal outrage and profanity. He can’t tell Brian about the many flowers and butterflies on his property without worrying that they’re dying off. By episode two, I was already telling him to shut up. Two of the people who may have cared about him the most pushed him away because they couldn’t bear up under the weight of his poisonous worldview. Continue reading New Podcast Is Both Curious, Repulsive

‘The Adventures of John Carson in Several Quarters of the World’

Robert Louis Stevenson

James McNamara reviews a new novel, written in the tradition of Robert Louis Stevenson, in the Washington Post:

“Stevenson spent his days roaming the sprawling legendary city by the bay, spending miserly sums on food and half a bottle of wine per night, and writing furiously to try to make enough money to support the family he would instantly have when married.” He also kicked around an idea for a novel, “Adventures of John Carson in Several Quarters of the World,” but, as Doyle writes, no evidence of his manuscript or John Carson has ever emerged.

From this truthful starting point, [Brian] Doyle imagines the book Stevenson might have written: a glorious, swashbuckling tale that celebrates love, friendship and the sheer delight of being alive.

Hat tip: Books, Inq. Which got it (of course) from Dave Lull, Man of Mystery.

‘The War of Art,’ by Steven Pressfield

The War of Art

Because when we sit down day after day and keep grinding, something mysterious starts to happen. A process is set into motion by which, inevitably and infallibly, heaven comes to our aid. Unseen forces enlist in our cause; serendipity reinforces our purpose.

Someone suggested to me that I might enjoy Steven Pressfield’s The War of Art (and yes, I caught the reversal on Sun Tsu’s The Art of War… eventually). I’ve been struggling with my work in progress (it’s coming, but I’m fighting for every inch of ground), and I thought, what could it hurt?

It’s a remarkable book. I’m still not entirely sure what to think about it, though.

It might save you the cost of purchase if I give you the basic message right here – the only way to succeed as a writer is to become a professional. Sit yourself down at your desk at the same time every day, and work at your craft. Don’t listen to the negative voices in your head. Especially don’t listen to the ones that say, “I’ll just skip it today.”

But the value of the book is (of course) in the reader’s journey. In polished, powerful prose Pressfield (author of The Legend of Bagger Vance, Gates of Fire, and other bestselling books) analyses the writer’s problem (we have an enemy, which he calls “Resistance,” and we must learn to tread it under our feet). And he tells the story of his own evolution from a blocked, self-pitying wannabee to a fulfilled professional (anyone can do it, he says, which I think is an exaggeration. Not for me, of course, but for you other folks).

What troubles me about the book is its religious nature. When Pressfield talks about his Muse, he’s not being metaphorical. He lays out a whole theory of reality and consciousness (based on Jung), and says he believes that his muse actually exists. He prays to her each time he sits down to write.

On the negative side, he condemns all forms of Fundamentalism. “Fundamentalism and art,” he says, “are mutually exclusive.”

I take that kind of personally. I think you could call the medieval Roman Catholic Church fundamentalist, by his definition, and they did pretty well on the art front. The Puritans themselves gave us Milton and Bunyan.

So I’m uncomfortable with Pressfield’s religious statements. Speaking as a fundamentalist, I worry that he may have sold his soul to a devil, or be possessed in some way.

So I can’t wholeheartedly recommend The War of Art. As a motivational book, it’s excellent (I had a pretty good writing day the day I finished reading it). But spiritually I found it hazardous.

Also, cautions for language.

Why Not Ask the Black Church?

“The Benedict Option fails to ask how black believers have survived racial, economic, and social marginalization with their faith intact.” Jemar Tisby offers an important perspective to Rod Dreher’s new book, a book he has mulled over for at least ten years. When considering options for the persecuted church in America, it seems natural to look to those portions of the church that have lived through persecution, but as Tisby writes, this is a continuing blind spot for many white people.

The reality for many white believers is that Christians of color may provide inspiring stories of resistance and are certainly nice to have on display in the congregation, but they are not a true source of wisdom for the white church. To some white Christians, the faith traditions of racial minorities may offer great aesthetics like preaching or musical style, but they don’t have the legitimacy to lead the way into the future. The constant refusal to learn from the black church can only be termed ecclesiastical arrogance.

https://thewitnessbcc.com/benedict-option-leaves-out-black-church/

Dreher did start a conversation about the black church four years ago, asking why it hadn’t influenced communities more. That doesn’t answer Tisby’s critique, but it does offer a bit of context.

‘The First Rule,’ by Robert Crais

The First Rule

I don’t think it counts as a spoiler to observe that when you pick up a novel advertised as an action thriller and it begins with a happy family doing ordinary stuff, something awful is about to happen.

And so it is in Robert Crais’ The First Rule. The man whose life is destroyed here is Frank Meyer, a guy who used to work for Joe Pike as a mercenary. The police inform Joe of this, and question him. The other victims of this particular gang of murderers and thieves have been involved in organized crime, so they figure Frank must have been dirty too. Joe cannot believe that. With the help of his friend and business partner, private detective Elvis Cole, Joe employs his formidable military skills to unravel a scheme involving prostitution, illegal arms sales, and a kidnapped baby.

Author Crais has intentionally moved the Elvis Cole series from straight mysteries to action thrillers, which means a bigger role for the mysterious and dangerous Joe Pike. This has been a good move, as Joe is one of those laconic characters – few words and economical but explosive action – who work extremely well in high tension stories. A particular pleasure in The First Rule is the ironic scenes showing Pike’s developing relationship with the rescued baby – all the more touching in contrast with Joe’s cold, focused, almost monastic persona.

It occurred to me as I read that there are theological implications here (certainly not intended by the author). Joe is the kind of rescuer every true victim dreams of, though often silently. He does not only inflict violence on evildoers – he is terrible (in the sense of inspiring terror) when he does it. People who live in relatively safe and just environments have trouble understanding the need for a terrible avenger. It’s not enough that the wicked should be slain – they should be frightened as they die. Modern westerners don’t generally understand the aspect of terror that belongs to the just God of the Bible, but the oppressed and the persecuted do.

Anyway, I recommend The First Rule for those who can handle the language and violence. First class action entertainment.

‘Murder by Magic,’ by Bruce Beckham

Murder by Magic

I’m liking Bruce Beckham’s Inspector Skelgill series better and better as the novels go on. However, there’s one problem with Murder by Magic that means I’ll have to include in this review a warning for our readers.

This time around, Inspector Skelgill of the Midlands CID grows curious about a spate of sheep mutilations in the Lake District. Then he and his team look into the disappearance of an eastern European tourist, who seems to have disappeared on an extensive estate recently purchased a foreign scholar.

The inquiry leads to human trafficking, a black magic coven, and a violent climax in which Skelgill shows considerable personal courage, and even (surprisingly) a modicum of consideration for one of his sergeants, Sergeant Leyton, a Cockney he tends to run roughshod over. It’s less surprising that he takes care of his female sergeant, Sergeant Jones, an attractive woman he’s been flirting with passively throughout the series.

My problem with the story is a theological one. It’s pretty much impossible nowadays to write a story with evil black witches, I guess, unless you throw in a good white witch to prove you’re not a Salem Puritan. So here we have an attractive, wise, and helpful white witch who provides material assistance to the inquiry.

No mention of Christian spiritual teachings about magic are in evidence.

I suppose author Beckham had no choice. The story as a whole was good enough – the best in the series so far, I think – that I’ll probably read more, even in spite of the detour into the occult.

I suppose that means I’m getting old and soft.

Otherwise, recommended. The violence is not graphic, and the bad language is masked with circumlocutions, some of them pretty creative. Beckham also excels at descriptions of nature, which will be a special draw for certain readers.

‘The Viking Battalion’

Viking Battalion

Last week I was contacted on Facebook by a fellow who’s involved in a Viking commemoration a tad different from the kind I’m used to. But I was honored to be asked to assist him, and I want to publicize his effort. He’s the president of a group devoted to memorializing a remarkable World War II US Army unit.

The 99th Infantry Battalion (Separate), also known as the Viking Battalion, was organized in 1942 at Camp Ripley, Minnesota. Its purpose was (originally) a specific, specialized one (that’s what the word “Separate” means). It was intended for the invasion of Norway – an option for the European invasion that remained under consideration long into the war. The bulk of its manpower came from Norwegian merchant sailors who’d been stranded overseas by the German invasion in 1940, plus Norwegian-American young men, many of whom had grown up speaking Norwegian. They trained for mountain warfare in Colorado, and later as commandos in Scotland.

As it worked out, of course, the invasion happened in Normandy. The 99th participated in that action and its aftermath, and fought with distinction in the Battle of the Bulge. Finally they were sent to Norway after the surrender, in order to help establish order and evacuate the German occupation troops in an orderly manner.

There’s going to be a special commemoration event on Saturday, August 12, at Camp Ripley, near Little Falls, Minnesota. I’ve been asked to be there in Viking costume (just to confuse the visitors, I imagine) and I may bring some other Vikings along. If you’re interested in the event, let me know in comments, or just watch this space. I’ll be keeping you posted.

We Loved Your Story; Write Another Just Like It

Danny Rubin, who gave us the wonderful movie Groundhog Day, thought he’d found his place in Hollywood after that film’s success. Everyone wanted to talk to him, and they all wanted him to do the same thing he’d done before. S. I. Rosenbaum interviewed him for Vulture.

He kept writing scripts for his own ideas, and he kept selling them, pretty steadily, over the years — to Universal, to Amblin, to Castle Rock, to Miramax. But none of them were produced, and even when one of them spent some time being developed, Rubin would often be booted off the project. He wrote a movie about a woman; they asked if it could be about a man. He wrote a silent film; they asked if it could have dialogue. “People weren’t responding to my stuff by making movies out of it,” he says. “They were optioning it, but then there were the same arguments over and over: They were trying to make a movie I said I was expressly not interested in making.”

The man behind Groundhog Day has proven Hollywood is stuck in a loop of its own making. (via Prufrock News)

Dostoevsky’s Characters Speak for Themselves

What makes Dostoevsky’s characters so real? They aren’t just mouthpieces for the author’s voice.  Peter Leithart describes it.

Dostoevsky’s polyphonic world is full of free subjects, not objects. We don’t know what they might say or do next, and we suspect that the author doesn’t know either. They speak in their own voices, and Dostoevsky doesn’t drown them out. His voice is only one among many.

But Dostoevsky is also concerned with the suppression and source of true human freedom. “True freedom is love, the capacity to sacrifice one’s Ego for the good of others.” And the only way to sacrifice one’s Ego is to surrender to Christ. (via Prufrock News)

‘Murder on the Lake,’ by Bruce Beckham

Murder on the Lake

I decided to turn away from my reading of Gregg Hurwitz, and take up Bruce Beckham, whom I dropped a while back. I’m not tired of Hurwitz, but I was a little exhausted by the level of dramatic tension he dispenses. I thought something a little milder, in a kinder, gentler literary world, might be enjoyable for a change. So I returned to Beckham’s Inspector Skelgill novels. No one would call the prickly Lake District detective “cozy,” but his stories are closer to the world of Agatha Christie than to the thriller genre.

Author Beckham has a little fun with that fact as Murder on the Lake begins. At the start, we’re confronted with a classic “Ten Little Indians” situation – a group of people isolated on an island estate, in a storm without electricity or telephones. One of them dies, and the suspicion rises that they might have a murderer in their midst.

In steps Inspector Skelgill. He’s been fishing on the lake, and the storm has forced him to the island’s dock. There he meets a young woman, one of the party at the hall (it’s a writers’ retreat), and he goes up to investigate. Once he’s met everyone and heard their stories, he returns to his boat, where he has left his mobile phone – but the boat has mysteriously vanished. He has to sleep in the hall, and overnight another guest dies.

Having had his little genre joke, author Beckham then brings things back to normal. Skelgill is rescued by his sergeants the next morning, and they take up the investigation in their usual style: Skelgill drives his subordinates nearly mad through thoughtlessness, demands on their time, and food-filching (he’s a mountain runner and always hungry). But gradually, by way of his disorganized, rather intuitive deductive processes, he uncovers the truth – along with some unpleasant truths about the publishing industry.

Beckham has fun with this story. Several of the characters have Dickension names – a literary agent named Lampray, a critic named Cutting, etc. I don’t really care for the present-tense narration employed, but I have to admit I soon forgot about it. The language is remarkably restrained – Beckham employs circumlocutions whenever his characters sink to foul language.

I enjoyed Murder on the Lake. I can only take Inspector Skelgill in small quantities, but I am reading the sequel now.

Book Reviews, Creative Culture