Tag Archives: Andrew Klavan

Klavan on Steyn

I got through my first day at work with a cast (I guess it’s technically a splint) all right. The big nuisance is shifting my car.
Andrew Klavan (you probably weren’t aware, but I’m a fan of his) writes a tribute to Mark Steyn today at Pajamas Media:

But perhaps I wasn’t made to be a doomsayer. The dying of things—of art forms and civilizations as well as people—seems to me the inevitable and steady state of the world: a point of view that leaves me prone more to melancholy than to panic. What I really care about now is the immortal parts of mortal enterprise. I want to get at the spirit of human business: the wisdom and vitality of a culture’s Great Moment preserved in the artifacts it leaves behind. The irrelevant—the stuff that doesn’t matter but is simply beautiful—the music, the poetry, the pictures and storytelling—the arts—that’s where all the joy is, and it’s the joy that seems more urgent to me as the years pass.

Klavan Reviews Mamet's Secret Knowledge

Andrew Klavan reviews playwright David Mamet’s new book The Secret Knowledge: On the Dismantling of American Culture.

In fact, “The Secret Knowledge,” written in Mr. Mamet’s tough and funny style, is entertainingly informative. But the book only really becomes indispensable when it is personal and specific to Mr. Mamet’s experience.

The Identity Man, by Andrew Klavan

I will stipulate to being a hopeless fanboy in regard to Andrew Klavan’s novels. But I insist that I came by my enthusiasm honestly. I didn’t discover Klavan after I’d learned he was a conservative and a Christian. I was a fan before he was either—decades ago, when he was still writing superior mysteries about the self-destructive newspaper reporter John Wells, under the pseudonym Keith Peterson. I recognized this Peterson fellow as an author who delivered gripping stories, made more compelling by his rare talent for crafting interesting, layered characters. It was a delight to discover that he had not disappeared, but was persevering under his true identity, going from strength to strength as a writer. His politics and Christian conversion made it perfect.

Klavan’s latest novel, The Identity Man, is less overtly Christian than his previous adult thriller, Empire of Lies. That doesn’t mean he’s hiding his light under a bushel. The Christianity is there, but implicit in the main plot, explicit in sub-plots. The theme of the story, as the title implies, is human identity. Who are we as individuals? Are we capable of choosing how we will live, or are we determined by heredity and environment and social pressure? Do we find our personal identities in our individual choices and character, or in our ethnicity? Continue reading The Identity Man, by Andrew Klavan

The Truth of the Matter, by Andrew Klavan

The Truth of the Matter

If what you’re looking for in a book is subtlety and nuance, Andrew Klavan’s Homelanders series of young adult novels is not the place to go.

If, on the other hand, you’re looking for a book to appeal to young males (the explicit target market for the books), you’ve come to the right place.

These are books for boys who like video games (at one point Charlie West, the book’s hero, even gets to use an actual weapon that works like a video game controller) and extreme sports. “Extreme” describes The Truth of the Matter well—not in the sense of extreme shock content or extreme edginess, but in the sense of action that never slackens, but constantly ratchets up the dramatic tension. Poor Charlie barely gets a chance to grab a nap or anything to eat through the whole story. Wherever he turns, he’s got enemies on his tail. The premise isn’t terribly realistic, but that’s the whole point. This roller coaster of a story isn’t intended to give you time to consider its plausibility. The only drawback is that it’s so compelling that it’s hard to stretch the reading of it longer than a day and a half or so, and you want more. On the other hand, Charlie’s earned some rest. Continue reading The Truth of the Matter, by Andrew Klavan

Klavan reviews Ellroy

Thriller writer nonpareil Andrew Klavan reviews James Ellroy’s new memoir, The Hilliker Curse, for the Wall Street Journal.

He admires the book, but sees (plausibly, in my view) some things the author apparently hasn’t noticed.

It would be pretty to think so. Yet one has the feeling that there is as much hidden here as revealed, that Mr. Ellroy’s belligerent candor disguises some deeper and still secret shame. How could it be otherwise? Every confession is also a mask. As all good crime writers understand: There’s no bottom to the perversity of the human heart.

The Long Way Home, by Andrew Klavan

At one point in The Long Way Home, the second volume (just released) of Andrew Klavan’s Young Adult series, The Homelanders, Charlie West, the hero, reminisces about talking with his school buddies about various geeky subjects, such as why the second part of any trilogy is never as good as Parts One and Three. I can’t say how The Long Way Home stacks up against the third book, coming this fall, but I’d say that it definitely lives up to the promise of Volume One, The Last Thing I Remember.

Nobody does literary chases better than Klavan, and fully the first quarter of this book is a hot chase, with Charlie fleeing both terrorists and the police on a motorcycle and on foot. Like the masterful chase that played such a major role in the author’s book True Crime (which became a Clint Eastwood movie), this one would strain credibility pretty tight, if the author gave you time to think about it. Fortunately, he doesn’t, and the young males who are its chief intended audience will eat it up like nachos. I can’t guarantee your nephew will like it, but I’m pretty sure he won’t tell you it was boring. Continue reading The Long Way Home, by Andrew Klavan

Klavan on “Inglorious”

Today Andrew Klavan reports his response to the movie Inglorious Basterds. It would be a misstatement to say he wasn’t impressed. He was impressed, in the sense that repulsion is an impression.

But for Tarantino, no matter how talented, to address the issues inherent in the event as pure fodder for storytelling, to think his squirrelly man-on-man torture fantasies or his video geek understanding of life provide an adequate moral response to that level of history – I don’t know, man – it just felt to me like he was molding toy soldiers out of the ashes of the dead.  Even real Jews torturing real German soldiers would not provide a profound or even interesting resolution, but this stuff?

I can’t think offhand of any Tarantino movie I’ve watched, so I’m speculating when I wonder if the director would even be able to comprehend the words Klavan is using. As I understand it, Tarantino makes meta-movies, movies about movies, movies that mirror not the real world, but the kind of world you’d have come to know if you’d spent your life tied to a seat in a movie theater. I suppose that makes him kin to all the contemporary fantasy writers whose inspiration comes, not from myth or history, but from reading a lot of Tolkien and Rowling. The work may be brilliant in its way. It may be scintillating in its dialogue and groundbreaking in its technique, but it’s also hollow and weightless. It’s pure refined sugar—food without nutritional content.

I’m not saying there’s no place for such work. But it’s a different thing; a new thing in the world. It should be kept on a separate shelf from material that rises out of human experience and the wisdom our fathers.

Klavan on "Inglorious"

Today Andrew Klavan reports his response to the movie Inglorious Basterds. It would be a misstatement to say he wasn’t impressed. He was impressed, in the sense that repulsion is an impression.

But for Tarantino, no matter how talented, to address the issues inherent in the event as pure fodder for storytelling, to think his squirrelly man-on-man torture fantasies or his video geek understanding of life provide an adequate moral response to that level of history – I don’t know, man – it just felt to me like he was molding toy soldiers out of the ashes of the dead.  Even real Jews torturing real German soldiers would not provide a profound or even interesting resolution, but this stuff?

I can’t think offhand of any Tarantino movie I’ve watched, so I’m speculating when I wonder if the director would even be able to comprehend the words Klavan is using. As I understand it, Tarantino makes meta-movies, movies about movies, movies that mirror not the real world, but the kind of world you’d have come to know if you’d spent your life tied to a seat in a movie theater. I suppose that makes him kin to all the contemporary fantasy writers whose inspiration comes, not from myth or history, but from reading a lot of Tolkien and Rowling. The work may be brilliant in its way. It may be scintillating in its dialogue and groundbreaking in its technique, but it’s also hollow and weightless. It’s pure refined sugar—food without nutritional content.

I’m not saying there’s no place for such work. But it’s a different thing; a new thing in the world. It should be kept on a separate shelf from material that rises out of human experience and the wisdom our fathers.

Klavan on death panels

Andrew Klavan has an opinion on whether “death panels” are a legitimate concern or not.

It begins to occur to you that this is how you are going to die: by the fiat of fatuous ideologues—that is to say, by the considered judgment of a government committee. They are going to snuff you out and never lose a minute’s sleep over it, because it’s only fair, after all.

The basic fallacy, it seems to me, is the assumption that “socialized” and “compassionate” are the same thing. This is where liberals are blinkered. They believe that their virtuous intentions (and in most cases they are extremely virtuous) will guarantee virtuous outcomes. “Don’t talk to me about real-world consequences! I’m talking about my feelings here!”

Thanks to Dave Lull and Loren Eaton, who both sent the link.