It’s New Year’s Day 1944; the world war is winding down. But Toby Peters, shabby Los Angeles private investigator, has a new celebrity client – Cary Grant. Grant, a naturalized US citizen from England, has been doing unofficial work for British Intelligence. He has recently heard from a source among American Nazi agents, who has secret documents to sell. But the source doesn’t want Grant to bring the money; he has to send someone else. That someone is Toby Peters, who, despite being the smallest of small-timers, has a reputation for reliability and discretion.
But when Toby shows up at the designated exchange spot, people start shooting. The seller of the papers ends up dead, and the money and the papers disappear. Grant wants Toby to keep searching for the conspirators, and it will lead to great danger for Toby and all his motley friends.
The usual eccentric cast of characters is here as always – Gunther, Toby’s Swiss midget best friend, and Sheldon Minck, the worst dentist in the world. Jeremy Butler, Toby’s office landlord, who is also an ex-wrestler and a poet. Mrs. Plaut, Toby’s apartment landlady, who is almost totally deaf and inhabits a bizarre world of her own. Not to mention others.
When I think about it, in the end, the whole thing would have worked out better if Toby and Cary Grant had left the case to the FBI from the start. But it’s not about the plot, it’s about the Keystone Kops chase.
Jesus Calms the Storm – Fresco by Silvestro Pistolesi in the clerestory of the Church of the Transfiguration at the Community of Jesus. Creative Commons attribution-Share alike 4.0.
And when he got into the boat, his disciples followed him. And behold, there arose a great storm on the sea, so that the boat was being swamped by the waves; but he was asleep. And they went and woke him, saying, “Save us, Lord; we are perishing.” And he said to them, “Why are you afraid, O you of little faith?” Then he rose and rebuked the winds and the sea, and there was a great calm. And the men marveled, saying, “What sort of man is this, that even winds and sea obey him?” (Matthew 8: 23-27, ESV)
My Heaven-sent translation work continues. I had a good day yesterday and got a little ahead of my quota. This is good, because I translated nothing on Saturday (and I don’t write for money on Sundays if I can help it). I need to translate 100 pages each month for the next five months to deliver on time. I’m 50 pages in now, and the month isn’t half over yet, so I’m doing just fine.
But it never hurts to run ahead of schedule. Impress the client, and if I finish sooner, I get my final payment sooner.
The laborer, as the Good Book says, is worthy of his hire.
Speaking of the Good Book, I was struck by the passage printed above during my devotions last week. I wrote about the Sermon on the Mount not long ago, and now I’m in the early passages that follow the sermon. I’ve read the Bible a number of times since I was a kid, but I never noticed until recently how much context means.
I wrote about it in my earlier posts – how counterintuitive Jesus’ teaching is (none of these thoughts are original to me, of course. I’m coming to them from the back of queue). The bottom line seems to be, “Build your house on a rock.” But what’s the rock like? It has nothing to do with a good job, or saving money, or investing in bonds or real estate. The rock Jesus is talking about seems to be solidly anchored in mid-air. Invest in Heaven. Step out onto the stormy waves – that’s your real security.
And Jesus demonstrates this in Matthew 8:23-27. Immediately after He delivers the sermon, He’s confronted with human chaos – he meets a leper, the very embodiment of disordered health. He heals the leper. He heals a centurion’s servant – the centurion, interestingly, doesn’t need to observe Jesus performing the miracle; he believes without seeing, earning approval. Then Jesus heals Peter’s mother-in-law, and then he’s mobbed by a multitude of “many who were oppressed by demons.” That’s the disordered state of the world – exactly what He’s been preaching against; exactly what He came to fix. Then a couple of disciple wannabees show up, offering to follow Jesus, but with reservations. Jesus puts it on the line – it’s all or nothing. They can’t handle the apparent insecurity and back off.
And then what does Jesus do? He gets into a boat and starts across the Sea of Galilee.
I think I’ve written about this before. I allude to the theme frequently in The Baldur Game (it’s coming, it’s coming!). The Jews thought of the sea (any sea) as Chaos, as Sheol, as Hell. The place of maximum insecurity, maximum danger. The opposite of the Rock we’re supposed to build our houses on. And Jesus just sets out to sail on it. Not only that, but He’s headed for the Decapolis — pagan territory, where demons dwell.
And as they’re crossing the Sea (or lake), a storm blows up – which I understand is common on Galilee. And the disciples are terrified, and (one assumes) they’re running the sail down and bailing and rowing like mad…
And Jesus is sleeping like a baby. They wake Him, and He says, “Why are you afraid, O you of little faith?” And he snaps His fingers (so to speak) and the storm turns over on its back like puppy wanting its belly scratched.
What Jesus is saying, I think, is “Buckle up, boys, this is what it means to build your house on a rock.”
The church, I think, is built by people who see faith as an adventure. It withers under people who see it as a job of work.
I struggle to describe Killer-Glum’s Saga, as it really left no strong impression on me. Most great sagas feature some kind of powerful motivation for the main character – vengeance or a woman’s love or the righting of some great wrong. Killer-Glum has none of those things. He’s just a guy who goes through his life, and happens to have a talent for man-killing.
The saga writer seems to sense this lack, because he begins Glum’s tale with a trope borrowed from a thousand sagas, folk tales, and fairy tales: The hero starts out as his father’s least promising son, showing no initiative and often being taunted for his laziness. But when it comes down to cases, he proves extremely adept at fighting and killing, and before long he is the most powerful man in his district. We are told that he maintained this power for an unusual length of time. But eventually his enemies get the best of him, and he loses his property and has to move elsewhere. In the end he is converted to Christianity and dies in old age.
There are many incidents here, and a hundred characters to try to keep track of, but not much of a central narrative line. The situation is not improved by the fact that the text is somewhat corrupt.
One interesting scene did strike me – at one point Glum’s son kills a man, and Glum wants that fact not to be known. So he compliments a thrall on doing the killing, repeating the praise so may times that the stupid thrall begins believing it himself. Early medieval brainwashing.
My final evaluation is that Killer-Glum’s Saga is not one to read if you’re new to saga reading. This one is for the saga buffs; it demands a little effort.
Today’s hymn comes from a lawyer and poet from Brandenburg-Prussia, Johann Franck (1618-1677). A biographer praises his hymns as “distinguished for unfeigned and firm faith,” avoiding the objectivity and congregational character of the older German hymns” for “a more personal, individual tone.” Originally “Schmücke dich, o liebe Seele,” our hymn “Deck thyself, my soul, with gladness” was published in Johann Crüger’s Geistliche Kirchen-Melodien (1649) to the tune heard above.
“How precious is your steadfast love, O God! The children of mankind take refuge in the shadow of your wings. They feast on the abundance of your house, and you give them drink from the river of your delights. For with you is the fountain of life; in your light do we see light.” (Psalm 36:7-9 ESV)
1 Deck thyself, my soul, with gladness, leave the gloomy haunts of sadness; come into the daylight’s splendour, there with joy thy praises render unto him whose grace unbounded hath this wondrous banquet founded: high o’er all the heavens he reigneth, yet to dwell with thee he deigneth.
2 Now I sink before thee lowly, filled with joy most deep and holy, as with trembling awe and wonder on thy mighty works I ponder: how, by mystery surrounded, depth no mortal ever sounded, none may dare to pierce unbidden secrets that with thee are hidden.
3 Sun, who all my life dost brighten, light, who dost my soul enlighten, joy, the sweetest heart e’er knoweth, fount, whence all my being floweth, at thy feet I cry, my Maker, let me be a fit partaker of this blessed food from heaven, for our good, thy glory, given.
4 Jesus, Bread of Life, I pray thee, let me gladly here obey thee; never to my hurt invited, be thy love with love requited: from this banquet let me measure, Lord, how vast and deep its treasure; through the gifts thou here dost give me, as thy guest in heaven receive me.
The Internet Archive may have lost its struggle with publishing companies over the “Fair Use” legality of its Open Library service. It argues that by purchasing print copies of books, it could legally digitize them and lend them on a one-to-one basis to readers around the world just like a regular library.
This week, the Second Circuit Court of Appeals affirmed a lower court ruling against The Internet Archive, saying its practice of controlled digital lending does not fall under an application of the Fair Use of copyrighted materials, according to Publishers Weekly.
“We conclude that IA’s use of the Works is not transformative,” the decision states. “Instead, IA’s digital books serve the same exact purpose as the originals: making authors’ works available to read.” The practice effectively substitutes the original work, which specifically runs contrary to the intent of Fair Use.
I can’t judge whether this is an appropriate application of the law, but it doesn’t look wrong from what I’ve read. The Internet has gotten out of hand in various ways. Maybe Open Library’s concept doesn’t work, but a tweaked version of it would.
In other news of publisher lawsuits, six of the big publishers along with the Author’s Guild are challenging Florida’s new law that requires schools to remove books with inappropriate sexual content. The suit specifically claims the term “pornographic” is undefined and takes no consideration of a book’s context.
Janie B. Cheaney gives a broad view of this and similar efforts to, as the Florida bill put it, “discontinue the use of any material the [district school] board does not allow a parent to read out loud.”
Scopes Monkey Trial: Historian Thomas Kidd reviews a new book on the Scopes Trial and doesn’t recommend it. “Author Brenda Wineapple calls America a ‘secular country founded on the freedom to worship.’ But various Christian demagogues in American history have tried to force people to worship God in a narrow-minded way, she warns.”
Reading: Brad East in “The Reading Lives of Pastors”— “It is a difficult lesson to accept, but learning and goodness are not synonymous or coterminous. . . . Ordinary experience is a trustworthy teacher: Are the holiest people you know the smartest, the best educated, the most widely read?”
It had been many years since I’d read a novel by the late Ed McBain (who was actually Evan Hunter, which name was itself at first a pseudonym for Salvatore Lombino, who legally changed it to Hunter). I was a fan of McBain’s 87th Precinct novels for a long time, but Eight Black Horses offended me. It had to do with a rapist who was targeting pro-life women, and at one point the author had a policewoman musing that she thought both sides were wrong. I thought it was awfully generous of McBain to concede that pro-lifers were no worse than rapists, and stopped reading the series.
But Hark!, an 2004 87th Precinct book, came up on a deal recently, and I figured, after all we’ve been through since, Eight Black Horses was actually pretty mild stuff. I figured I’d give it another chance.
Verdict: Hark! wasn’t bad, but I don’t like McBain’s writing as much as I used to.
The 87th Precinct books are set in a city called Isola, which is obviously New York City under an assumed name. The central character has always been Detective Steve Carella, but a regular cast of other detectives supports him. A recurring character in many of the books has been a criminal called “the Deaf Man.” The Deaf Man is a genius, and bears a grudge against the 87th. So he periodically reappears sending them mocking messages that provide cryptic clues to whatever major score he’s planning on their doorstep in order to prove how dumb they are.
This time he’s sending them hand-delivered notes containing quotations, mostly from Shakespeare. Much of the book consists of the detectives brainstorming what the messages might mean. There seem to be recurring themes of word reversals, palindromes, and anagrams. Also hints about books. But there really isn’t enough information to guess, which is just the Deaf Man’s game.
Several subplots involve man-woman relationships. Steve Carella is planning a double wedding – remarriages for his widowed mother and his sister. Detective Burt Kling is dating a black doctor, and feeling the social pressure. Detective Cotton Hawes is dating a television reporter and wondering whether she cares more for him than for her career. Another detective is dating the only woman on the squad. Even the Deaf Man is living with a prostitute who’s helping him with his scheme but may be smarter than he assumes.
But the best part of the book, for me, was a small subplot involving a detective from another precinct named Fat Ollie Weeks. Fat Ollie is a perfect comic relief character – he’s fat (of course), and he’s not too bright. His ideas of police procedure are Neanderthal, and he’s a bigot and a sexist. But recently he started dating a Hispanic woman cop, and he’s finding better impulses blossoming within him, to his own surprise and discomfort. Also, he’s working on writing a novel which is apparently pretty good.
Hark! was an okay novel, but I found it a little slow, and all the police brainstorming got a bit wearying (though there were amusing moments of cop ignorance about Shakespeare). I was reminded how society has changed during a scene where a superior is apologetic for asking the woman detective for “a woman’s point of view.” Back then that kind of talk was considered sexist — today the woman’s point of view is considered the only acceptable point of view.
Also, I rebel against the whole idea of the Deaf Man. At the beginning, Ed McBain’s books were praised for their authentic descriptions of police procedure. But the Deaf Man is pure Hollywood. Real criminals don’t act like that, or so I’ve been informed.
This week, Tucker Carlson once again gave us a sophomoric take on world events by producing an over two hour interview with a podcaster and historian who appears to emphasize minor views. He introduces the video this way: “Darryl Cooper may be the best and most honest popular historian in the United States. His latest project is the most forbidden of all: trying to understand World War Two.”
I listened to portions of it. The two men pressed the point that you can’t ask certain questions about this part of history, can’t try to understand the Nazi’s point of view. Cooper says he thinks Churchill is the main villain of WWII, because Hitler’s goals were limited but he was pressed by Churchill’s lust for personal glory. He also painted the killing of Jews and other prisoners of war as a logistical problem. “We can’t keep feeding these people; wouldn’t it be more humane to kill them quickly?” he says, citing a German commander who suggested this.
True, some of the invading Wehrmacht officers may have been disturbed at the sheer mass of captives and Germans’ inability to offer even the bare essentials of humane treatment. But they quickly learned from Berlin’s doubling down on earlier eliminationist directives that they were not to worry about the millions of doomed Russian prisoners or the murders of Jews, given their deaths were consistent with prior Führer directives for the future resettling of western Russia.
At Nuremberg and after the war, many veteran generals of the Eastern Front claimed they privately opposed Hitler’s orders of total war that entailed liquidation of communists and Jews and assumed the mass death of Russian POWs. But very few could prove that they had not received such orders or had bravely opposed their implementation.
Speaking as an old man who has climbed a number of metaphorical mountains of the literary sort (and zero ones of the real sort), I know how to begin a massive writing – or translation – project. At least I know what works for me. The trick, in my experience, is not to look at the mountain.
If you think about the size of the mountain as you begin, you’ll soon grow disheartened.
You have to concentrate on today’s work. What will I do today? How much can I accomplish just today?
If you write merely one page every day, you can produce a 365 page book in a year. (It takes me considerably longer, though, when you include revisions. But you get the point. One step at a time.)
“Sufficient unto the day is the evil thereof,” as the Lord says in the Sermon on the Mount. (Matthew 6:34)
Anyway, I’ve ordered some orthopedic aids to help me sit for long periods at my laptop, and I’m on the case.
The video above troubles me.
Not because of the artist herself – Lucy Thomas, who apparently won some talent program and obviously has an astonishing voice. I like her singing very much.
And not the song in itself, in particular. Leonard Cohen was in some ways the archetypal Israelite, forever wrestling with God. And this song expresses his troubled world-view in transcendent fashion.
My problem is that somebody – as you can see from the captions – is promoting it as a worship song.
Dearly beloved, “Hallelujah” is not a worship song! (I’ve written some drivel about it before in this blog myself.) It’s a song about sex, couched in near-blasphemous biblical imagery. It’s a brilliant piece of work but it doesn’t belong in your church.
It’s disrespectful both to God (who is not being properly revered) and to the artist – whose work is being twisted in a direction he never intended.
I understand the Christian impulse to turn all things to God’s glory.
But art deserves respect for its own sake. Not to be hijacked, even by well-meaning worship leaders.
At least give it time for the copyright to run out.
An awful image of Erik the Red, from the 1688 book, Gronlandia, by Arngrimur Jonsson. Good, free pictures of Erik are hard to find.
I’m not sure whether this is good news or bad news, but my productivity on this blog is likely to be reduced a little for the next five months. I’ve snagged a new translation job, one that promises to be a bit of a challenge.
I can’t tell you what the job is at this point, because it’s a private thing for a scholarly project, and nobody has given me permission to talk about it. If I find out differently, I’ll let you know.
But I will say I’m translating a very long biography from Norwegian to English. I’m not actually certain I can meet the hoped-for deadline. But I’m gonna try my best. That means less time reading for pleasure, and fewer reviews on this blog, I fear.
What I’ll post instead of reviews I have no idea.
But tonight I’m going to post about Viking names.
As you may have noticed if you’ve read about the subject, Vikings used what’s called the “patronymic” in naming. A patronymic is not a family name in the sense we undertand them, but simply an indicator. Thorvald’s son Erik is called Erik Thorvaldsson. Erik’s son Leif does not inherit the surname Thorvaldsson, but is rather called Leif Eriksson (you may have heard of him). The surname is just a pointer – I’m talking about this Leif here, not that other Leif over there.
But the Vikings also liked to add nicknames. This brought the identification to what we information professionals like to call “a further level of granularity.” Which means it involves more detail; it’s more specific. Erik Thorvaldsson was known as Erik the Red, which was likely to single him out even better than the patronymic did.
But an interesting thing sometimes happens with these nicknames (though not in Erik’s case). Sometimes they replaced, in practice, the person’s original name. Take for instance Thorleif Skjalg, the father of Erling Skjalgsson, hero of my Viking novels. (Skjalg probably means “squint-eyed.” I like to think of Charles Bronson.) Thorleif Skjalg was so identified with his nickname that his son ended up being known as Erling Skjalgsson rather than as Erling Thorleifsson. And Erling went ahead and named one of his own sons Skjalg. So the nickname became a proper name.
Another example is Snorri Goði, a historical personage who appeared as a character in my novel West Oversea. (Goði is Icelandic for Priest or Chieftain.) His original name, according to the sagas (he appears in several), was Thorgrim. But even as a child he proved so difficult to handle that he got the nickname Snorri, which means (I believe) tangled or complex (related, I further believe, to our English words snare and snarl). And the name Snorri went on to become a fairly common Norse name. (The first European child born in America, according to the sagas, was named Snorri Thorfinsson.)
I’ve never been inclined to pick up books based on movie franchises. The movies have been enough for me, but the Disney Star Wars list of sorry productions provoked me to seek out Star Wars novels. I learned Timothy Zahn’s trilogy was the best set, so I picked up Heir to the Empire, published in 1992.
“Now, for the first time: the authorized continuation of the legendary Star Wars saga . . .” The story picks up five years after Return of the Jedi, with the Rebel
forces trying to put together a new republic. Princess Leia is the leading figure in every diplomatic endeavor, which is increasingly difficult for the soon-to-be-mother of two. Her husband, Han Solo, is also working too much to make the new government as functional as it needs to be. Luke Skywalker has the smallest role of the three, that of friend, security guard, and last living Jedi. What can he do to train Leia and the children when the time comes?
What they don’t know is that an Imperial Grand Admiral has survived. They know the Empire still has loyalist planets, stormtroopers, Star Destroyers and other ships, but they don’t know that a gifted military strategist is rebuilding a fleet. Raids on Republic outposts look like mere harassment, but Grand Admiral Thrawn is working a long-term plan to bring every Republic planet to its knees, if not its grave.
Two things stand out about this novel. First, the characters sound like their movie representation. Some of that is probably fan-service, callbacks to movie dialogue, but it’s thrilling to read good characters in a good story. Second, it’s a solid story—coincidences or contrivances. Everyone has proper motivations, making reasonable decisions, and conflicting with each other naturally. At one point, the heroes get caught up in an Imperial raid, and they naturally conclude they’re being followed, but they aren’t. The bad guys were there for other reasons. No one acts like an idiot. No motivations shift inexplicably. And Luke comes through like a hero.
I’ll let you know how the next one goes when I get to it.
