Yesterday, the anniversary of Charlie Kirk’s contemptible murder. Today the 25th anniversary of the terrorist destruction of the World Trade Center in New York City. I have nothing to say that’s worthy of the occasion. So I post above Mahalia Jackson’s performance of “It Is Well With My Soul.” You young people probably never heard of Mahalia, but in the days of my youth she was the queen of authentic Black Gospel music. Listen and you’ll understand why.
I have no moving tale to tell about 9/11/01. My story is just like everybody else’s. Somebody told me about it at work, and we spent the rest of the day following the news reports. Which just got more and more awful. Far away, thousands of my countrymen were suffering unthinkable horror, with no one to help.
If I said any more, I’d get preachy, and I’m not worthy to be preachy on this topic.
May each of them find mercy. And may justice be done.
As you’re likely aware,The Pendragon Cycle: The Rise of the Merlin, based on Stephen Lawhead’s Arthurian novel series, is now available on Amazon Prime. I am watching, and am impressed. This is high-quality filmmaking. I tend to watch movies and miniseries with a skeptical eye, but I honestly didn’t have a single moment where I thought, “They’re cutting corners here.”
I have a conflicted relationship (wholly in my imagination) with author Stephen Lawhead. When I set out to write my Erling saga, I looked around for a Christian novelist who was doing the same sort of thing, and Stephen was all I found. (There may have been others; there was no internet at the time. All I knew was the books I saw in bookstores.) The career I dreamed of involved my gradual advance into parity with him. In my imagination, I’ve been engaged in a zero-sum competition with him every since, and he’s got all the marbles.
There’s a kind of villainous character who shows up now and then in movies and TV shows. I can’t think of an example offhand, but I’m sure you’ve seen such characters. This villain is a small, unprepossessing man, and he’s obsessed with somebody else’s success. “He stole everything from me!” this villain will say. “All that money he’s got, all that acclaim! It should have been mine! I’m the real genius! He stole everything from me!” And then he goes on to describe his diabolical plan to blow up a city, or something.
I’m a little like that guy in regard to Lawhead. I grudgingly admit he was doing it before I did, and I can’t deny he did it (and does it) well. He deserves his success. I have some quibbles with some of his books, but he’s a fine author.
My envy, in fact, is purely envy. It has no rational foundation at all.
Does that mean I won’t urge you to watch The Rise of the Merlin?
Not at all. Please watch it. Recommend it to your friends. Run those viewer numbers up, so there’ll be a second season.
Maybe then the film industry will realize the world is hungry for Christian historical fantasy. And they’ll find me. And I’ll get that movie deal I’ve been dreaming of.
John Carr is primarily a historian of the Mediterranean region. He has taken it upon himself, for some reason, to write a hagiography of Saint Olaf of Norway. His book, The Viking Saint, in my view, provides a cautionary example for anyone who decides to write in a field where they don’t know their way around.
The Viking Saint is a genuine hagiography, a book openly intended to glorify its subject and promote his veneration in the church. (I don’t know that Carr is a Catholic, but he gives that impression). As a result, it’s rather credulous, even for a Christian reader like me. Olaf’s deeds (often autocratic and bloody) are always given the most positive interpretation.
The main source is Snorri Sturlusson’s Heimskringla. That’s an approach I generally approve of, while recognizing that it requires supporting research from other sources. I think Carr uses the wrong supporting material, and not nearly enough of it. On top of that, he frequently misunderstands Snorri.
The book opens immediately with a big historical howler – he claims that it’s plausible that Olaf Haraldsson’s destruction of London Bridge, during his service with King Ethelred the Unready, was the origin of the “London Bridge is falling down” nursery rhyme. It is not plausible. (I explain this in the Afterword to my novel, The Elder King.)
The errors go on and on. He thinks that Olaf’s father, King Harald of Grenland, was raised in Greenland (Grenland is in fact a farm). He takes it for granted that Olaf was a direct descendant of King Harald Fairhair (that’s disputed) and the sole legitimate claimant to the throne of Norway (he wasn’t). He thinks King Halfdan the Black ruled from Trondheim (not true). He thinks Viking slave hunting among the Slavic tribes resulted in the coinage of the word “slave” (it came later). He confuses King Harald Greycloak of Norway with King Harald Bluetooth of Denmark. He thinks Queen Gunhild, wife of Erik Bloodaxe, was killed in the St. Brice’s Day Massacre (it was another woman, possibly fictional). He thinks the Norwegian name for a free farmer, “bonder,” means bondsman.
Carr errs again when he tells us that astronomy has confirmed that an eclipse occurred, as the saga says, on July 29, 1030, the date of Olaf’s death at the Battle of Stiklestad. This is not true – the eclipse came about a month later (I discuss this in the Afterword to The Baldur Game).
In more subjective matters affecting my own area of interest, I disagree sharply with Carr’s assessment of Erling Skjalgsson of Sola. He considers Erling a mere opportunist, a rebellious vassal. He fails utterly to recognize the serious constitutional questions on which Olaf and Erling clashed.
One of the most startling statements I found in The Viking Saint was author Carr’s contention that there were “no political overtones” to the rise of St. Olaf’s cult. It takes a pretty narrow pair of blinders not to notice how the Olaf legend served the political purposes of Norwegians eager to throw off Danish control.
A good biography (even a good hagiography) of Saint Olaf would be welcome. And it’s perfectly legitimate to take a different position than mine on the issue of Viking democracy, as opposed to monarchy. Let a thousand flowers bloom.
But a biography ought to be properly vetted. Actual historians of the period should go over the manuscript to weed out errors that even an amateur like me can find so easily.
The Viking Saint, sadly, is not a book I can honestly recommend.
Jean-Baptiste Mallet ( 1759 -1835), Homer reciting the Odyssey, oil on canvas, 25 cm x 32 cm. Aucitoned at Hôtel Drouot, Paris, April 4, 2021.
Our friend Dave Lull has forwarded me the link to the substack of a writer named Brian Heming, who has embarked on a project to re-cast the Odyssey as a Viking saga in Tolkien style.
I have no idea why anyone would want to do this. But here are the chapters.
I bear Mr. Heming no ill will. But I find I rather resent the whole idea.
It takes me back to the 2006 Robert Zemeckis film, Beowulf. I reviewed it on this blog (lost, I believe, in our migration) concluding that “I didn’t hate it.” I didn’t love it either, though. I thought the animation was weird. I thought Angelina Jolie was completely out of place (stiletto heels, seriously?). But my main objection was that the writer, Neil Gaiman, had taken a Germanic saga and turned it into a Greek tragedy. Saga heroes are taken down by fate, Greek heroes by their own fatal flaws.
My point, in case I’m being obscure, is that Greek legend and Germanic legend are different things. Neither is necessarily better than the other, but they are distinct pleasures, like wine and bread, not meant to be confused.
But you may not care about this. There’s no reason why you should. Read the Viking Odyssey, if you like, with my blessing.
Writing this review, I find myself in the odd position of not remembering what the narrator/hero’s name is. The Amazon synopsis doesn’t say either. Maybe Jeffrey S. Stephens, author of Fools Errand, never tells us that – or maybe I just missed it. But if Stephens held it back, that’s an interesting authorial tactic.
The narrator’s last name, though, is Rinaldi. He comes from a “colorful” New York Italian family. His father and uncles were involved in organized crime – not as kingpins but as lower functionaries. His father, a mercurial, charismatic alcoholic, ran numbers. The story is set in the 1970s, after his father has been dead several years. One day, his mother informs him she has a box of his father’s papers that was meant for him. When he goes through the material, he finds a letter addressed to himself, written not long before his father’s death. The letter tells of something the old man had bragged about many times, when drunk. It speaks – vaguely – about some “Money” that he, his friend Benny, and a Frenchman stole while he was in the army during the war, working on repatriating stolen artworks.
Our hero contacts Benny, who’s living in Las Vegas. Benny gently suggests he leave the whole matter alone, but (knowing he won’t do that) he gives him the name of the Frenchman.
Soon he’s on a plane to Monte Carlo, accompanied by Donna, a young woman he met and struck sparks with on the plane back from Vegas. Once there (where he is shadowed by employees of his mobster cousin Frank, who thinks he has a claim on this “treasure” whose nature he has no clue about) he meets his father’s old friend, and begins to put together the very strange story of his father’s wartime adventures.
Fool’s Errand was, simply put, a really good story. Fascinating. Well-written. Insightful. Suspenseful, but not a thriller. A character study and a love story.
I liked it a whole lot. Jeffrey S. Stephens is an extremely good (and smart) writer. Recommended, with cautions for mature content.
And now for your blunders. On your own showing you first of all allowed the patient to read a book he really enjoyed, because he enjoyed it and not in order to make clever remarks about it to his new friends.
I was in high school when I first read C. S. Lewis’s The Screwtape Letters. It had been recommended by a Sunday School teacher. The story of two devils consulting on a human’s damnation set off something like a series of small explosions in my brain. I’d never run across Christian thought anything like this before (pleasures weren’t necessarily sinful? Who knew?), and it dispensed a guilty thrill of possible heresy. It was for me the beginning of a lifelong grappling match with both Lewis himself and with orthodox Christian theology.
I’m not sure how many times I’ve read it in my life. The depressing part of revisiting it again is observing how little progress I’ve made in resisting my own personal Wormwood. To make it more uncomfortable, I understand the nature of sin and temptation better now than I did when I was in high school. The knives, therefore, are sharper.
I was also impressed, in reading the sequel essay, “Screwtape Proposes a Toast,” to note how prescient it is. Writing in the 1950s, Lewis observed trends in society and in education that have since metastasized in a way no one could have conceived of at the time.
The Screwtape Letters is a clever, masterfully written, insightful book about temptation that is actually extremely uncomfortable for anyone with any moral insight. And it gets more uncomfortable as you get older.
And so you, you will mediate the space between what is sanctioned and what is not. And to do that, part of you must belong to what is not. That is the sacrifice you must make. You must be half-darkness while not serving darkness.
Gregg Hurwitz has gotten into the generous habit of providing Orphan X novellas once a year, to give us a little hit in between the great feasts of the novels. The novella The Damage Man was just released, and I tore through it like a Doberman on a Beggin’ Strip.
Evan Smoak, our lone wolf hero, is not summoned by a call on his high-tech phone this time around. He happens upon a middle-aged man, Rusty, who is being threatened by a loan shark’s collector in an alley. The collector is telling Rusty that his son Blake will get no delay; he has to pay up or he’ll be hurt. Evan intervenes, and when the collector pulls a gun, Evan puts him in the hospital. Then he asks Rusty about Blake’s problem, and informs him he’s going to take care of it. Because that’s what Evan does.
He learns that Ray and Blake are alienated. Ray abandoned his family when Blake was young, and Blake has never forgiven him. Though the two men have to hide out together temporarily, they can barely keep from coming to blows. Ray is desperately remorseful, but Blake’s anger runs deep. They are two inarticulate men, needing each other but unable to make contact.
This brings Evan’s own absentee father to his mind. He found the man once, discovering him to be a wholly superficial and contemptible human being, who only warmed to him when he lent him money. This operation involves phone conversations with Joey, the girl hacker who Evan has sort of adopted, and she’s intuitive enough to do a search for Evan’s father. She discovers that he’s dying.
Now Evan is faced with somethig he fears more than any number of terrorists or gangsters – the risk of reaching out again to his father.
Nobody matches Gregg Hurwitz when it comes to writing stories that not only excite you but probe your heart like a catheter. If you find yourself a little misty-eyed when you’re finished with The Damage Man, I can tell you (from a friend) that you’re not alone.
He made a noise like a pig swallowing half a cabbage, but refused to commit himself further.
In the pantheon of P. G. Wodehouse’s Jeeves and Wooster stories, the novel, Thank You, Jeeves holds a unique and equivocal place. It’s unquestionably a clever book, full of pratfalls and twists, with a plot nearly as tight as that of The Code of the Woosters. It features, however, an inherent problem for the modern reader. More of that later.
The setup goes like this. Bertie Wooster has taken up playing the banjolele. Not only do his neighbors object to the noise, but Jeeves himself finds it intolerable – to the point where he gives notice. Jeeves departs, Bertie acquires a substitute (and much inferior) valet, and he heads off to his friend “Chuffy” Chuffnell’s seaside estate, to spend a holiday in a cottage on the property. To his surprise, Bertie finds that Jeeves has now found employment with Chuffy.
Meanwhile, Chuffy is engaged to Pauline Stoker, the daughter of an American millionaire who’s interested in buying Chuffy’s estate (which he’s eager to unload). Pauline, as it happens, was briefly engaged to Bertie himself, some time back when he was living in New York. Also on hand is Sir Roderick Glossop, an old nemesis of Bertie’s, who has a plan to manage the estate as a mental hospital.
In Wodehouse’s world, it’s inevitable that Chuffy and Pauline must break up, and Pauline announces that she’s going to marry Bertie on the rebound. Under the circumstances, Bertie is desperate to heal the rift in the lute (as Jeeves might have put it), but what hope does he have without Jeeves’ assistance?
Thank You, Jeeves is fast-paced and funny and implausible and irresistible like all the best Wodehouse. The big problem with it is that it is perhaps the supreme example among the list of Wodehouse works that people are talking about “cleaning up.” The sad fact is that it features a subplot involving a “minstrel band” of black (or black-faced, I wasn’t sure) musicians, and what we call “the ‘N’ word” gets used multiple times.
For the record, I’m against revising it. We live in history, and must deal with our ancestors, as we do with foreigners, as representatives of a different culture. Get used to it. You don’t have to approve to understand.
A besieged socialite, her super-hot grandson, and a house-cleaner plan an art heist and try to save a Van Gogh legacy.
Guest review by Adam H. Douglas
When most people hear the name “Van Gogh,” they typically think only of Vincent, the famous artist, but know nothing about his sister-in-law, Johanna “Jo” van Gogh-Bonger.
Jo was a widow at twenty-nine, after her husband Theo, Vincent’s brother, died at only 33 years. She was left with an infant son and roughly three hundred seemingly worthless paintings by her brother-in-law. Rather than let his work molder in an attic, Jo spent the rest of her life engineering his posthumous fame. She cultivated critics, staged exhibitions, and eventually published his private letters.
In the process, Jo built the market that still prices a single Van Gogh in the tens of millions today. Internationally bestselling author Jo Piazza stumbled onto Jo’s story secondhand, from a friend researching his own book on color, and immediately recognized its potential.
In the notes at the end of the book, Piazza explains how she saw a woman written out of the very legend she created, and decided that story was, in her own words, “ripe for a feminist novel,” which eventually became the art-heist-slash-historical hybrid “The Parisian Heist.”
Paris Conspiracy
The framework of “Heist” toggles between two timelines. In 1990s Paris, Emma, a broke American art student still nursing the effects of a bad affair with her manipulative professor, cleans apartments to make ends meet. That includes the penthouse of Stella Swanson, an elderly, seemingly frail widow of an art-dealing tycoon.
Stella turns out to be sharper and more purposeful than she lets on. Cut out of her husband’s estate by his vindictive son and threatened with institutionalization, Stella recruits Emma—along with Emma’s roommates and Stella’s own devastatingly charming step-grandson, Matthew—into a scheme to reclaim what’s hers.
That plan requires infiltrating the Swanson family’s inner sanctum even as it draws Emma into a romance with the very family she’s conspiring against.
Woven through this is the story of Claire, a nineteenth-century Parisian prostitute who saves Jo van Gogh from an assault one night and becomes her closest confidante. Jo, however, doesn’t know that her late husband, Theo Van Gogh, used to hire Claire for her services. The two became close, and Theo ends up begging Claire on his deathbed to watch over his wife after he’s gone.
Claire evolves into Jo’s business partner in all but title, doing things like bookkeeping, damage control, and strategy, while Jo focuses on a public campaign to make Vincent famous.
The connective tissue between the two timelines turns out to be genealogical: Claire is Stella’s grandmother, and a long-lost Van Gogh Sunflowers painting passed down through the family becomes the linchpin of Stella’s plan.
Now all the heist team has to do is survive the attempt and make sure no one lands in jail or an asylum along the way.
I think Tolkien writes somewhere of “the willing suspension of disbelief.” I’m not sure if he originated the term. But I find it a little ironic that a novel in which he’s a major character makes such a suspension so difficult.
Reviews of The Inklings Detective Agency by John R. Kelly seem to be mostly laudatory. I wanted to join in the praise, but I just can’t do it.
Here’s the premise – we’re asked to believe that the members of the famous Inklings writers’ group dabbled in solving crime in their spare time. (Anyone who knows about Lewis’ life in the late 1930s, when this book is set, will laugh at the idea that he had any free time at all.)
But they’ve never investigated a murder before, until a surprise visitor to one of their meetings (I won’t spoil the secret of his identity for you) asks them to look into the recent deaths of two men, dismissed by the police as suicides. Both men had been involved with a secret society led by the infamous black magician, Aleister Crowley. Various members of the group will pursue different lines of investigation, and such figures as Dorothy Sayers and Agatha Christie will also make cameo appearances.
Why didn’t I like The Inklings Detective Agency more? First of all, the writing was weak. Sometimes the grammar stumbled, with phrases like “me and MacDougall.” The book was sometimes overwritten, and many speeches could have been shorter. Sometimes the prose was florid, as when we read of “someone with such nefarious evil and darkness in their heart.”
Worse, for me, was the number of linguistic anachronisms. Slang and catch phrases that didn’t originate until decades later abound here – “lights out—that’s all she wrote.” “Letting us crash your bachelor pad” “Food to die for.” “Macro.”
Worst of all was that all women are given the title of Ms. Note for younger readers – up until the 1970s, all women (unless they had professional titles like “Dr.”) were addressed in English as “Miss” or “Mrs.” “Ms.” was confined to southern US dialect back in the 1930s.
The characterizations, as far as I could tell, were pretty good. Lewis acted like Lewis, Tolkien like Tolkien. I know less about the other Inklings, but they seemed to be behaving authentically within the scope of a fictional story.
I did read the book through to the end, because I was curious to find out who the culprit was, and because it’s always pleasant to spend time with the Inklings, even viewed through a glass darkly.
So I can’t say it’s a bad book. I will say it’s clumsily written and poorly tailored to its period. I can’t recommend it, but I won’t deny there was some fun in 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.