Abramin and his two confederates are bandits. Although they’re not exactly Robin Hoods, they live by burglary, not by violence. Abramin and his wife Susanna have a beautiful baby son Dismas. But Dismas is a leper. When Dismas fusses, Abramin says, “Give him to me; I’m going to chant a little song for him that will make him dream of glory and bravery.” He sings, and the boy goes to sleep. These are some of the characters in the short play “The Flight into Egypt,” one of eight edifying theatricals (or “pious recreations,” as the Carmelites called them) that were written and produced by the young Therese of Lisieux.
I’m not sure how to think about miracles. I mean, about what the story of a miracle may mean in my life. But here’s a miracle I can relate to: When Therese healed a little Irish child, she appeared to her as a little child in her First Communion frock, and shook hands with her as she left, and the radiant little patient who had been unconscious and at the brink of death, sat up and told her mother to bring her her clothes, and food because she was starving. This is from “Therese,” the biography of St. Therese of Lisieux that was written in 1960 by Dorothy Day. It’s such a homey touch that the cured little girl wanted to get dressed and eat “because she was starving.” It’s like Peter’s mother-in-law who, after being cured by Jesus, got up and began cooking for her guests.
Terry Pratchett’s new novel “Dodger” strikes me as his most personal book. He calls it “a historical fantasy…simply for the fun of it.” Yet, it’s much different from the 51 fantasies that he has produced since 1971, including his Discworld Series (40 books so far). And it’s doesn’t share much with the straight-ahead speculative science fiction that he and co-author Stephen Baxter offered in “The Long Earth,” which hit bookstores in June. Instead of the science fiction of “The Long Earth,” Pratchett offers a history lesson in “Dodger” about London early in the Victorian era — a horrid, noxious and deadly place for anyone poor. Rather than an imaginative look into the future, he is taking an imaginative look back. A tosher The central character is Dodger, a 17-year-old who survived childhood in an orphanage and now lives by his wits, mostly as a tosher, i.e., someone who scavenges through the sewers of London searching for valuables.
There is a photo on page 224 of “Measuring America” that, I suspect, anyone who has ever flown across the continental United States west of the Alleghenies will recognize. It’s an aerial view of a few square miles of farmland in South Dakota, but they could just as well be in Ohio or Iowa or Minnesota or New Mexico. They’re all squares and rectangles. The property lines are sharply delineated and bounded by right angles. The roads that run along those lines are straight as straight can be. Forty years ago, looking out an airplane window and seeing a similar scene, I wrote a poem that began, “Patchwork of earthwork, pattern of soil…” Andro Linklater, describing an eastbound flight from Los Angeles in “Measuring America,” notes that the same sorts of squares and rectangles can be seen in the property lines of that city. Then, after passing over desert, he writes: High up in the mountains [the pattern] emerges again in patches of cultivated bottomland where the edges of rectangular fields are aligned with the cardinal points of the compass. All at once, looking down through the clear air, you can imagine the surveyor’s straight line, drawn west to east […]
Let me say first off that there are many times when I find Mass routine and less than exciting. It’s not like going to a movie or reading a book. It’s not an entertainment. It’s more like……well, like playing in a baseball game. In a baseball game, there’s a lot of standing around, on the field and in the dugout, waiting. Every once in a while, there’s something to do, such as fielding a grounder or taking a turn at bat. If you don’t know the game, it’s pretty boring. But the more you understand the strategy of how the fielders arrange themselves for each batter, and what a batter has to take into consideration in terms of the pitch count, the number of outs and the score, and how a pitcher and catcher work together to figure out how to deal with each batter, and how a manager decides when to pinch hit or bring in a reliever — the more you know, the richer the experience. For me, Mass is like that. There are times when it feels like I’m a right fielder, just standing out there daydreaming. But the more I put myself into the experience of […]
Julia Keller’s novel “A Killing in the Hills” is on a par with the best of James Lee Burke and P.D. James. It is a mystery story of high literary ambition and quality. Like her bestselling peers, Keller employs the mystery formula as vehicle for looking at the way people act, live and breathe in a particular spot on the world and for examining the meaning of life. For P.D. James, the spot is London, and murder is a breaking of the social compact, a disordering of the order of life. For James Lee Burke, the spots are New Orleans and Texas, and murder is an outbreak of the violence just under the human surface, a violence that sparks more violence. In “A Killing in the Hills,” Keller is writing about Acker’s Gap, a small ragged town in West Virginia, the state where she was born and raised. For her, murder here is a spasm of despair and greed, coming out of physical and economic isolation, a cry of anguish from the margins of human society.
Yes, yes, it may be a hoax of some sort. But I’m excited by the news that a small rectangular piece of papyrus, seemingly from the writings of early Christians, has come to light which includes the phrase, “Jesus said to them, ‘My wife…’ ” Historian Karen King of Harvard Divinity School, who translated the eight lines from the ancient Coptic language, thinks it’s authentic, and so do several of her colleagues. But, either way, real or fake, I’m excited. Here’s why:
After an idyllic four days, the fight begins on the drive home. Margaret notices with delight that she and Colin have had such a restful time that they’ve forgotten to latch on their seatbelts. “It’s called being relaxed,” Colin says. “Some people do it all the time.” Margaret thanks him for the weekend, and Colin responds, “You don’t have to thank me. I wouldn’t have gone without you, wouldn’t have thought of it. And it’s been so lovely to see you so happy. So calm. You were almost like a different person.” Ah, that’s the seed of what comes next —
I was at an archdiocesan meeting the other day, and the remarks of a prelate in attendance seemed to argue that the Catholic Church has a corner on Truth. I don’t think I buy that. Throughout my life, I’ve learned a lot from lots of people, many of whom weren’t Catholic. Such as Gwendolyn Brooks. Brooks, who died in December, 2000, was a poet of soaring lyricism and flinty vision whose work and way of living were rooted in the black experience in the United States. She was also more than a little skeptical about organized religion.
It happened that, a week or so after the death of Neil Armstrong, I picked up this 1947 novel, and to say it’s quaint is an understatement. It’s sort of a lunar version of a Mickey Rooney-Judy Garland “Hey, kids, let’s put on a show” story.
The final two sentences of “Millions” by Frank Cottrell Boyce are: Sometimes money can leave your hand and fall like water from a pipe onto the hot ground, and the dusty earth swallows it up and bursts into food and flowers for miles and miles around. And all the seeds and roots and lives that were lying dead in the ground spring all the way back to life. I don’t mind admitting that I cried twice while reading “Millions” — and I knew the story.
Twenty years ago, a friend of mine, Steve Swanson, recommended Lytton Strachey’s “Eminent Victorians” as a classic in the field of biography — and a delightful read as well. I’ve owned a copy for nearly that long, but only now have come to make my way through it, and I find that everything Steve said about the book is true. Even more so. If you’re interested in history — in reading history and learning about history — you will relish “Eminent Victorians” for its psychological insights, its clear understanding of the landscape of a particular society, its honesty and courage, and Strachey’s skill at crafting sentences and turning phrases.
What happened two centuries ago on Aug. 15, 1812, on the Lake Michigan shore near what is now 18th Street has long been called the Fort Dearborn Massacre. But it wasn’t a massacre. It was a battle in two simultaneous wars.
Back in the 1990s, I saw a movie, set in a big city, that focused on a small group of people who wore very distinctive uniforms. This group wasn’t carrying out its mission very well. The members of the group were portrayed in the film stereotypically. One was gullible. One prayed too much. One was really, really dumb. But then they were saved when someone came from completely outside the group, someone totally unexpected. She got everyone working together. And the group was suddenly successful. The actress who portrayed that woman was Whoopi Goldberg. And the film was? No, it wasn’t “Sister Act.”
I found “Outliers: The Story of Success” by Malcolm Gladwell to be quick and entertaining to read — and ultimately dissatisfying. Part of it has to do with Gladwell’s glibness. And part with the sense he conveys of having discovered some inner secret to life.
Midway through “The Giant O’Brien,” I was more than a little lost. I couldn’t quite figure out how to take Hilary Mantel’s tale of the 18th-century Irish giant Charles O’Brien who comes to London to exhibit his massiveness and make his fortune — and crosses paths with John Hunter, a renowned surgeon, scientist, collector of bones and dissectionist.
Perhaps the best way to write about Paul Fussell’s 1975 masterpiece “The Great War and Modern Memory” would be to simply list willy-nilly some of the myriad insights, observations, facts, quotations and other interesting stuff that Fussell artfully, with ever so much care, throws on the page. When he died in May, one of the many British obituaries for Fussell, an American, described “The Great War and Modern Memory” as “magisterial.” I’m afraid, though, that the word suggests that Fussell’s book in some way gives a complete picture of World War I and its impact the past century, that it in some way fits all that into an understandable context, a frame in which the events of the war and its after-effects all have a place. Really, though, “The Great War and Modern Memory” is something very different — a hodge-podge of material. And that’s a good thing.
Now, let’s take these characters and make a novel! Ooops! I’m afraid I’m jumping the gun a bit here. I should tell you first what I’m talking about — “Imagined Lives,” a wonderful hybrid of a book newly published by the National Portrait Gallery in London. Since 1856, the Gallery has been collecting portraits. In some cases, though, a portrait of, say, Mary Queen of Scots has turned out to be, well, not her. So the Gallery has a bunch of paintings once thought to be of famous or semi-famous people, now more honestly described as being of unknown people. Or as Tarnya Cooper says in an essay, “lost souls whose quest for immortality has proved only partially successful.” In other words, their portraits were striking enough or beautiful enough or quirky enough that they’ve survived centuries, even if the names of the sitters have been forgotten. Imagined bios Last December, Cooper brought together 14 such paintings from the 16th and 17th centuries for a six-month exhibit at the Gallery — with an added twist. Eight prominent writers — John Banville, Tracy Chevalier, Julian Fellowes, Alexander McCall Smith, Terry Pratchett, Sarah Singleton, Joanna Trollope and Minette Walters — took one […]
Hello, newly minted college graduate. How are you liking real life? Scary, right? Especially for a young adult. Gone are the days when a parent could make a decision for you. And you’ve got some big decisions to make. To start making. That’s the thing to remember about decisions. They really do affect the course of your life. At the same time, they’re never final and absolute. What kind of work will you do? Where will you live? How will you live? Who will you love? What sort of person will you be? All these are questions that you have to begin answering. And each answer you come up with will begin to define you as your own person. None of these questions, however, will ever be fully answered. From the moment of your birth until your death, you’re a work in progress.
The North wasn’t the Promised Land. Or was it? The North didn’t have Jim Crow laws written into the books to keep African-Americans down. But it did have James Crow, a term for the attitudes of white Northerners and their unions and government officials and institutions limiting the extent to which a black person could be free. In Chicago, for instance, an African-American could vote, but, throughout most of the 20th century, he’d better not try to move into the Bridgeport neighborhood. And then there were the race riots in Northern cities, sparked during much of U.S. history by lower-class immigrant whites against blacks. “These violent clashes bore the futility of Greek tragedy,” writes Isabel Wilkerson in “The Warmth of Other Suns: the Epic Story of America’s Great Migration.” Each outbreak pitted two groups that had more in common with each other than either of them realized. Both sides were made up of rural and small-town people who had traveled far in search of the American Dream, both relegated to the worst jobs by industrialists who pitted one group against the other. Each side was struggling to raise its families in a cold, fast, alien place far from their homelands […]
Initially, I wondered if, in 1953, Robert Heinlein had had the still-very-new state of Israel in mind when he published “Revolt in 2100,” a collection of two short stories and a novella. That’s because the novella “ ‘If This Goes On…,’ ” which opens the book, centers on the efforts to overthrow a theocratic, totalitarian United States of America, governed by a Prophet Incarnate. I thought at first that maybe Heinlein was thinking about the potential of a faith-centered nation, like Israel, evolving into something repressively rigid. But then I realized that Israel was nothing more than a gleam in Zionist eyes in 1939 and 1940 when the novella and the other stories first saw the light of day. So I was left thinking that, for Heinlein, maybe the Prophet Incarnate was a stand-in for the Japanese emperor and the quasi-religious governmental structure that supported him. Or, more likely, for Adolf Hitler, with the religious element of the Prophet’s regime serving as a parallel to Nazism. In this case, the scapegoats of the Prophet’s regime, called pariahs, would be parallels for the Jews, homosexuals, Gypsies and other “non-peoples” identified and targeted by Hitler in the Holocaust. Of course, it really […]
“The Bear,” which was included in William Faulkner’s collection of seven fiction pieces in “Go Down, Moses” in 1942, has been called a short story. It’s also been labeled a novella. At 40,000 words or so, it is considered by many to be a novel. (Indeed, I read the piece in a collection titled, “Nine Short Novels.”) To further complicate matters, “Go Down, Moses” has been thought of as a grouping of related short stories, but Faulkner contended that these stories, taken together, formed a novel. I haven’t read the other six pieces in “Go Down, Moses,” but, about “The Bear,” I can say it’s something very much like an epic poem. The Iliad is about a war. The Odyssey is about a journey. “The Bear” is about something internal, an inner rot, a peculiarly American sin, the Original American Sin, if you will — slavery. This is the corruption that slavery wreaks upon the whites who see themselves as masters, and upon their children and children’s children — often, as in this story, brothers and sisters, cousins and kin of different colors. And not just slavery, but that particular American skill of turning land into real estate, the soil […]
Rembrandt had been dead for half a century when Arnold Houbraken wrote in one of the earliest biographies of the painter: And as to his female nudes, the noblest subject for the artist’s brush, the representation of which earned the fullest attention of the most celebrated old masters, well, as the proverb says, “too sad a song either to be sung or to be played.” His nudes are all sickening displays and one is astonished that a man of so much talent and imagination could have been so perverse in the selection of what to paint. Later, Houbraken quotes poet Andries Pels: If, as he sometimes did, he painted a naked woman, He took no Grecian Venus as his model but rather A washerwoman, or a peat-treader from a barn. He called this idiocy “copying nature” And everything else vain ornament. Flabby breasts, Contorted hands, even the creases left by straps On the body, or garters on the leg, They must all be copied else nature was not satisfied, His nature, that is, which tolerated neither rules Nor principles of proportion in the human figure. So, here is Rembrandt, one of the giants of Western art, being excoriated for his […]