The 21 poems in John A. Griffin’s chapbook Absences: A Sequence appear very orderly. Each is 20 lines long.  Within each poem, the number of syllables per line is roughly the same. So, even though some have longer lines than others, the appearance of these handsomely printed poems is very similar, like nearly rectangular blocks of type, sort of brick-like, building blocks, if you will. Yet, that appearance deceives.  These are mournful — mourn-filled — poems, fevered with grief.  Grief for the death of a father and grief for the death that is coming for each of us.  Grief for absences. Indeed, the first poem in this collection, just published by The Esthetic Apostle and available at amazon.com, is titled “Caoineadh,” the Irish word for keening. More visually expressive of what’s in the poems are the four illustrations by Dutch collage artist Martine Mooijenkind.  Her illustration for the cover is titled “Lost,” while the three that accompany the poems are “Water on the moon,” “Gentle,” and “Angst.” They are jagged, harsh and deliberately crude.   “What ebbs withdraws” And, once you get into the poems themselves, you won’t be confused. In fact, it seems that Griffin, an Irish-born […]

One of the seven short essays in Gustaf Sobin’s final book Aura, published in 2009, is about the deep, unremitting darkness of medieval times. And about light, then and now. We can’t imagine how dark it was. We, with our street lights and electric light switches and automobile headlights and cellphone screens and television screens and flood lights and lighted sports stadiums. Not without Sobin’s help. The medieval night was very dark for anyone inside a home or castle or building of any sort. The only illumination  was from one or more candles. The churches and the rich had wax candles, but not the rural French, as Sobin explains: In such humble surroundings, it was more likely that tallow candles were burnt, the tallow itself drawn from the fat of goats, sheep and bovines…. Even if such candles could be considered a marked improvement over oil lamps with papyrus wicks like those employed during the Merovingian [reign, roughly 450-750 A.D.], or the torches and firebrands of pine and birch bark during the Carolingian [751-814], the little rings of light that they shed remained, nonetheless, minimal.   “Those wobbling, incandescent rings” So minimal were those “little rings of light” that they might, […]

I’ve never been to the Burren in western Ireland or, for that matter, to Ireland at all.  But my curiosity was piqued when I heard about Gordon D’Arcy’s 2006 book The Burren Wall. It’s about the thousands of miles of stone walls that criss-cross the stark obdurate Burren landscape of grasslands and heath — human-made lines fashioned with unmortared rocks piled atop one another. When D’Arcy writes of the Burren wall, he’s referring to a general type of wall that’s found in the region, a very simple construction, built from human sweat and muscle, dating from just the other day to more than 5,000 years ago. As the photographs in his book show, these walls give the land a strikingly distinctive look.  They also provide a home for a rich array of flora and fauna.   No knowing Much about these walls is mysterious.  There is, for instance, no knowing who put up what wall.  Nor, aside from classifying a particular wall in a general era of hundreds or thousands of years, knowing when that wall was created. As D’Arcy notes, you might describe any of these walls as a land boundary, but there’s more to it than that.  He […]

The dainty Persian bells would jingle in the middle of the night when Alfred Busi’s wife Alicia would go downstairs to the larder for a snack. “What could it matter if she seemed a little plump, so long as she was well and happy with her life?” But, now, Alicia has been dead for two years, and, hearing the melody of the bells, Alfred, a 60-ish singer-songwriter near the end of his career as Mister Al, makes his unsteady way in the dark.  As the open door of the pantry, suddenly, “something fierce and dangerous,” pungent with odor, barrels out at him: “Not a bad smell, actually.  Not excrement.  Not sweat.  More a mix of earth and mold and starch.  Potato peel. The creature’s skin [feels] as smooth, as damp, as lightly pelted as potato peel.  Naked too.  Naked as potato peel.” This creature — whom Alfred comes to believe is a child, a boy, living wild in the nearby thick woods — sinks his teeth into the singer’s hand and grabs his throat, tearing at his neck. And then is gone.   Nature as a major character In The Melody (Doubleday, 225 pages, $26.95), the new novel from English […]

Well, when you get down to it, isn’t life a trick? You’re born and spend your whole existence on Earth trying to figure out what it all means. And then you die. The Big Trick. No wonder, then, that, throughout human history, culture after culture has developed a mythology that has included at least one character who is a trickster. This is especially true among Native Americans where the multiplicity of tribes has resulted in a multiplicity of tricksters. Tricksters of all sorts, some cunning in their deviousness, others hapless when their tricks backfire. Some who are responsible for the creation of certain rock formations or the stars in the night sky, and some whose tricks are the reason certain animals look the way they do.   “The original people of this land” Trickster: Native American Tales, a graphic collection was put together by Matt Dembicki, a Washington, D.C.-based comics creator. He writes in an afterword that he got the idea for his collection when, at a local library, he came across the 1998 book American Indian Trickster Tales by Alfonso Ortiz and Richard Erdoes. He was enthralled by the variety of stories, featuring a wide range of animals. Although […]

    Jack Finney’s 1970 time-travel novel Time and Again is a lot of things, including a cult favorite. It’s a science fiction novel inasmuch as it deals with time travel.  The method for making such a trip, though, doesn’t have much snap. Here’s how it works: Simon Morley, a commercial artist and the novel’s central character, steeps himself in the history and daily life of 1882, then he lives for a time in a setting that hasn’t changed since then (the Dakota Apartments in New York City) and then he self-hypnotizes himself, falls asleep and, when he awakens, he’s back there in time. So, there’s no wormhole, no elaborate machinery, just auto-suggestion.  As I said, not much snap.   Suspense It’s a suspense story, at least for the first 40 or so pages, when Morley is being recruited for what he’s told is an adventure that can’t initially be specified and then for the next 70 pages as he’s tested, accepted and trained for his journey. That suspense dissipates somewhat when Morley makes the first two of four trips across 88 years.  In part, that’s because he’s been warned not to do anything that might alter the course of […]

Abraham Lincoln by Adam I.P. Smith was published in 2014 by the Britain-based History Press as part of its Pocket Giants series of very short — 100 or so pages — biographies of great world figures. It’s a series that includes works about Jesus, Jane Austen, Napoleon, Queen Elizabeth II, John Lennon, King Arthur and Buddha, among many others. The idea, of course, is that these biographies are extremely concise, but there’s also a bit of a flair to them. They don’t read like a long encyclopedia (or Wikipedia) entry but take a point of view. For example, Nick Higham’s book on King Arthur focuses on the question of whether there was a real person at the heart of the myth and looks closely at how layers of story and anecdote were added to the legend throughout the centuries. Smith’s aim in Abraham Lincoln is to explain his subject to non-Americans who aren’t steeped in the vision of the 16th U.S. President as a civic saint, a martyr for the nation and a political and patriotic touchstone. Smith writes: Abraham Lincoln qualifies as a historical ‘giant’ not because of the ways his image and the stories about him have drawn […]

.There is no point to the study of history if each event, each action, each decision is seen in some mechanistic manner — as if what happened had to happen. The reality is that whatever happened might have been different. That’s why we study history.  We learn from history by looking at the results of an event, an action, a decision, and by considering how those results might have been different. What if George Washington had been shot in the fall of 1777?  What if Captain Patrick Ferguson of the British Army had chosen to pull the trigger when he had Washington in his sights?  If Ferguson had fatally shot the commander of United States forces at that particular moment, he would have changed the Revolutionary War in a drastic way. The lesson, here, is that an individual’s action (or, in this case, inaction) can have huge ramifications. Obviously, powerful people, such as queens and generals, make decisions that change the direction of the arrow of history, but, as the story of Ferguson shows, an Average Joe who is at the right spot at the right moment can also shift things.   Dozens of historical moments The Ferguson-Washington encounter is […]

People get obsessed.  They get obsessed with growing orchids.  With the fortunes of the Los Angeles Lakers or the Cincinnati Reds or the Cleveland Browns.  With the stock market. With mountain-climbing.  With old books.  With eating fancy meals. Michelle McNamara was obsessed with tracking down the man she named the Golden State Killer. This obsession grew out of her website True Crime Diary, launched in 2006.  In I’ll Be Gone in the Dark, she explains: When my family goes to sleep, I time travel and reframe stale evidence using twenty-first-century technology.  I start clicking, scouring the Internet for digitized clues authorities may have overlooked, combing digitized phone books, yearbooks, and Google Earth views of crime scenes: a bottomless pit of potential leads for the laptop investigator who now exists in the virtual world. I share my theories with loyal regulars who read my blog. I’ve written about hundreds of unsolved crimes, from chloroform murderers to killer priests.  The Golden State Killer, though, has consumed me the most. When the rapist-killer was active from 1976 through 1986, his crimes occurred in and around three California locations:  Sacramento, Santa Barbara and Orange County.  He was known as the East Area Rapist for […]

Patricia Hampl laughs and says, “I have a list.” We’re talking over the phone about that bane of modern life, the to-do list, she in the kitchen of her St. Paul, Minnesota, home and me in Chicago in my own kitchen. I’ve just mentioned that interviewing her is on my to-do list for the day. It’s humorous because the subject of our conversation is her new book The Art of the Wasted Day (Viking, $26) which is about daydreaming, the antithesis of list-making. It’s about how rich life is when one focuses, at least part of the time, on being rather than on doing. “Pursuit” The idea of constantly doing something, of always accomplishing something, seems to be woven into the American DNA. Indeed, as Hampl, a critically hailed essayist, poet and memoir writer, notes in her book, the Declaration of Independence promises the unalienable rights of life, liberty and the pursuit of happiness. Which means that, while life and liberty are guaranteed, happiness isn’t, only the job of seeking it. “The essential American word isn’t happiness. It’s pursuit,” she writes. Over the phone, she expands on this: “Any form of rest in our culture is seen as sloth — […]

It is a bit perplexing that the ancient story of David — the giant-killer, king, adulterer, father, sinner and old man — doesn’t have its own book in the Hebrew Bible. Instead, it’s spread over two full books (1 Samuel and 2 Samuel) and part of a third (1 Kings), 65 chapters in all. As a separate book, David would be the longest in the Bible with 40,000 words, much heftier than the actual leaders, Jeremiah with 33,000 and Genesis with 32,000. Yet, maybe it makes sense, given that David’s story is so sprawling and so meaty and so full of character, event and human dilemmas. A single book of David would be something akin to a single Shakespeare play that would include the plots and psychological depths of Macbeth, Hamlet and King Lear. Does that sound like an overstatement? Consider what Robert Alter writes at the start of his 1999 book The David Story, a translation of all 65 chapters with a detailed commentary: The story of David is probably the greatest single narrative representation in antiquity of a human life evolving by slow stages through time, shaped and altered by the pressures of political life, public institutions, family, the impulses […]

Let me make clear I’m no cook or baker. I have, I’ll admit, followed the directions to produce a Betty Crocker cake (with canned frosting) with relatively edible results. And, over the years, I’ve been able to put various food things in front of my wife and children when it was my turn in the kitchen, and there were few outright refusals. And I do like to eat. But the ingredients of meals, such as cabbage and cauliflower, pesto and olive oil, pears, asparagus, avocados, salt, apples, basil, artichokes and cream cheese, are pretty much a mystery to me. So, maybe I shouldn’t be reviewing Elizabeth Cohen’s collection of 32 seemingly kitchen-centered poems, The Patron Saint of Cauliflower, from Saint Julian Press in Houston. On the other hand, I think I have something to say. What I found particularly interesting about Cohen’s book was how I wasn’t lost in all the recipe language and garden harvests. That’s because, for all its talk about vegetables and seasonings, it’s not really about food. Or, better put, Cohen uses food as a doorway into the mystery at the center of all things.   Thoughts of future pain and incident Her opening poem is […]

Christopher Moore, the author of 15 wacky novels, explains in an afterword that he had planned for his latest book Noir to be about a “poor working mug” who got entangled with a “dangerous dame” in a dark and desperate story that involving a lot of fog, gunplay and danger. “What I ended up with is essentially ‘Perky Noir,’ a lot closer to Damon Runyon meets Bugs Bunny than Raymond Chandler meets Jim Thompson…But what was I going to do? ‘Noir’ was already typed at the top of every page.” The central character of a Christopher Moore novel is always a beta male, i.e., a nice guy who’s more than a little aimless, distracted and confused. In Noir, that’s Sammy Tiffin, a bartender in 1947 San Francisco who has a damaged foot and a past that he fears will catch up with him.   The Cheese Often, Moore’s guys are rather randy fellows, such as Pocket, King Lear’s jester in Fool, his 2009 adaptation of Shakespeare’s play. Moore is nothing if not gutsy when grabbing and remaking the works of great writers from the past. Indeed, he even retells — hilariously and, in an odd way, reverently — the story […]

A Gentleman in Moscow by Amor Towles, published in 2016, is a pleasant book, so playful and light that I fully expected to find, once I’d finished reading the novel, that a feel-good movie was planned starring Tom Hanks as Count Alexander Rostov. I was wrong. It’ll be a feel-good mini-series, starring Kenneth Branagh as Count Alexander Rostov. On the way to finding that out, I stumbled across a review that called the book Tolstoyan and asserted that it was a worthy update of the Great Russian Novel. I think that reviewer is wrong. True, like Anna Karenina, there is an attempted suicide in A Gentleman in Moscow. The difference is that, in Tolstoy’s masterpiece, Anna is successful, while the Count’s plan is interrupted comically at the last second by an old man obsessed with bees. True, A Gentleman in Moscow is set in Russia as are all Great Russian Novels. But where is the existential angst in the Towles book? Where is the evil? The closest thing to evil is a small-minded party member who’s nicknamed the Bishop for his overweening pomposity. But his appearance on the page never elicits dread. Instead, he’s a comic figure who sets in […]

It’s not often that the National Catholic Reporter gets quoted in an art book. Nonetheless, the Catholic newspaper’s headline over a 1995 story by Demetria Martinez commenting on popular notions of how a woman’s body should look was incredibly apt for a book titled Zaftig: A Case for Curves. The headline read: “When it comes to women and bodies, God probably said: Let there be flesh.”     A spindly Venus Edward St. Paige who wrote the text and assembled the images in Zaftig notes on an early page: “The tendency of the female body is endomorphism (round and soft), but that has not kept humankind, at various times, from preferring one or another body shape, and using the mysterious force of fashion to promote and reward the prevailing ideal.” Of course, we’re in one of those moments now. St. Paige shows a variety of images of rail-thin women from the 1920s as well as a 16th century painting of a spindly Venus by Lucas Cranach. But he spends very little space on such thin bodies.   Attractive and desirable His purpose, rather, is to celebrate womanly fullness as expressed in art throughout the ages. The nearly 140 images in […]

At the end of The March of Folly, on its last page, historian Barbara W. Tuchman writes that the best way to avoid folly by government — the folly fueled by ambition, corruption, laziness, arrogance, ignorance and emotion — might be to follow the Lilliputians. Those tiny residents of the isle of Lilliput in Jonathan Swift’s 1726 satirical novel Gulliver’s Travels choose their leaders this way: “They have more regard for good morals than for great abilities, for, since government is necessary to mankind, they believe…that Providence never intended to make management of publick affairs a mystery, to be comprehended only by a few persons of sublime genius, of which there are seldom three born in any age. They suppose truth, justice, temperance and the like to be in every man’s power: the practice of which virtues, assisted by experience and a good intention, would qualify any man for service of his country, except where a course of study is required.” Pretty simple, right? A good leader is most likely one with a good character. A good leader, writes Montaigne, also quoted by Tuchman, needs to have “resolution and valor, not that which is sharpened by ambition but that which […]

When characters become the central figures in a long-running series of novels, they enter into some other dimension where they may age but essentially remain the same — where they don’t experience the passing of years in the way the reader does. For instance, in The Mysterious Affair at Styles, Agatha Christie’s first published mystery, Belgian detective Hercule Poirot is already old. What “old” means isn’t specified, but it would seem not a stretch to say he’s at least 50. This book, written in 1916 and published in 1920, was Poirot’s first appearance. He was the center of 32 later books (out of Christie’s 66), and, by the final one, Curtain, he is definitely old — suffering from heart attacks and in a wheelchair because of his arthritis. Curtain, although written in the early 1940s, was published in 1975, or 55 years after The Mysterious Affair at Styles. Was Poirot 105 when he was solving his last case? Nah. He was residing in that dreamworld of long-running fictional characters.   A full-fledged Christie The Mysterious Affair at Styles, as a Christie murder mystery, is of course complicated although her plotting here seems a bit clunkier than it would be later […]

In November, 1902, Jack London wrote his non-fiction investigative book The People of the Abyss about the life of the poor of the East End of London. He’d spent seven weeks living there a few months earlier. Of the city’s 6.2 million residents, one in 14 lived in grinding oppressive poverty. Or, as the writer put it: “At this very moment, 450,000 of these creatures are dying miserably at the bottom of the social pit called ‘London.’ ” A month after writing The People of the Abyss, London was at work on the novel that made his name, The Call of the Wild. Both books were published in 1903.   A rejection of civilization? To my mind, there is a direct connection between the two books, and it has to do with a little-discussed aspect of The Call of the Wild. In his non-fiction book, London detailed the world that civilization made — a world in which nearly half a million “creatures” were left on a human trash heap, left to find their way for as long as they could struggle, left to a miserable life and an early death. In his novel, London told the story of the un-taming […]

A child of her age, born in 1946, Patricia Hampl did her share of protesting in the streets as a young adult, against war, for human rights, and, through it all, she was proud of her nation’s founding document the Declaration of Independence and its words: “Life, liberty and the pursuit of happiness.” What other country, she asks in The Art of a Wasted Day, is founded on happiness? Crazy. Good crazy…. We address happiness individually, conceive of it as an intensely personal project, each of us busy about our own bliss. Loved that, love it still. And, yet — as she came to realize later in her life, the Declaration guarantees life and liberty but not happiness, only its pursuit. Happiness in the American credo is a job. No wonder that Hampl, like a lot of Americans, found herself with a to-do list that seemed a mile long. No wonder, too, that, in her fifties, she found herself the victim of panic attacks.  (See my interview with Hampl in the Chicago Tribune.)   “Taking in whatever is out there” No wonder that, in the face of such stress and distress, she decided to embrace daydreaming and redefine happiness as […]

On the opening page of his text for The Madonna, Jean Guitton, a French philosopher and theologian, notes that, in the Gospels, Mary doesn’t say much. That got me thinking, and, after a little Internet searching, I came across an article that listed the four times when an evangelist quotes the mother of Jesus — twice before his birth and twice after. Guitton’s essay in The Madonna, published in 1963, is interesting but seems theologically dated to me. Instead, I like the idea of considering the many beautiful images of Mary in this book next to the words that Mary says in the Gospels. In presenting them here, I’m not making a direct correlation between image and word. I’m looking at how the two methods of getting to know Mary interact. “I am the handmaid of the Lord” The first instance in which Mary is quoted is the Annunciation (Luke 1: 26-38) when the angel Gabriel comes to her, and this conversation takes place: “Hail, favored one! The Lord is with you. Do not be afraid, Mary, for you have found favor with God. Behold, you will conceive in your womb and bear a son, and you shall name him […]

During a seven-year period, starting the Great Depression and extending into World War II, sixteen talented photographers from the Farm Security Administration (FSA) recorded more than 270,000 images of daily life in America. Often, these photographers would be asked by their subjects why they wanted to take their picture. “For history,” some of them replied. Larry A. Viskochil mentions this in his opening remarks for Chicago and Downstate: Illinois as Seen by the Farm Security Administration Photographers 1936-1943, which he co-edited with Robert L. Reid. It’s an answer that goes to the core of the FSA effort. The subjects of the FSA photographs tended to be those hardest hit by the harsh economic times and least likely to make a record of their own of what they were going through. They were, in other words, the sort of people who are easily lost to history.   The lives of the common people Consider simply the question of clothing: It’s easy enough to know what King Henry VIII and other royals of his era wore. They posed for many paintings that have survived. But what did the common people put on in the morning or, for that matter, upon going to […]

Daniel James Brown tells an exciting and engrossing tale in The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics. It’s a page-turner, and that’s quite an accomplishment, given that most readers know little or nothing about rowing when they pick up the book and given that, when all is said and done, the eight-oar crew of students from the University of Washington essentially went undefeated during their four years on the water. (Actually, because of changing boat assignments, it was three of the crew members who were undefeated. But even the other five lost very few races while on other crews.) Brown does a good job of explaining how a crew does its job, from the use of the oars to the strategy of the coxswain, from the different responsibilities of each of the nine seats to the grueling physical workout that a race entails. In this and many other ways, he brings the reader deep enough into the world of rowing to know what’s at stake in a race and to feel the yearning and commitment of the rowers to triumph. To humanize his story, he focuses on Joe Rantz, […]

Throughout my 20s, I read a lot of Agatha Christie mysteries, nearly all of them, I suspect. So I’m sure I read Curtain, published in 1975 when I was in the midst of all that reading. It was the last novel published by Christie during her long life, but it had been written in the early 1940s during World War II when she, like many Britons, wasn’t sure she’d survive. Subtitled Poirot’s Last Case, the novel ends with the curtain coming down on the little Belgian detective. Yet, even in death, he solves the mystery, with a particularly unexpected turn. Back at the beginning Curtain was published four months before Christie’s death. It was followed a year later by Sleeping Murder: Miss Marple’s Last Case, also written in the early 1940s — but, by contrast, not involving Miss Marple’s death. In drafting Curtain, Christie playfully locates Poirot’s last case in the same setting as her first Poirot novel — her first published mystery — The Mysterious Affair at Styles, written in 1916 and published in 1920. In that first book, the matriarch of Styles, a country manor in Essex, was murdered with strychnine. In Curtain, set many years later, Styles […]

Rincewind — the cowardly and inept wizard whose main skill is his ability to fear so well that he is able to escape from and survive great threats — is the main character in three of Terry Pratchett’s first five Discworld novels, and he makes a cameo in a fourth. He’s far from my favorite character in the Discworld series, and I’ve seen quotes that indicate Pratchett, at least later in his career, wasn’t all that enamored of him either. He’s a one-note Johnny. That, it would seem, was helpful to Pratchett at the beginning when Rincewind served as a kind of Everyman with whom readers could relate. He would move through the novel — like a lot of the central characters in novels by Charles Dickens — and meet a bunch of much more interesting people. Like Conina, the female assassin here in Sourcery, the fifth Discworld novel, the daughter of Cohen the Barbarian, who wants to be a hairdresser but is doomed by hereditary to seek adventure, danger and triumph. And the Librarian, an orangutan who used to be human and has a lot more on the ball than a lot of humans.   Ipslore the Red Actually, in […]

The Griff, published in 2011, is like many another graphic novel, which is to say that it’s like many a megaplex blockbuster. Tell me if this sounds familiar: Invaders from outer space (in this case, big flying, fire-breathing dragons) attack the Earth and kill off just about everyone. The only people left are a bunch of misfits (in this case, a game developer, a guy who worked the makeup counter at Macy’s, a dolphin trainer, a guy dressed in a squirrel outfit, a private first class, and a skateboarder) who set out to save the world. And do.   Along for the ride What sets The Griff apart is that one of its co-authors is Christopher Moore, the writer of a string of very, very funny novels. The other is Ian Corson, a filmmaker. The guy who did all the drawings is Jennyson Rosero, and he should probably get more credit than a “with.” In any case, Moore is a very funny guy, but The Griff isn’t all that funny. It appears from Moore’s foreword and Corson’s afterword that the two had a lot of fun writing the text — essentially, a script for a movie that they don’t expect […]