Flying and nesting

This week’s episode of the Great Books podcast covers The Name of the Rose, by Umberto Eco, which I read early last year and made my year-end best-of list. During their discussion, host John J Miller and guest Andrew Hui tease out of a lot of the seemingly endless riches of this novel but give special attention to Eco’s allegorical presentation of two kinds of learning, or two visions of the purpose of books: the closed and the open.

The closed vision is exemplified by the blind old monk Jorge of Burgos (a play on Jorge Luis Borges) and by the Aedificium, the monastery’s labyrinthine “closed stacks” library, which locks knowledge away. In this vision, books and learning are for preservation and understanding, a project of continuity. The open vision presents books and knowledge as a tool of continuous inquiry and is represented by the novel’s hero, William of Baskerville, who pursues a project of constant revision.

I don’t think I could have articulated this without Miller and Hui’s discussion. This is a major theme of the book and brilliantly brought to life in the plot. But what is frustrating in Eco’s exploration of this theme is that—in addition to coming down in William of Ockham’s nominalist camp, a gross error that must stem from Eco’s postmodernisms—he presents these two visions as fundamentally opposed: closed or open; preservation or inquiry; continuity or revision. Eco is too subtle to get preachy about it, but he constantly nudges our sympathies toward the latter in each pair.

But learning—or, worse, an entire society—built only on openness, inquiry, and revision will become unstable, something that should be obvious these 45 years on from Eco’s book.

I’ve had a few friends and acquaintances over the years who operated like this to a fault. I remember one saying many times that the goal of reading and research was to be able “to ask more interesting questions,” never to get answers or to know anything. (It occurs to me now that he actually used a picture of Sean Connery as William of Baskerville as a social media avatar for a long time.) Others, especially in grad school, never treated any topic as settled—except the need to keep every topic unsettled. They were the “Question everything” crowd, who followed through on questioning everything—except the command to question.

An endless recursion to questioning might be enjoyable to some people—and, indeed, this type is usually impossible to pin down on any topic, a trait they seem to think is puckish but quickly becomes annoying—but our minds aren’t designed for that. Even Socrates was always driving at some kind of final answer.

When the open and closed are set in opposition, as in Eco’s story, we get a demand that birds either only fly or only nest when the two actions are complementary. Birds have to fly out to explore, if only to find food, but they also have to land somewhere. Birds that never leave the nest will die—a fact that’s become proverbial—but likewise birds that never land and never build will never rest, never lay eggs, and never send forth a new generation to fly.

Ties that could never be chosen

Yesterday Alan Jacobs shared a thought-provoking short post on “the redefinition of all legitimate relations as contractual ones and the consequent rejection of the validity of any connections that are not explicitly chosen,” a deep cultural shift that has made all of us more autonomous and less human. Jacobs mentions family ties specifically, which we all receive rather than select, and includes the following quotation from the late Sir Roger Scruton’s final book, a study of Wagner’s Parsifal:

Liberal individualism is an attractive philosophy, and has produced beautiful and influential theories of political legitimacy, including those of Locke, Harrison, Montesquieu, Rousseau and, in our time, John Rawls. But it does not describe real human beings. What matters to us, far more than our deals and bargains, are the ties that we never contracted, that we stumbled into through passion and temptation, as well as the ties that could never be chosen, like those that bind us to our parents, our country, and our religious and cultural inheritance. These ties put us, regardless of our aims and desires, in existential predicaments that we cannot always rectify.

As it happens, I’ve just finished reading a new edition of Waltharius, an early medieval Latin epic about Walter of Aquitaine. The poem is set in the mid-fifth century world of the Franks, Burgundians, Visigoths, and Huns. The action begins in the court of Attila somewhere in central Europe. There, we meet:

  • Walthari, heir to a Visigothic kingdom in the west

  • Hildigunda, daughter of the Burgundian king

  • Hagano, a Frankish nobleman

All three are hostages to Attila, collateral in a peace deal between Attila and their respective kingdoms. Further, Walthari and Hildigunda have been pledged to each other in marriage since childhood, and Walthari and Hagano, through the trials of combat in the ranks of Attila’s allied fighters, have become fast friends.

But then the peace treaty between Attila and the Franks ends and Hagano flees before he can be killed, and when Attila, as a reward for Walthari’s brave and loyal service (being a medieval hostage involved a lot more collaboration with one’s host than the word suggests now, and could be quite cushy), announces his plan to marry Walthari into his family and keep him on permanently, Walthari decides to flee, too, and to take Hildigunda with him. They love each other and don’t want their childhood betrothal undone.

One might expect a frantic pursuit across Europe but Walthari and Hildigunda’s flight goes smoothly until they reach Frankish territory. There, Gundahari attempts to stop them and confiscate not only Walthari’s horse and treasure but Hildigunda herself. He calls on Hagano’s aid, but Hagano refuses to fight his old friend until ten other men—including, crucially, some of his own kinsmen—have been killed. The climactic action is akin to that six-minute brawl in the alley in They Live, a brutal knock-down drag-out that ends with renewed friendship.

Much of the tension in Waltharius therefore comes from the attempts by the characters to honor unchosen obligations. Namely:

  • Walthari, Hildigunda, and Hagano’s hostage relationship with Attila, which was chosen for them by their families (and is threatened by events back home and Attila himself)

  • Walthari and Hildigunda’s betrothal, which was chosen for them by their parents (and is threatened first by Attila and then by Gundahari)

  • Walthari and Hagano’s friendship, which was chosen for them, in a sense, by Attila and their families (and is threatened by Gundahari)

  • Hagano and Gundahari’s lord-vassal relationship, which was chosen for them by Gundahari’s succession (and is threatened by Gundahari’s presumption and Walthari’s skill with a sword)

Per Scruton, these are conflicts that cannot easily be resolved, if at all, and medieval people were acutely aware of that. The conflict of obligations is hardly unique to Waltharius. Think of the Volsungsaga, in which Signy must not under any circumstances fail to avenge her father, but can only do so by killing her husband Siggeir, whom she must not under any circumstances fail to protect. No happy ending there.

In each case above, the characters must choose which obligation is prior, and honor that. One suspects that a modern person in similar circumstances would nope out of there, as the kids say. Medieval people had a word for that.

That “we cannot always rectify” such “predicaments” does not make them absurd, however. The unchosen is prior to and deeper than any transactional alternative that the world of what Jacobs calls “metaphysical capitalism” can offer. But one wonders, given the inescapable success of the commodifying, transactional vision of the world, whether a story like Waltharius is even intelligible to modern people.

All the more reason to read, study, and share it.

Take a minute to read all of Jacobs’s post, as well as the handful of earlier posts he links to at the top. The edition of Waltharius I read is an updated version of Brian Murdoch’s translation published by Uppsala Books. It’s a delight. Check it out here or at Uppsala’s website here.

2024 in movies

2024 turned out to be a good year for forces of nature. From tornados to sandworms, vampires, and giant radioactive lizards, the movies I liked most showed a welcome return of the genuinely monstrous. The misunderstood villain, whose wickedness is explained away as the result of marginalization—or whatever—has had its moment for several years and seems to be going strong, but I’m hoping a new recognition of evil and our need to resist it will take firmer root and let us dramatize and celebrate goodness again.

So much for my hopes for the future. In the meantime, I often start these movie recaps lamenting how little there is to be excited about at the movies, but the truth is that this year I was so busy, pulled in so many different directions, that I barely had time to think about the movies and was lucky to catch even a handful in theatres. 2024 was, therefore, short on good new movies for me but with plenty of good older movies to discover, as we’ll see.

Nevertheless, let me start with the handful of standout new films, presented in no particular order:

Dune: Part Two

A worthy follow-up to Villeneuve’s first Dune, further developing the characters and the world of Arrakis and taking the plunge into the weirder aspects of Herbert’s fiction. The highlight, for me, was the gnarly climactic attack involving sandworms. I think the first part is still the better movie overall, as I thought a few of the performances here faltered under the weight of the story, but that’s the difference between an A+ and an A-. Dune: Part Two still shows more craft and care for the story than the majority of movies coming out right now. Full review from back in the spring here.

The Wild Robot

My kids love Peter Brown’s Wild Robot novels, and having finally gotten around to reading the first one myself—I finished it using a flashlight during the Hurricane Helene power outage—I shared their excitement for the movie. The Wild Robot is beautifully animated, and while it departed from Brown’s novel too much for my taste, enough of the spirit and tone of the book was there to be really enjoyable. Fun, funny, moving, and exciting, this is a genuine family movie in that it worked both for me and my kids.

Twisters

This movie generated some weird hostility online, which I have to credit to the derangement of internet bubbles. Twisters is good straightforward entertainment, with a simple story executed well, good performances, and good special effects. And, as I noted when I finally saw it, while not a message movie by any means—and by designTwisters sincerely explores a few themes that are worthwhile for their very rarity in mainstream movies.

As for comparisons between Twister and Twisters, my wife and I rewatched the original ahead of seeing the sequel and, with it fresh on our minds, concluded that Twisters actually improved on it in a number of ways, not least in its less cartoonish supporting characters and in giving its villain a more obviously wicked goal than corporate sponsorship. This isn’t Shakespeare, but it’s engaging, exciting, and economically told, which, again, is more than you can say for a lot of other movies right now.

Nosferatu

Another incredible work by Robert Eggers, whose The Witch and The Northman are still two of the best historical films I’ve ever seen, Nosferatu nonetheless places me in the unusual position of praising a movie and saying I probably wouldn’t ever recommend it.

Nosferatu, a remake of the silent German horror movie which was itself an unauthorized adaptation of Dracula, is both artistically and technically brilliant, with fantastic costumes and sets and cinematography and sound design that create a precisely staged atmosphere of moody, oppressive cold and darkness which deepens until the very last moment. It is also brilliantly acted. Lily-Rose Depp as the demonically tormented Ellen Hutter and Willem Dafoe as Professor von Franz, the film’s Van Helsing character, were the standouts, but this is also the best I’ve ever seen from Nicholas Hoult. Bill Skarsgård, as Count Orlok, is genuinely terrifying.

Eggers, true to form, not only works hard to get into the minds of past people but also wrestles with some serious ideas, including the tendency of post-Enlightenment man to be blinded to evil. Professor von Franz gives a stirring speech on this point about halfway through. In order to fight the darkness, he argues, one must not only know something about it but admit that it is real.

And Nosferatu dramatizes that reality clearly and starkly. Eggers’s vampire is not tragic or misunderstood or some superhuman marginalized for his transhumanist beauty; he is gross, predatory, and parasitic, preying on the weak and wanting only to possess, enslave, and consume. “I am an appetite,” he says. “Nothing more.” Stripping the allure from evil and refusing to psychologize or pathologize it, as other characters more “rational” than Professor von Franz do, is a fatal mistake.

But it’s precisely that clear-sighted, even theologically inflected motif that makes me hesitate to recommend Nosferatu. The mood is so oppressive and some of its third-act horrors are so horrifying that I think it would be wrong of me to direct someone looking for entertainment to Nosferatu. Because as brilliant as this movie is, and as seriously as Eggers treats these themes, I would not call this movie entertainment. A hard, much-needed look at evil, but not fun and not one to be taken lightly.

There are other, more minor problems. It is perhaps too slow in some parts and I thought that the ending stumbled a bit, not quite resolving some of what Eggers so carefully set up earlier. But Nosferatu is, overall, one of the best movies I’ve seen in a long time. It’s just not one I’d recommend for the even mildly faint of heart, and not one I’ll watch again any time soon.

Two near misses

Gladiator II—Slickly entertaining and substance-free. Gladiator II didn’t drive me to performative outrage the way it did some online movie reviewers, but I also wasn’t moved by it. Full review from November here.

The Ministry of Ungentlemanly Warfare—My wife and I saw this for a date night late in the spring and we both enjoyed it. It’s light, frothy, World War II-flavored action-comedy with a unique setting and fun characters. And yet the very levity of the movie bothered me. After trying and failing to review it here on the blog a few times, I finally realized that I’m sick of gleeful killing in historical movies.

“But they’re Nazis!” All of them? The more common that excuse has become the more I’ve started to question it—and worry about it. Oddly, the movie actually acknowledges, just once, that the scores and scores of enemies Henry Cavill and company effortlessly wipe out are ordinary people when Cavill, about to kill yet another German sailor, sees how young the sailor is and lets him go. The rest of the movie is a numbing sub-Tarantino shooting gallery. It’s entertaining, yes, but its winky approach to slaughter—with never a single jam or misfire in hundreds of rounds fired from Sten guns, by the way—downplays the soul-damage wrought not only on participants in this kind of killing but on the audience as well.

There’s likely a good movie in The Ministry of Ungentlemanly Warfare, but it would have required a sweatier, more earnest approach than what Guy Ritchie gives us here.

Favorite of the year: Godzilla Minus One

I’m cheating a bit by choosing this as my favorite of the year rather than bumping it down to the “new to me” section, but it was only briefly in theatres here in 2023 and I missed my only opportunity to see it during that window owing to sickness. And—not insignificantly—Godzilla Minus One is far better than anything else I saw during 2024.

This is not simply a good Godzilla movie (I’ve only ever see one other, one of the so-so American movies made over the last decade), this is a well-acted, beautifully shot, thematically rich, exciting, terrifying, and moving drama that happens to have a giant radioactive lizard in it. It is, in fact, those human elements that make Godzilla’s arrival so powerfully effective. I’ve watched it several times now—on my own, with my wife, with my family over Christmas—and it’s impressive and moving every time.

Full review from November here.

New to me

They Live (1988)—Classic John Carpenter sci-fi, with a great concept presented in a subtle, low-key way that only enhances the big revelation about halfway through. Wonderfully creepy, funny, and entertaining. I blogged about a recurring conspiracy motif that appears in the film here.

The Arctic Convoy (2023)—An immediately involving Second World War action-drama about a fictional Norwegian cargo ship traveling with a convoy based on PQ 17, which was en route from Iceland to Murmansk when its naval escort was withdrawn and the convoy was ordered to disperse. U-boats and German bombers stationed in Norway did the rest, sinking all but 11 of the 35 ships in the group. This film, something like Greyhound aboard a merchant ship rather than a destroyer, puts the viewer in the shoes of the ship’s crew and vividly presents the dangers of such work. There are a few excellent action sequences, but the heart of the film is a drama pitting the stalwart captain against his first mate, a broken former captain who was one of the only survivors of his previous ship. Worth seeking out.

Escape from Alcatraz (1979)—A gritty, well-acted, suspenseful show-don’t-tell prison drama with a great central performance by Clint Eastwood. Economically told and engaging right from the get-go. I’ve known this story for years without ever having seen this dramatization, and I’m glad I finally did.

Radical Wolfe (2023)—A solid feature-length documentary on one of my favorite writers, with an appropriate zing-pow energy to the presentation and some good attention to Wolfe’s background as a fish-out-of-water Southerner in the northeast and his early days as a reporter.

Looking ahead

Ordinarily I include a list here of what I’m anticipating in the new year, but I’m afraid that list is exceptionally short this time, consisting of Mission: Impossible—The Final Reckoning (at last), with Black Bag, Tron: Ares, The Amateur, and the new Superman four movies I’m curious but not necessarily excited about. (The last time I got excited about a Superman movie it was Man of Steel, which my wife and I watched on our honeymoon.) And just yesterday I discovered the upcoming Warfare, a real-time war movie co-directed by Alex Garland and based on an incident involving Navy SEALs during the Iraq War. I’ll also be taking my kids to see Dog Man, my eldest son being a huge fan.

I hope there’ll be more to get excited about, or that I’ve forgotten something, but 2025 may turn out to be another good year for new-to-me viewings of classics.

2024 in books

Happy New Year! This was a busy and eventful year for us, including a lot of sickness (as I pieced this post together over the last couple weeks, both twins and one of the older kids got the flu) but also a lot of good. And I’m glad to say that even if I didn’t read as many books as I have in some previous years, I still found time for lots of good reading.

So, as usual, here are my favorite reads in fiction, what I broadly call non-fiction, kids’ books, and those books I’ve read before that I revisited in 2024. I had a lot of good surprises and I hope you’ll find some here, too—especially when we get to my overall favorites of the year.

Favorite fiction

Hill 112, by Adrian Goldsworthy—A vividly imagined, totally absorbing look at the Normandy campaign from the grunt’s-eye perspective of three young British soldiers. One of my absolute favorites this year. Full review here.

The Name of the Rose, by Umberto Eco, trans. William Weaver—An engrossing, atmospheric historical mystery set in a medieval monastery perched high above the Italian countryside, The Name of the Rose also features one of the great one-off detectives of modern fiction: English Franciscan William of Baskerville. Intricately plotted and densely imagined, loaded with great period detail (and, unfortunately and frustratingly, some modern stereotypes of medieval people). It’s a weighty, learned novel with the nimble pacing of a thriller. Glad I finally got around to reading this.

Mexico Set and London Match, by Len Deighton—The second and third in Deighton’s Game Set Match trilogy starring British spy Bernard Samson. These two novels deal with the aftermath of the defection to the Soviets of a highly-placed member of British intelligence in the first book. In Mexico Set, Samson attempts to entice a KGB agent into defection but the ongoing work of the first novel’s defector for the Soviets risks making Samson himself look like a double agent, and in London Match, Samson investigates the possible existence of a second, previously undetected mole in the intelligence service’s leadership. Both are excellently done: complex, atmospheric, funny, and surprisingly moving, with London Match ending the trilogy with a satisfying but profound sense of melancholy. I look forward to more of Samson in the six other novels Deighton wrote about him before retiring in the 1990s.

The Free Fishers, by John Buchan—A fast-paced, fun historical adventure set in a well-realized Regency England—not the Regency of country houses and balls and ten thousand a year but of rural highways, coach schedules and horse changes, wayside inns, and, remotely but threateningly, the Napoleonic Wars. The Free Fishers has a lot of the hallmarks of Buchan’s other historical fiction but has an especially good ensemble of clashing characters who have enough virtue and strength of character to learn how to cooperate against evil. Full review for John Buchan June here.

The Kraken Wakes, by John Wyndham—What if an alien threat came not from the sky but the deepest ocean abysses? And how does one wage war on an enemy one never sees much less understands? Another excellent, surprising sci-fi novel by Wyndham. Full review here.

The Man Who Fell to Earth, by Walter Tevis—A man simply appears in the Kentucky countryside one day, patents and licenses a series of otherworldly technologies, and profits—while, predictably, attracting a lot of suspicious and greedy attention. Who is he? What’s he up to? And what burdens him so heavily that his character threatens to collapse under the weight of addiction? A light, fast read that proves instantly intriguing and suspenseful and, eventually, frustrating and moving. A great surprise.

Wake of Malice, by Eleanor Bourg Nicholson—The third in Nicholson’s series concerning Father Thomas Edmund Gilroy, OP, a diminutive, pun-loving Dominican friar who also happens to be a vampire hunter. The first, A Bloody Habit, was my favorite fictional read of 2019. Wake of Malice is another strong entry, following Hugh Buckley, a young Irish reporter for a London daily newspaper who travels to his homeland to cover a story on Church malfeasance. A parish priest has been accused of embezzling charitable funds but something much more sinister is afoot, the first sign of which is the priest’s chief accuser turning up dead—and partially devoured. Local politics turned murderous? A relict pagan cult? Or is it something far older that emerges from the caves beneath the moors at night? Fun, well-paced, set in a vividly drawn rural Irish setting and full of vivid and interesting characters—especially Buckley himself, best friend and press photographer Freddie Jones, and the incomparable Fr Thomas Edmund—Wake of Malice is also intensely atmospheric.

LaBrava, by Elmore Leonard—A blackmail scheme, a sardonic hero, a classic movie actress whom danger seems to orbit, violent crooks who are none too bright, a brilliantly described Miami setting, and some good third-act surprises, this is a crime novel in Leonard’s finest 1980s form. As I noted in my summer reading review, I’d probably rate only Rum Punch and Freaky Deaky higher.

The Long Lavender Look, by John D MacDonald—The first of MacDonald’s Travis McGee thrillers that I’ve read, this novel begins with “salvage expert” McGee and his best friend Meyer, while traveling through the remotest parts of Florida by night, veering off the road into a canal to avoid hitting a woman who appeared in their headlights. The next morning, the local sheriff arrests them for the murder of someone they’ve never heard of. When a thuggish deputy roughs up Meyer, McGee vows revenge against the sheriff and to find out what really happened that night—disappearing woman, car crash, murder, and all. A tough, gritty crime mystery leavened with humor and McGee’s sharp observations. I already have several more of these lined up for 2025.

The Year of Ambler and Powers

This year I read several books by two new-to-me authors who could hardly be more different from each other. One is a master of intricately plotted and detail-rich sci-fi and historical fantasy, the other a master of fast-paced, buttoned-down espionage thrillers. Both, crucially, write totally absorbing novels. They are Tim Powers and Eric Ambler.

The result was a year full of good fiction, but always with a return to these two authors. So rather than selecting one overall “best of the year” from among my fiction reading, I’m cheating big time and naming all eleven of the books I read by these two authors as my best of the year, with a single overall favorite for each.

First, beginning with Tim Powers:

  • Medusa’s Web—The last remaining scions of a dysfunctional California family, two sets of brothers and sisters, reconnect at their crumbling family mansion in the Hollywood Hills. Thanks to sinister illustrations they call “spiders” they have the ability to mind-hop, not just in the present but into the past. As they relitigate old disagreements and try to use the spiders to investigate unsolved crimes from Hollywood’s silent era, the threat of a supreme, original spider looms. Propulsive and uncanny right from the beginning, with some great overtones of Poe.

  • On Stranger Tides—A rousing, eerie, vivid supernatural adventure among the 18th-century pirates of the Caribbean ranging from Jamaica to the swamps of central Florida. One of my favorites of Powers’s books for its exuberant storytelling, its attention to realistic historical detail, and its sheer inventiveness.

  • My Brother’s Keeper—Powers’s most recent novel, a look at the Brontë family and their secret history with lycanthropism. After encountering a strange man with wounds that heal suspiciously quickly, Emily begins probing her father’s life story and her brother Branwell’s odd behavior. Family secrets, an ancient werewolf cult, Catholic werewolf hunters, breath-stealing ghosts, heads in bags, a werewolf brawl in a kitchen, and a lonely crag on the misty moors also figure. Packed with gothic atmosphere and great—true!—detail about the Brontës.

  • Down and Out in Purgatory: Collected Stories—A richly varied collection of twenty-one short stories involving ghosts, time loops, vampires, the disintegrating edges of the afterlife, and HP Lovecraft himself alongside such workaday concerns as growing tomatoes, browsing for used books, and confession. I listed my favorites of the collection back in the spring.

Favorite Powers of the year: Last Call

Scott Crane is only a small boy when his father, a crook who has settled in Las Vegas, attempts to exercise some kind of supernatural power over him using a deck of tarot cards. Scott’s mother saves him, shooting his father and fleeing, but not before Scott has lost an eye. Taken in by a professional gambler named Ozzie and raised with a foster sister named Diane, Scott grows up learning how to work the card tables, both the ordinary kind and the kind where decks that draw otherworldly attention are shuffled, dealt, and played for eternal stakes.

It is at one of these games, a game Ozzie had warned Scott not to attend, that Scott plays an arcane card game using an antique tarot deck against a sinister dealer. Unwittingly, Scott wagers and loses his soul.

After a prologue establishing Scott’s past history, the novel picks up with Scott as an adult estranged from Ozzie and Diane, and a widower to boot. He’s also the subject of his new neighbor Arky’s attention. Arky has a terminal illness and has, through trial and error, worked his way toward Scott as the center of some kind of uncanny power that might be able to help him. And the man Scott lost his soul to decades before, a powerful entity who aims to set himself up as the new Fisher King of Las Vegas, has plans to find Scott and collect what he’s owed.

Gambling lore, Arthuriana, divination, body-hopping, ghosts, and the real-life history of organized crime in Las Vegas—Last Call defies easy summary. It’s dense, intricately plotted, and rich with detail, both this-worldly and fantastical. As in all of Powers’s fiction, the magic used by the characters has a lived-in, arrived-at feeling that makes it both more believable and more mysterious. Why does alcohol affect the characters and the unseen magic the way it does? They don’t know, but they try to work with it. As Scott, sensing the trouble coming for him, works his way back to Vegas and tries to unriddle his situation, we are drawn along with him into a dark world existing in plain sight within our own. It’s immediately and totally involving and only escalates in pace and suspense across its five hundred pages.

But what I found most appealing in Last Call were the characters. Scott Crane is a likeable protagonist, naïve and foolhardy as a youth and living with the consequences as well as the sorrows of his adult life. Ozzie is a brilliantly drawn mentor and surrogate father, and Diane a strong and appealing love interest. And I especially liked the wry but hopeful Arky, an unlucky normie along for the ride and loyal to Scott to a fault. The villains are just as strong, and all the more menacing as a result.

It was hard to pick a favorite among these Powers novels, but Last Call, with its eerie, exciting plot and strong mythological and religious themes, was an exciting and rewarding adventure. If you’re looking for the best and most imaginative modern fantasy set in our own world—Powers, refreshingly, has insisted many times that his novels take place in our world, not some alternate universe—Last Call is a great place to start.

And now for Eric Ambler:

  • The Mask of Dimitrios—An English novelist on holiday in Istanbul learns of the death of an international criminal and takes it upon himself to unravel the mystery of his terrible life. The book that got me into Ambler back in the spring. Full review here.

  • Uncommon Danger—A journalist at a Nazi conference in Munich makes a quick trip across the border to Austria and falls headlong into an espionage plot. Caught between Nazi authorities and Communist agents, both of whom have a penchant for brutal pragmatic violence, he must trust unexpected allies if he hopes to escape. A brisk, suspenseful early work that I greatly enjoyed.

  • Passage of Arms—A sprawling story of gun-running in postwar Malaya. As the British try to keep the lid on Chinese-backed uprisings in the remoter reaches of the Empire, an Indian accountant discovers a lost cache of weapons that he hopes will fund his dream of starting a bus company. The intricate, cross-border machinations involved in securing, transporting, and unloading the weapons include shady Hong Kong importers, corrupt officials in at least two countries, and a pair of naïve American tourists who, eager for a windfall of cash, find themselves at the center of a deal gone wrong. Slower and more sprawling than usual for Ambler, but tense, satisfying, and a window into a chaotic world.

  • The Light of Day—Taking place in the underbellies of Athens and Istanbul in the early 1960s, this novel is narrated by Arthur Abdel Simpson, a petty crook who is extorted by a group of criminals into smuggling a car across the border. Captured and arrested, Arthur is pressed into service as an informant by the Turks. He thus finds himself trying to work both his criminal bosses, who are casing the Hagia Sophia for reasons they won’t reveal to him, and the Turkish authorities, who hope to foil what they believe to be a terrorist plot. This is both sleazier and more whimsical than Ambler’s earlier books, and a lot of fun. Just don’t read the description on the back of the book—I had a crucial revelation spoiled for me.

  • Journey into Fear—Another strong contender for my favorite Ambler of the year, this novel takes place in the early phases of the Second World War and follows Graham, an English armaments engineer working in Turkey. After having been ambushed and almost killed in his hotel room the day before he leaves on the Orient Express, Graham is put aboard a tramp steamer instead. There, far from being safe for his voyage home, he learns that the man who tried to kill him is also aboard. Identifying the assassin among the handful of other passengers and thwarting his attempts to kill him become Graham’s overwhelming concerns. A taut, well-constructed thriller with a colorful cast of characters and steadily building suspense.

Favorite Ambler of the year: Epitaph for a Spy

This is another early Ambler novel, published in 1938, just a year before the Second World War started and tensions were already high. Stateless refugee Josef Vadassy has eked out a living teaching foreign languages at a school in Paris, scrimping and saving a bit at a time for the two luxuries he allows himself: a quality camera and a quiet vacation at a small hotel on the French Riviera. By accident, these two luxuries land him in trouble with the law and, possibly, hostile world powers.

Because one morning as he prepares to walk the coast shooting photos, he accidentally swaps cameras with another hotel guest. When he has his film developed, the first several shots on the roll show secret French military installations and coastal defenses. Vadassy is reported and hauled in for questioning.

The local chief of police realizes that Vadassy is not their man but uses Vadassy’s precarious alien status to convince him to help expose the real spy. Figure out who it is, help the police capture him, and Vadassy’s application for French citizenship will be fast-tracked. The alternative is deportation for espionage, a course that will return him to his divided home country and probably death in ethnic cleansing. Vadassy, understandably, agrees to cooperate.

For the rest of the novel, Vadassy watches the other hotel guests, probes for clues, and, frustrated with the inaction of the police, more than once decides to take the investigation into his own hands, with dangerous and potentially deadly results.

As will be clear from the summaries of the other novels above, Epitaph for a Spy features a lot of Ambler’s hallmarks: a naïve, well-intentioned protagonist blundering into a dangerous international situation; a colorful cast of characters, all of whom could be concealed enemies; vividly realized locations on the Mediterranean; and authorities who coldly and unhesitatingly put the screws to a vulnerable person when they sense an opportunity to eliminate an enemy. Ambler returns to these themes again and again and always executes such stories well, but never better than in Epitaph for a Spy.

If you want a taste of classic espionage thrillers with good characters, realistically complicated real-world settings, intricate plotting, an element of mystery, and brisk, suspenseful, satisfying storytelling, check Eric Ambler out, and start with Epitaph for a Spy.

Special mention: The Mysteries

Back in the spring I classified The Mysteries, by Bill Watterson and illustrated by John Kascht, with my other fictional reads, but that doesn’t seem quite right. Rather than move it to the children’s books—where as a self-described “fable for grownups” with a serious theme it doesn’t belong—or eliminate it altogether, I wanted to give it special mention here. This is a surprising return from the creator of Calvin & Hobbes exploring, in a brief fairy-tale like narrative, the disenchantment and ruin of the world. Simply but powerfully told and hauntingly illustrated. Full review here.

Favorite non-fiction

Who is Big Brother? A Reader’s Guide to George Orwell, by DJ Taylor—Part biography, part literary history, this short book by two-time Orwell biographer DJ Taylor offers an excellent introduction to the life, thought, and writings of a man whose most famous work, Nineteen Eighty-Four, has become a cheap tool for people hoping to stoke political anxiety. A nuanced examination both of Orwell’s books and of Orwell himself that is packed with insight. I blogged about this book twice back in the spring, here and here.

A Mystery of Mysteries: The Death and Life of Edgar Allan Poe, by Mark Dawidziak—A short, engaging book that follows two tracks in alternating chapters: one retells, in brief, the life of Edgar Allan Poe up to the year of his death, and the second retells, in finer detail, the events leading up to his mysterious death in Baltimore in October 1849. The investigation into what actually happened to Poe is the chief draw of the book, and Dawidziak offers a reasonable theory that is certainly more plausible than many others offered over the last 175 years, but the capsule study of Poe’s life should also be helpful to anyone who knows nothing more about him than what they learned in middle school lit class. Worth reading.

Homer and His Iliad, by Robin Lane Fox—It has become a standard modern reflex to dismiss or openly scoff at the idea that Homer, the poet behind the Iliad and the Odyssey, was a real person. Working from a mountain of interdisciplinary evidence and a lifetime of study, Lane Fox thoroughly rubbishes that attitude, demonstrating at length that Homer existed as a single, specific individual who composed his poems as unified and coherent works of art for oral performance. There is much we still cannot know—Where was Homer from? Was Homer actually his name?—but that much is certain. Part literary, historical, and archaeological investigation, part critical examination, and part celebration of what makes the Iliad great, this was one of the best works of classical scholarship I’ve read in a long time and one of my favorite books this year. Full review at Miller’s Book Review here.

Histories and Fallacies: Problems Faced in the Writing of History, by Carl Trueman—A helpful short introduction to major intellectual and philosophical pitfalls in historical research and interpretation. Trueman includes several detailed and useful case studies, including Marxist historiography and Holocaust denial. A worthwhile read if you want to know something of how history, as a discipline, works, how it can go wrong, and what to watch out for.

Great Uncle Harry, by Michael Palin—A moving personal investigation into a relative whom Palin never knew, Great Uncle Harry having been killed on the Western Front during the First World War. Simultaneously a great act of pietas and a fascinating portrait of the world before the war. Full review here.

Priests of History: Stewarding the Past in an Ahistoric Age, by Sarah Irving-Stonebraker—Ask anyone who loves history and they will agree that there is not just a general ignorance of history today, but an almost unconquerable apathy toward the past. In Priests of History, Cambridge-trained historian Sarah Irving-Stonebraker goes further, arguing that we live not just in an age that doesn’t care about history, but is thoroughly ahistorical. That is, most are not only ignorant of the past but regard it as shameful instinctively, do not conceive of themselves as living in continuity with our ancestors, do not believe history has a narrative shape, direction, or purpose, and cannot argue or reason or even entertain the idea of nuance or ethical complexity in history. The past, insofar as anyone cares about it at all, is a morally simplistic cudgel. This ought not be, and Irving-Stonebraker mounts an impressive, passionately argued case for the special role of Christians in cultivating historical memory. An insightful and much needed book, especially its first third, in which she diagnoses our ahistorical character and examines how this came to be.

The Mythmakers: The Remarkable Fellowship of CS Lewis and JRR Tolkien, by John Hendrix—A beautifully illustrated dual graphic novel biography of Tolkien and Lewis, paying excellent attention to the stories and myths that shaped their imaginations, the hardships that framed their lives, their shared faith, and how they used all of these to sub-create their own worlds. I know these lives, works, and events well, and was still absorbed and moved. The Mythmakers is a wonderful retelling for those who already know Lewis and Tolkien well and a creative introduction for those who don’t.

The Wolf Age: The Vikings, the Anglo-Saxons, and the Battle for the North Sea Empire, by Tore Skeie, trans. Alison McCullough—A dramatic, wide-ranging narrative of the generations of war between the Viking invaders and Anglo-Saxon England beginning in the mid-10th century. These years, especially the reign of the hapless Æthelred, saw a steady intensification of the sporadic fighting that culminated, in the early years of the 11th century, in Cnut the Great’s rule over England, Denmark, and Norway, a vast “North Sea Empire” that was briefly one of the great powers of northern Europe. Well organized and with engaging and lively writing, this is one of the most readable books of its kind on this period and these events.

An Illustrated History of UFOs, by Adam Allsuch Boardman—A sweeping, wide-ranging picture book that doesn’t delve too deeply into any particular aspect of alleged UFOs and supposed extraterrestrials, but is full of fun, beautiful illustrations including lots of good infographic-style tables. That makes it a fun introduction with enough short stories to point the reader toward a host of new side topics. (I’m now outlining a possible novel based on one that I’d never heard of before discovering this book this summer.)

Favorite of the year: Rembrandt is in the Wind

My late grandmother Mary George Poss was a wonderful artist. Some of my earliest memories involve visiting her in her studio, in an attic room above my grandfather’s real estate office, and watching her paint. She believed in and practiced beauty and craftsmanship, and believed also in sharing her gifts with others. She bought my siblings and I countless watercolor sets, showed us how to use them, and shared big books of full-color prints of great art with us. I grew up around art and still love it.

But I never had formal schooling in it, just enthusiasm, a bone-deep appreciation, and an intellectual and philosophical assent to the importance of beauty. (The late Sir Roger Scruton is important here, helping give form to what had previously been instincts. See my rereads below.) And when I began to read Rembrandt is in the Wind, I realized that, because of my background, I have spent forty years taking art for granted.

Russ Ramsey’s Rembrandt is in the Wind: Learning to Love Art Through the Eyes of Faith is the great surprise of my reading year. This short, smoothly written, and engaging book presents a powerful theological argument for the importance of truth, goodness, and beauty as manifested in human creativity. Ramsey does so through chapter-length case studies of the lives and work of nine great artists. As if this was not already speaking my language, one of the nine Ramsey examines is the American realist Edward Hopper, one of my grandmother’s favorite artists.

For each artist, Ramsey selects a handful of works, both famous masterworks and lesser known pieces, and describes their genesis: when and where the artist painted them and why, and sometimes the subsequent history of the painting. Along the way, he lays out lessons that can be learned not only from the work itself, but from its place in the life of the artist and its meaning to people since.

This is effective even—perhaps especially—when the artist in question is not an exemplar of Christian living, or even very religious at all. The hedonistic Caravaggio comes to mind, or Michelangelo, or the aloof, needy, self-centered Hopper. Others impress by their reverent self-sacrifice, like black American painter Henry Ossawa Tanner, who turned from sensitive naturalistic scenes of African-American life to otherworldly depictions of the life of Christ, or Lilias Trotter, a first-rate talent who gave up her place in the art world to work as a missionary to the poor in North Africa.

All of these themes—self-sacrifice, loneliness, suffering and restlessness, the need for community, our innate hunger for glory, and even the corruption that lives in us alongside our God-given yearning for beauty—Ramsey explores with clarity and insight. I was continually surprised, moved, and encouraged by this book, and found myself wishing, over and over, that I could talk about it with my grandmother. I’m glad to say it has deepened and strengthened my love for art.

If you love art and want to understand it more deeply, not as an accessory to life but as a dimension of faith and God’s grace, I cannot recommend Rembrandt is in the Wind highly enough.

Favorite children’s books

I don’t meticulously log all the children’s books I read to our kids every year, but I do keep track of the standouts and am glad to recommend all of these, which both I and my kids enjoyed.

Flight for Freedom: The Wetzel Family’s Daring Escape from East Germany, by Kristen Fulton, illustrated by Torben Kuhlmann—A short, simple picture book retelling of the story of two East German families who collaborated to build a hot air balloon and float to freedom in 1979. Nice illustrations and an easy introduction to the reality of life under Communism.

Vincent Can’t Sleep: Van Gogh Paints the Night Sky, by Barb Rosenstock, illustrated by Mary GrandPré—A beautifully illustrated picture book about Vincent van Gogh’s insomnia and mental health problems, presented in kid-friendly terms and with attention to the way creativity and comfort can be born of darkness. Dovetailed wonderfully with my reading of Rembrandt is in the Wind.

The Wild Robot, by Peter Brown—Simply told and illustrated but powerfully engaging and moving. Looking forward to reading the two sequels.

The Fall of the Aztecs, by Dominic Sandbrook—Another in Sandbrook’s Adventures in Time series, this one, focusing as it does on a discrete event rather than a broad story like that of the Vikings or one of the World Wars, is more detailed and nitty-gritty and leans heavily into the brutality of both the Aztecs and Cortes. There’s a little too much dithering and false equivalence about who was more violent and Sandbrook relies a little too heavily on grins spreading slowly across faces, but those are relatively minor quibbles with a solid, unflinching kids’ account of a genuine clash of civilizations.

The Mysterious Goblet, by Sophie de Mullenheim, trans. Janet Chevrier—The third in a series about a group of friends in Rome and their encounters with Christians during the reign of Diocletian, a favorite of my kids for bedtime reading. I already have the fourth lined up for 2025.

Charlie and the Chocolate Factory, by Roald Dahl—A classic for a reason.

Saint Patrick the Forgiver, by Ned Bustard—A simple rhyming picture book about the life and missionary work of St Patrick emphasizing the role forgiveness played in his call to return to the pagan Irish, who had kidnapped and enslaved him as a young man. A new favorite to read aloud for St Patrick’s Day.

John Buchan June and Chestertober

This year I expanded the blog into two themed monthlong events: my third annual John Buchan June and my first GK Chesterton-themed October reading. Here, briefly, are all the books I read for those months, with links to the review post for each. For Buchan:

And for Chesterton, this year I started with his novels (and one play):

Rereads

Part of my ongoing project to make myself more comfortable reading good books more than once. All of these are old favorites and held up to repeat readings this year. I’d recommend any of them. Audiobook “reads” are marked with an asterisk.

  • Inferno and Purgatorio, by Dante, trans. Stanley Lombardo

  • No Country for Old Men, by Cormac McCarthy*

  • Beauty: A Very Short Introduction, by Roger Scruton*

  • Wise Blood, by Flannery O’Connor

  • Casino Royale, by Ian Fleming

  • The Whipping Boy, by Sid Fleischman

  • Masters of Atlantis, by Charles Portis*

  • The Napoleon of Notting Hill,* Manalive,* Magic, and The Man Who Was Thursday,* by GK Chesterton

  • Grendel, by John Gardner

  • The Best Christmas Pageant Ever, by Barbara Robinson

  • Pride and Prejudice, by Jane Austen

Looking ahead

I already have more Len Deighton, more Tim Powers, more Eric Ambler, and even Russ Ramsey’s new sequel to Rembrandt is in the WindVan Gogh has a Broken Heart, which looks more specifically at art, faith, and suffering—lined up for the new year, as well as more history, some good literary biographies, a new translation of a medieval epic, and a big new book on UFOs. And I know there is still more good stuff out there, waiting. I’m looking forward to it.

I hope y’all have had a good 2024 and that this list points y’all toward something good to read in 2025. Happy New Year! And thanks as always for reading.

Screwtape reviews a book

It isn’t often that you can say unequivocally that an artistic judgment is wrong. De gustibus, etc. And yet here are coauthors Philip and Carol Zaleski in their quadruple-biography The Fellowship: The Literary Lives of the Inklings discussing CS Lewis’s 1942 novel The Screwtape Letters. After half a paragraph of tepid praise, they write:

For all the clever satire, however, the book does, as Lewis feared, begun to smother the reader by the end. It is a one-joke affair, however inventive the variations. The devils’ names—Screwtape, Slumtrimpet, Slubgob, Scabtree, Triptweeze, Toadpipe—and their use of inverted epithets—“Our Father Below” for Satan, “The Enemy” for God—delight and then grow tiresome; so, too, do Lewis’s repeated slaps at favorite targets, including psychoanalysis, proponents of the “Life Force,” and overly spiritualized conceptions of prayer (Coleridge’s “sense of supplication” takes a direct hit). It all comes off as terribly clever but a bit sophomoric. The Screwtape Letters is a good, short book; if it were half as long and half as clever, it might have been twice as good.

N.b. most editions of The Screwtape Letters come in at or below 200 pages even with reader-friendly large type.

This is so wrong it is hard to know where to begin. Should one not take swipes at psychoanalysis, one of the stupidest and most damaging theories to run riot in the last century and a half? And sophomoric? “The Miller’s Tale” and Candide are sophomoric. Screwtape is funny but treats its subject seriously, since its subject is ultimately damnation and salvation, a fact underscored by the time and place in which it was written. One infers from Screwtape’s comments that the story takes place, in human terms, during the Blitz, and it is made clear in the final letter that our human protagonist, the object of the devils’ torments, is killed by German bombs—a real fear for the book’s original readers, and one Lewis treats reverently. And artistically, Screwtape is a model of concision. Lewis gets exactly the right amount out of the book’s conceit and epistolary format and ends it with a chilling bang.

And this is not even to address the insight—into everything from prideful self-delusion to the danger of snark to simple carnal lust—that Lewis’s topsy-turvy perspective offers. Its carefully observed portrait of human nature is rightly Screwtape’s greatest appeal and gives it its most lasting power. The attentive reader will see himself more clearly having read The Screwtape Letters, and probably won’t like the view.

I could go on. One suspects that for these authors, Ivy League-connected editors of anthologies of “spiritual writing” for many years, Lewis’s bracing devil’s-eye view of temptation, one in which he dramatizes firm orthodox opinions and depicts devils as real and predatory and sin as real and damning, is rather strong drink. Their suggestion that an unfunny pamphlet-length version of Screwtape would be better only reinforces that impression.

This critique smacks of distaste rather than any legitimate line of literary or artistic criticism. And one can feel the authors’ disapproval when they continue by noting that

The public . . . roared its approval. The book sold very well upon release and remains one of Lewis’s most popular works. The Manchester Guardian (February 24, 1942), eager to canonize it, declared that it “should become a classic,” while The Times Literary Supplement (February 28, 1942) more temperately warned that “time alone can show whether it is or is not an enduring piece of satirical writing.” Endured it has; whether that makes it a classic, the next century or two will judge.

The Zaleskis’ book is a finely researched and written biography—though despite invoking “the Inklings” it focuses, predictably, only on Lewis, Tolkien, Owen Barfield, and Charles Williams. (Where is our Hugo Dyson or Roger Lancelyn Green biography? Warnie Lewis has only recently gotten one.) But the Zaleskis’ judgments on specific works are lacking. That passage on Screwtape has bugged me since I first read it nine years ago, and their treatment of Tolkien betrays similarly poor understanding and judgment.

This morning, realizing that I hadn’t cracked open The Fellowship in almost as many years, I put it in a box to trade in at the local used book store. But The Screwtape Letters is still on my shelf.

Which is it?

One of the peculiar annoyances of medieval history is the license even good historians seem to give themselves to make sweeping generalizations, only to qualify them to the point of contradiction later.

Here’s Tore Skeie in his otherwise excellent book The Wolf Age: The Vikings, the Anglo-Saxons, and the Battle for the North Sea Empire, in the middle of a discussion of the remarriage of Æthelred Unræd’s widow Emma of Normandy to his conqueror, Cnut the Great:

But despite her status and central position in this drama, it is more difficult to obtain a clear picture of Emma than of the men around her, for the simple reason that she was a woman. The men who recorded the course of history—mostly monks—almost never mentioned women other than when they were married off or acted on behalf of their husbands or sons. The kings’ wives, sisters, mothers and daughters—all of them remain almost invisible to us, even though they were often deeply involved in everything that went on and could be accomplished and independent political players in their own right.

And in the next paragraph we read:

Emma of Normandy (c. 1984-1052) in her Encomium receiving the manuscript from its authors

One of the most important sources from this period is the Encomium Emmae Reginae, a tribute to Emma and the people around her written at her request later in life, probably by a Flemish monk.

Typical! Nasty old patriarchy-loving sexist monks ignoring a powerful woman, erasing her from history... Right up until they write a dedicated biography of her at her command.

The truth is that it is “difficult to obtain a clear picture” of anyone for most of history, men and women, high and low. Even the more heavily documented men in this story seldom reveal much of a personality or motives behind what they do or the particular courses they take, and even the most important of them simply disappear from the record for years at a time. In his short biography of Cnut for the Penguin Monarchs series, Ryan Lavelle records the king’s death thus:

Cnut died in Shaftesbury in November 1035 at about forty years of age. We don’t know why he died there or what he was doing at the time.

That’s two short sentences, but go back over them and really consider just how much they indicate we cannot know about the most powerful man in northern Europe at the time of his death. Even his age is approximate. The rest of the book is full of such passages beginning with “maybe,” “probably,” “possibly,” and “we don’t know.” The “invisibility” of people in historical sources, especially the Early Middle Ages, has more to do with the purpose and built-in limitations of the sources than sexism.

The generalization in that first paragraph from The Wolf Age does not so much inform the reader about medieval culture and historiography than affirm a dearly held modern prejudice. And this prejudice, much like that passage’s imaginary chauvinist monks, renders the close-following contradiction invisible to the right-thinking modern person.

For two other examples of modern preconceptions blinding the historian and the reader to medieval minds, see here—an example coincidentally also involving Cnut—and here. Like the imputations of sexism in the example above, these faults—cynicism and a reductive “seeing through”—warp our perception of the past. For a better approach, Tolkien is always a good place to start, as here.

Hill 112

Men of the 8th Rifle Brigade in Normandy, June 29, 1944

In a passage from The Everlasting Man that I’ve referenced and quoted here many times, even way back at the very beginning of this blog, GK Chesterton argues that what fiction can evoke better than history is the feeling of living through an event. When historians neglect subjective experience—“the inside of history,” what it was like to live there and then and see those things—then “fiction will be truer than fact. There will be more reality in a novel; yes, even in a historical novel.”

But the historians and the novelists need not oppose one another. What was it like? has been one of my animating questions since I was a child, a question at the forefront of my mind as both an historian and a novelist. Combined correctly, the craft of the historian and the art of the novelist can, as Chesterton suggests, give the reader a powerfully truthful feel for the past. And I haven’t seen that done better recently than in Hill 112, the latest novel from the great historian of Ancient Rome and novelist Adrian Goldsworthy.

Hill 112 tells the story of three school friends serving in the British Army during the Second World War. Mark Crawford is a fresh new lieutenant in the infantry. Bill Judd, a working class contrarian, is a private and machine gunner in the same battalion is Mark. And James Taylor is a lieutenant in an armored reconnaissance unit with four Sherman tanks under his command.

When the novel begins on June 6, 1944, D-Day of Operation Overlord, James and his unit are waiting to go ashore on Gold Beach and Mark and Judd are encamped back in England, keeping up a mind-numbing regimen of training meant to prepare them to deploy to Normandy. As James and his tanks land and move into the hedgerow country in search of the Germans, Mark and Judd wait and wait, biding their time through route marches and lectures on venereal disease and handling personal drama. They are in love with the same girl, who doesn’t seem to have time for either of them, and they discover a terrible homefront secret when Evans, a young Welsh private, is caught deserting with Mark’s pistol.

Meanwhile, after a few days of traffic and confusion James’s unit meets the enemy. His first encounters with the Germans are surprising, exhilarating, and harrowing, and while he escapes these with his life, he has to replace both his tank and members of his crew. And not for the last time. After a few weeks of James’s motoring through the countryside—down narrow hedge-lined lanes, through the tight medieval streets of tiny villages, and across open fields of chest-high green wheat that German anti-tank shells part like the sea as they blast toward his tank—Mark and Judd’s unit takes ship for Normandy. Soon, both they in their infantry battalion and James in his tank squadron are fighting at the center of horrendous bloodletting in the battle for a piece of high ground just south of Caen: Hill 112.

In this novel, Goldsworthy does one of my favorite things in historical fiction: simply dropping the readers into a situation in medias res and inviting us to watch. It works brilliantly. The main action plays out over about about five weeks, from D-Day to July 11 (D+35). It begins immediately, as James waits to drive his Sherman ashore, and its forward momentum never lets up. Even the quiet moments of reflection, as when James thinks back on his recent engagement to the girlishly romantic Penny, who has given him a surprising good luck charm, or when Judd remembers his dalliance with leftwing politics, or when Mark broods over a terrible accident that occurs during his first assault, carry us onward into the hard work of the campaign. There is always more to do. Even the novel’s ending powerfully brings this home.

That feeling of neverending work is, after all, a crucial part of the experience of war. All three men come, at some point, to feel as though nothing else exists outside the war. For James especially, thinking ahead to “after the war,” when he and Penny will marry, begins to feel hopeless.

But the work is also dangerous, and Goldsworthy realistically captures the continuous danger of the war. Even on a mission to seek out and destroy the enemy, combat begins and ends suddenly and never goes according to plan. Men die not only of grisly wounds in combat—shot by rifle, pistol, or machine gun; shredded by shrapnel; burned up by incendiary grenades, blown apart by mines; decapitated or cut in half by artillery or killed outright by the concussion of an explosion—but unexpectedly and by accident. One of the lead reconnaissance tanks in James’s unit rolls over into an underwater crater immediately after landing on Gold Beach, and friendly fire happens on multiple occasions. The attrition and turnover in each unit is realistic and punishing. By the end, the three protagonists—and by extension we, the readers—are surrounded by new guys whose names they can’t even remember.

This is not to say that Hill 112 is a continuously grim slog. The darkness, as in real life, is lightened here and there with banter and gallows humor. James’s crew, with its mix of farmboys and Cockneys, is especially fun, and the novel’s many colorful side characters enrich the story: the fearless Captain Dorking-Jones, the Canadian Gary Cooper lookalike Buchanan, the serial deserter Reade, the veteran tanker Martin, who has two kids back home and tells James bluntly that he won’t take undue risks in combat, and O’Connor, a veteran not only of earlier theatres of the war but of Spain, who teaches Judd and his mates more practical soldiering than all their camp lecturers combined.

Goldsworthy writes in a lengthy and informative afterword that giving modern readers a sense of what it was like was one of his goals for Hill 112. He succeeded brilliantly. I’ve read many of Goldsworthy’s histories—one of my very first paid writing jobs was this review of his excellent book Pax Romana—and several of his other novels set on the Roman frontier during the reign of Trajan. I have enjoyed those novels, but Hill 112 is by far his finest fiction: immediately and continuously engaging, peopled with strong characters, exciting, horrifying, and profoundly moving. I heartily recommend it. Where were novels like this when I was a kid?

Seven years on the blog

Today marks the seventh anniversary of this website, which I made public on this day in 2017. The first post here on the blog, a modest—by my present standards—reading year-in-review, appeared at the end of that month. Two years ago I reflected on my decision to start a blog in the first place and how different my life over the half-decade since I’d launched this site. It’s changed even more drastically since that post, and for the better.

As a measure of how the blog is growing, sometime last month I published my 600th post here. That milestone would have seemed unachievable to me when I was typing away about Sword of Honour and News of the World and launching Dark Full of Enemies seven years ago.

Reflection and planning ahead has typically been reserved for the New Year, but I’ve found this anniversary to be a better opportunity for me to do that kind of thinking. And so here, briefly, are a few short-term things as well as some long-term projects I’m either considering or planning:

What to expect soon:

  • I have a few essays and book reviews I intend to write with what’s left of the year, including some for other sites.

  • I’m outlining my usual year-in-review posts for books and movies. 2024 in books will be very fiction-heavy, as I’ve already noted here in my Spring and Summer reviews, and 2024 in movies will be short. I considered scrapping the latter altogether, given the state of American cinema, but there were a handful of new movies I really enjoyed and a few great new-to-me films that I want to mention.

What I’ll begin soon and you’ll see later:

  • It’s time to get The Wanderer, my longest novel, finished and available. I started the rough draft when our third child was a few weeks old. He’s now five and a half and has two baby brothers. The manuscript has been through a couple rounds of marking up, editing, and a whole lot of what I call “cooling on the windowsill,” but it needs to be done whether I ever feel like I’ve done enough research on sub-Roman Wales or not. I plan to start a final read-through over Christmas break.

  • I have two more novels in rough outline form and plan to move on one of them in the new year. I’m just having a hard time deciding which one.

  • The second installment of The Wælsings’ Revenge is in the works. If you missed part one, you can read it at Illuminations of the Fantastic. Portions of the final third, to be completed who knows when, appear in The Wanderer as foreshadowing.

An in-between project:

  • Since creating a Substack account in order to contribute guest posts like my essay on historiography and my review of Homer and His Iliad this summer and fall, I’ve considered using it for a biweekly or monthly newsletter. It would not be a proper blog, since I don’t want it to supersede what I’ve been doing here for seven years (for reasons Alan Jacobs lays out here), but a miscellany of what I’ve been reading, what I’ve been writing here, what I’ve been working on, quotations from whatever books I’m reading at the moment, and other miscellany.

If that’s something you think you’d enjoy or benefit from, please let me know. I’m considering launching this at the end of this month since, as this blog proves, that’s a fortuitous time for new projects.

Of course as helpful as this blog has been to me and as much as I’ve enjoyed it, it would be nothing without readers. Thanks for y’all’s readership, encouragement, and correspondence over the years. I pray we can enjoy that for many more.

Hiss boom bah

Several weeks ago I wrote about the dangers of mismatching verbs with the action they’re meant to describe, like the needle of a syringe “digging” into an arm or a rocket propelled grenade “poking” through the door of a Humvee. This danger is especially pronounced with dialogue tags. 

Yesterday I started reading a new novel about a British tank crew in Normandy during World War II. It’s already very good—I hope to have more to say about it here at the end of the year—but this morning I read the following, the response of the tank commander to his crew’s nervous chatter as they prepare to attack a German position:

“Pipe down,” James hissed. “Driver, advance.”

It’s not too pedantic to point out that the phrase “Pipe down,” with its plosives and open-mouthed vowel sounds, is physically impossible to “hiss.” 

What the author is trying to capture here is a tone: the terse, tense order of a commander in a dangerous situation. James is just as nervy as his men. But the strongly onomatopoeic hiss suggests a sound other than what we, in our minds, have already heard him say. Hiss might have worked for “Shut up” or “Hush” or “Shhh!” but not this.

The author might have considered a verb that would have more closely matched the dialogue while still conveying the tone he wanted. Bark is the classic example—as in “barking orders”—but is also too close to a cliché to recommend itself. It also suggests shouting, which James is manifestly not doing. It hasn’t reached that point yet.

Elmore Leonard offers the simplest way out of this conundrum. Among the items in his personal decalogue of writing advice is:

3. Never use a verb other than “said” to carry dialogue.

I agree with this rule probably 98% of the time, because it works. Leonard always preferred to convey tone through what was said rather than describing, secondhand, how it was said. When a writer does this deliberately, it can help make his dialogue better. Relying solely on said removes a potential crutch that can lead to bad writing and gradually renders the dialogue tags invisible, concentrating the reader’s attention on the dialogue itself.

Some writers choose to drop dialogue tags entirely. I admire that kind of artistic constraint but think that’s going too far. Removing the tags means relying on description and stage directions to indicate the speaker in any conversation involving more than two people. Even a writer who is good at this, like Craig Johnson, who uses no dialogue tags in his Longmire mysteries, eventually strains for ways to indicate the speaker. He said is simple and almost invisible, and doesn’t break up the rhythm of the talk itself.

The irony is that said would have worked perfectly well in the above example. “Pipe down,” in the context in which it’s said and coming from the character who says it, conveys the right tone all by itself.

***

Looking forward to more of this novel. I’m getting new tires this afternoon, so I should have plenty of time with it. In the meantime, I’ve decided I should resurrect my old series of scholastic commentaries on Leonard’s rules. The last post I wrote concerned regional dialect. I think the next should concern dialogue tags—and adverbs, the subject of rule #4. For the complete list of Leonard’s rules, see this post from the early days of the blog, in which I compare his with similar rules from Orwell and CS Lewis.

Mendenhall on Weaver’s South

Western North Carolina native Richard M Weaver (1910-63)

Final exams are graded, final grades are posted, and graduation is tomorrow. After a mad semester—the last few weeks especially, since just before Thanksgiving—I feel like I’m coming up for air. As I tread water and take a few deep breaths, let me recommend a good essay that points toward a body of good essays.

Last weekend Allen Mendenhall, a professor at Troy University, published a piece at Law & Liberty on Richard Weaver and his vision of the South. Weaver was an Asheville native who spent much of his childhood in Kentucky and studied at the University of Kentucky, Vanderbilt, and LSU and taught at Auburn and Texas A&M before winding up at the University of Chicago, where he taught until his death at the age of 53. Weaver brought a peripatetic experience of many different parts of the South, the fruits of deep study of its thought, history, and literature, and a sharp rhetorical and analytical mind—further honed by exile, a feature of many great Southern writers’ lives—to his understanding of the South.

In his essay, Mendenhall unpacks Weaver’s views on the South’s literary character; its modes of religious practice (which Weaver is careful to distinguish from belief); the underpinnings and strengths (and weaknesses) of its social order; the roles of honor, hierarchy, and chivalry; the lives of important Southern figures; and the very nature of civilization itself. The South’s distinctiveness, to Weaver, stems from its distinct socio-religious origins but has been maintained through a posture of defense that is both instinctive and deliberate. Mendenhall:

The South’s literary character, as Weaver understood it, emerged not through imitation but resistance—a cultural flowering born of siege. The region discovered its voice not by absorbing Northern influences but by defining itself against them.

Poe would agree.

The result, in several areas, was the organic emergence, whenever a seeming social, political, philosophical, religious, or economic binary imposed a choice, of a practical, non-ideological tertium quid in the South. To give just one example: rather than capitalism or socialism—the one “fixated on utopian ideas of progress . . . industrial disruption and endless innovation” and the other marked by the “hubris of central planning and . . . an impossible (and ultimately destructive) egalitarian ideal”—from the South rose agrarianism: rooted, constrained, in continuity with received wisdom.

“Weaver’s essays,” Mendenhall notes in conclusion,

thus present the South as a repository of valuable political and cultural wisdom, offering a critique of centralization and mass democracy that remains relevant. His work suggests that the South’s traditional skepticism toward consolidated power and its emphasis on local autonomy might be a valuable counterweight to modern tendencies toward centralization and standardization. The present erosion of Southern identity might surprise Weaver, as Southerners are less vocal about the homogenizing pressures that jeopardize regional traditions and local character.

With that “erosion,” something I’ve watched in my own lifetime but that has been going on for more than a century, comes “a decline in standards and priorities,” one that

is particularly poignant because it represents the final curtain for an entire way of life and being, one in which honor, grace, gentlemanliness, reputation, knowledge, and refinement were harmonized in pursuit of something greater than oneself.

Mendenhall begins and ends the essay by wondering where our present-day Richard Weavers are—not to mention “our T. S. Eliot, our Flannery O’Connor, our Walker Percy, our Tom Wolfe, or an American Evelyn Waugh, even a Houellebecq?” A good question, especially for any Southerner who wants the South to be more than the shallow and easily commercialized “‘redneck’ signifiers” that Mendenhall points out.

The essay links to the 1987 anthology The Southern Essays of Richard M. Weaver. The book includes fourteen essays written between 1943 and Weaver’s untimely death in 1963. It’s outstanding. Since this essay went up last Friday I’ve been rereading a few of the pieces collected there in whatever snatches of free time I can. A few favorites:

  • “The Older Religiousness in the South,” an incisive look at Christianity in the South and how it fundamentally differs from the rationalistic, socially utilitarian evolution of Puritanism in the north. If you’ve wondered what Flannery O’Connor meant in calling the South not Christian but “Christ-haunted,” this should go some distance toward providing an answer.

  • “The South and the Revolution of Nihilism,” in which Weaver asks why, despite the South’s obsessively documented problems with race, Southerners vehemently opposed the movements of Mussolini and Hitler.

  • “Lee the Philosopher,” perhaps my favorite of all Weaver’s essays, concerning as it does the character and worldview of my lifelong hero. I’ve blogged about it here before.

  • Relatedly, “Southern Chivalry and Total War,” about the mismatch between the honorbound South and coldbloodedly pragmatic Union but written as a reflection on World War II in 1944. Weaver: “[C]ivilization is in essence a struggle for self-control.” And later: “Those who throw aside the traditions of civilized self-restraint are travelling a road at the end of which lies nihilism. . . . For the consequence of putting war upon a total basis, or of accepting it upon that basis in retaliation, is the divorce of war from ethical significance.”

Though I highly recommend this essay collection, I’m afraid it’s out of print. I recommend picking it up wherever you can find it. I have a battered old copy saved from the closing of a seminary library.

In addition to writing about Weaver’s examination of Lee as philosopher of warfare, I’ve written here about Weaver’s view of the toughness required to be heroic and his thoughts on what Chesterton called “the inside of history.” Weaver also provided one of the epigraphs for Griswoldville, a quotation I used again here in relation to another defeated army worth remembering.

After all, defeat is not judgment, and it can prove a powerful teacher. As Mendenhall puts it in his essay, the South’s “experience with tragedy” resulted in a “metaphysical instinct” contrary to the materialistic, success-oriented worldview of the rest of the country. This instinct is reflected in the South’s letters:

Southern literature refuses to flinch from tragedy. In an age prone to deny life’s darker aspects, these writers insisted on confronting them. Their vision, derived from “observation, history, traditional beliefs older than any ‘ism,’” offers what Weaver considers a fortification against dehumanizing ideologies.

And if there’s anything we need more than a new Richard Weaver, it’s that fortification.

What’s missing from modern sports

My late granddad—who knew how to have fun—and his brother Summie at the Alabama Polytechnic Institute, now Auburn, September 1945. From the auburn University Libraries.

One of my favorite discoveries since dipping my toe into Substack is Ted Gioia, a jazz critic who writes frequently and with great insight on a number of cultural topics I care about. I had planned to write about his “worst writing advice in the world,” and may yet, but over the weekend he shared a post that surprisingly helped give form to an intuition I’ve felt for a long time.

I say “surprisingly” because, as far as I can recall, over the last six years and 600+ posts on this blog, I’ve never written about sports. Here goes.

In a post called “I Say Forbidden Things About Sports,” Gioia tackles a host of problems with the culture of sports generally and college sports specifically, among them corrupt recruiting practices, the wildly out-of-whack priorities of coach pay, the physical devastation meted out to ever-growing numbers of young athletes, the sociopathic lust to win, and the creep of the corporate profit-maximizing motive into the world of the university—a phenomenon not limited to the gridiron. All of these are perversions of what sports are supposed to be about.

No argument there.

The one place where I think Gioia misses something is the single place in the essay where he is most dogmatic. After cataloging some of the failures of college sports, Gioia presents his “Six Intrinsic Benefits of Sports”:

 
 

Again, no objections. This is an excellent list. I have three kids who just started youth basketball and it’s already been a fantastic opportunity to teach them all six of these things, just as my parents taught me through baseball.

But when Gioia writes “End of story—there are no others,” I have to point out one thing missing from the list, the one that I think provides the basis for all the others: fun.

Remember when sports were fun? The language does. The words play and game, the language of the schoolyard, linger vestigially, suggesting the former place of sports in our culture. Sports were not always so serious. Even the word sport and its derivatives are suggestive, not only as a noun (sportsman, he’s a sport) but as an adjective (a sporting chance, sport fishing) and verb (sporting a new haircut, children sporting in a field of flowers). Take a look at the history of the word sometime, and at the many, many ways it’s used now. If you wanted to get high-falutin’ about playing games, you ventured, of necessity, into Greek—athlete, athletics, athleticism.

Gioia is absolutely right about those six benefits, but I’m not sure those benefits are why people play sports—or not why they used to, anyway. Kids don’t play basketball to bond, they play basketball and bond. Kids don’t play baseball to learn restraint and how to follow rules, they learn restraint and how to follow rules in order to play. They don’t lose at tennis to learn to accept defeat gracefully, they accept defeat gracefully so that they can play again and, just maybe, win. And they want to play because it’s fun.

Ed Poss (1927-2017)

The gratuitous, for-its-own-sakeness of sports and games is important, I think. And once that goes, the other knock-on benefits—teamwork, sportsmanship, hard work, grace in defeat—will not last.

Look around. What most strikes me about modern sports is how not-fun it all is. The vitriolic demands to fire coaches, the wrath at defeat (sharply parodied here), the punishing training, the increasingly obscene smacktalk, the psych-ward obsessiveness of sports commentary, the gleeful Schadenfreude when a rival loses, perhaps above all the gambling—none of it is fun. I watch the ways in which people I know participate in sports, either as fans or players, and wonder, Are you enjoying this?

And the not-fun of college and professional sports is oozing downward all the time. Read this essay by Tim Carney for an eye-opening look at this trend through his experience with his son’s travel baseball team. The task for those who want to enjoy sports despite modern sports culture and who want our kids to enjoy sports too is simply to keep it fun. That’s my goal, at least.

There’s a lot more to unpack here, I’m sure. Visit Gioa’s Substack, subscribe, and read the whole post. It’s worthwhile food for thought. When I first read it Saturday I went to the comments to see if anyone had suggested fun as a possible seventh—and most important—intrinsic benefit for Gioia’s list. There was a brisk back-and-forth going on there, but not a mention of fun. A telling omission. I’m glad to say I checked again this afternoon and at least three other people have raised the point I’m making here.

Glad to know I’m not alone. Maybe we could start a team.

Godzilla Minus One

A confession: When I watched Gladiator II Sunday afternoon and later sat down to review it, I struggled to view it on its own terms—not only because it was a middling sequel to one of my favorite movies but also because the night before I had watched one of the best movies I’ve seen in years: a moving historical drama with great characters, rich themes of fear, duty, and love, a fast-moving, exciting plot… and a radioactive monster. That movie is Godzilla Minus One.

The story begins in the final days of World War II, as Koichi Shikishima lands his rickety fighter plane on a small island airstrip. Shikishima is a kamikaze pilot and had been on his way to attack the American fleet when he developed engine trouble. The mechanics, the only personnel on the island, find nothing wrong with his plane. Before any uncomfortable conversations can occur or Shikishima can leave to complete his mission, a gigantic creature known to the locals as Godzilla rises out of the ocean and wipes out the airfield crew—all but Shikishima and the lead mechanic, who blames Shikishima, who was too terrified during the attack to jump into his plane and fire his guns at the monster, for his men’s deaths.

Back in Japan following the surrender, Shikishima finds his family home destroyed. A crochety neighbor, Sumiko, gives him the bad news—his parents were killed in the firebombing. When she realizes that he is a kamikaze pilot who came back from the war alive, she heaps him with shame. Shikishima is thus left living literally in the ruins of his former life.

Things change when he runs into Noriko, a homeless young woman whom Shikishima first meets as she flees arrest for theft. As she runs through a crowded market she bumps into him, presses a baby girl into his arms, and runs on. Unsure of what to do, he waits, unable to leave the baby and uncertain of where to look. Noriko finds him as evening comes on and explains that the baby, Akiko, is not hers, but the child of a woman killed in the firebombing. Noriko swore to look after her little girl.

Shikishima takes them in and, slowly, over the next few years, the three build new lives for themselves, Noriko looking after Akiko and Shikishima taking whatever work he can find to provide for them. Purely through the habit of sharing a house, relationships form, albeit strictly in one direction. Akiko, as she learns to talk, calls Shikishima “daddy,” a title he reminds her does not belong to him. Noriko, clearly, loves Shikishima, and yet he remains closed off. When his coworkers learn that Shikishima and Noriko are not married and misunderstand the situation, demand that he marry her. But he cannot, he thinks, because his war never actually ended.

The best work that Shikishima finds is minesweeping, well-paying but dangerous work aboard a small, slow wooden fishing boat with a crew of eccentrics—old salt Akitsu, naval weapons expert Noda, and Mizushima, a young man drafted too late in the war to see action. It is here, with this group, that Shikishima encounters Godzilla again.

Atomic weapons testing in the Pacific—we are explicitly shown the Bikini Atoll test—has transformed the monster from a huge deep-sea lizard to a monster that towers over cities and can breathe a “heat ray” with the power of an atomic bomb. In the process of fighting the monster off as he approaches Japan, Shikishima and his crewmates also learn that Godzilla can also heal quickly from even severe wounds. Godzilla’s first attack on Tokyo is genuinely terrifying—and tragic for Shikishima.

The rest of the film is concerned with the attempts of a freelance group of ex-Imperial Navy men to stop Godzilla. A demilitarized Japan has no official power to help and the American occupiers are more concerned with the Soviets, so it is up to Shikishima and others to take care of the problem themselves. Fortunately—or unfortunately, given Shikishima’s long-fermenting deathwish—they have found a way to use Shikishima’s peculiar wartime training to their advantage.

That’s more of a plot summary than I intended to write, but Godzilla Minus One is not just a monster movie, it’s a genuine, moving human drama with a well-realized historical setting and characters whose plights immediately involve us. Unlike a lot of similar disaster or monster movies, Godzilla Minus One has no unlikeable characters, no cheap comedy sidekicks, no hateful villains. All of them are worth spending time with and all of them matter. (This is, in fact, a thematic point.) This human dimension gives the monster attack scenes—whether aboard a fishing boat, in the heart of Tokyo, or racing across the countryside—weight, suspense, and excitement. I haven’t been this tense in a movie in a long time.

The story also proves surprisingly moving because, again, unlike a lot of similar recent movies, it dares to explore deep themes and treats them seriously. Most prominent among these is duty. Time and time again, when Shikishima is presented with something he must do—shoot at a monster, take care of a baby, marry the girl who loves him—he freezes. Shikishima’s arc is to move from fleeing duty, to passively accepting duty, to embracing it willingly. And yet without something else to temper it, his final, fearless embrace of duty could lead to precisely the kind of cold, bloodyminded sacrifice that got him into the cockpit of a flying bomb during the war. What that something is, what gives meaning to duty, I leave for y’all to discover.

When it came out last year, Godzilla Minus One was lauded for its special effects, and rightly so. The film looks amazing. The effects complement the story perfectly and are, for the most part, seamless. For long stretches I was so involved in the story that I forgot I was watching a computer-generated lizard chasing a boat or stomping around Tokyo. That this film did so much on a fraction of the budget of even the most modest Marvel movie should put Hollywood to shame—and remind us that it’s story and characters that make movies, not VFX.

I missed this one when it was briefly in theatres near me, but that made the sweet surprise of Godzilla Minus One all the more overwhelming when I finally watched it last weekend. If you’re looking for the perfect combination of sci-fi monster action and grounded, thematically rich drama, Godzilla Minus One is one of the rare films that will meet that need. And it does so brilliantly.