There are many reasons to love the writing of Ray Bradbury. His early short stories — science fiction “lite,” tales of his midwestern youth, accolades to writers like Thomas Wolfe and Ernest Hemingway, Twilight Zone accounts of life in mid-twentieth century America — remain in print and still attract teenage readers outside schoolhouse hallways. His jeremiads in these stories against the modern mechanization of the soul remain fresh and lively even 50 years after they first appeared in print. His style, a sort of splashing of words onto paper — has an American writer ever enjoyed such a love affair with the exclamation point? — still entertains. Bradbury has said in numerous interviews that writers shouldn’t write unless it’s “fun,” a refreshing take since so many writers over the last hundred years have spoken of the difficulty and angst of writing, and this sense of fun comes to vivid life in Bradbury’s writing.

In the negative column is the fact that Bradbury’s stories and novels of the last 30 years are weakly plotted self-parodies. Most of these saw print because of the writer’s reputation rather than their worth. Any reader who has followed Bradbury can find the weakness in these more recent stories in their syntax alone: the thin paragraphs, the false excitement in some of the diction, the tired exclamations.

Yet the prose of the younger Bradbury still has a spring-like air about it, and it is this writer that Jonathan R. Eller examines in a new biography Becoming Ray Bradbury (ISBN 978-0-252-03629-3, $34.95). Fittingly published by the University of Illinois — Ray Bradbury spent his early youth in Waukegan, Illinois — this rich, dense account should appeal to a broad spectrum of Bradbury fans. Eller, a professor of English at Indiana University-Purdue University and the cofounder of the Center for Ray Bradbury Studies, spent hundreds of hours interviewing Bradbury’s friends, other writers, his principal biographer, his wife Maggie (now deceased), his daughter Alexandra, and Ray Bradbury himself.

From these sources Eller has given us a fine look into the life, thoughts, and stories from his birth in 1920 to the 1950s. He shows us how the boy from Illinois who came of age in California created himself as a writer, following the advice of a dozen different mentors while reading himself into an education. Bradbury, like Hemingway, is an autodidact; he never had the money to go to a university, but instead worked after high school selling newspapers on a Los Angeles sidewalk while enrolling in that least-expensive of educational institutions: the public library. Eventually, after a period of trial-and-error, Bradbury realized that the richness of his own life — his love of fantasy and mystery, of dinosaurs and space travel, of great writers like Dickens, Shakespeare, Shaw, Hemingway, and Wolfe, his boyhood days in Illinois — was the palette from which he should paint his stories. He wrote daily in those years, building his stories from a variety of techniques like word association and creative mental play.

In describing how Bradbury refused to be categorized as a genre writer — in this case, of the “weird tale” — Eller sums up some of Bradbury’s approaches to work in the middle of Becoming Ray Bradbury. He writes that Bradbury was “… ignoring reductionist genre rules and traditions whenever they interfered with his own intuitive approach to writing. He continued to minimize the art of plotting, for his Muse worked best when the characters seemed to write their own stories. He would continue to use the loose framework of science fiction, or the weird tale, or even the occasional backdrop of noir crime, but he was writing about people rather than about science, or terror, or detection.”

Becoming Ray Bradbury should appeal not only to readers of Bradbury’s work, but to anyone interested in writers and writing. We can see in this book how a young man became a writer and how writing itself, with all its travail and uncertainty, can bring to its creator a great sense of joy.

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In How Do You Kill 11 Million People: Why The Truth Matters More Than You Think (ISBN 978-0-8499-4835-0, $14.99), Andy Andrews, author of The Noticer and The Traveler’s Gift, has written what amounts to an essay published in the form of a book. This is a small volume of only 80 pages, and the word count per page runs to less than half of that found in most books.

Despite its brevity, however, How Do You Kill 11 Million People? — the title refers to those murdered by the Nazis, not only the Jews, but the other millions of people thrown into concentration camps for their beliefs — serves as a sobering reminder about the value of truth in our personal and public lives. Reminding us of Hitler’s remark in Mein Kampf, that “The great masses of people will more easily fall victim to a big lie than to a small one,” Andrews then asks the question: What happens to a society in which truth is absent?

We live now in a society in which truth may not be absent (though a good many people, perhaps a majority, deny its existence), but in which it can be so covered up by information, conflicting points of views, and outright deceptions, that it might as well be absent. Our politicians and many in our “news” media deliberately mislead us, but what is worse, we often allow them to do so. We expect to be deceived, and like the readers of the newspaper Pravda (“The Truth”) in Soviet Russia, we find ourselves having to read between the lines to dig out the real truth behind a government policy or some story on the six o’clock news.

Perhaps the real value to this thin little slip of a book are the questions asked in the Reader’s Guide at the end. These questions and the ease with which the book can be read make it an ideal tool for book clubs, the classroom, and political discussions. To begin to reflect on these questions of what truth means to us, what lies we ourselves have told and why, and what steps might be taken to bring truth to the fore in the public square, is to begin looking at ourselves and our present difficulties in a new light.

(Jeff Minick is a writer and teacher. He can be reached at This email address is being protected from spambots. You need JavaScript enabled to view it..)

Thursday. Throughout this anguished and gripping tale, this day of the week, Thursday” is usually italicized, suggesting that it has some special (and possibly sinister) significance. Specifically, it is the day that Eva Khatchadourian’s son, Kevin (two days shy of his 16th birthday) will kill 11 people. Taking the form of an epistolary novel, We Need to Talk about Kevin consists of a series of letters written by Eva to her “estranged” husband, Franklin. In essence, these letters represent Eva’s painful attempts to discover the reasons for her son’s decision to murder nine of his classmates and two adults. It is a daunting task.

By turns witty, arrogant, defiant and defensive, Eva records the details of her life in an attempt to find clues ... something that answers the provocative question, why? Where did it begin? Why did her morose and inverted son plan and stage a massacre in a school gymnasium? As she slowly sifts the chronology of her life ... the details of her marriage, revisiting every major and minor conflict, she searches for the flaw that led to disaster.

As Eva recounts her successful career as writer of a travel book series entitled “A Wing and a Prayer” — books which provided guidance to “economically disadvantaged travelers” — Eva recalls the factors attending her decision to have a baby: how she became increasingly aware of her biological clock (she is in her late 30s) and develops a devious scheme to have a baby despite Franklin’s ambivalence about parenthood. However, since they are wealthy, both would-be parents are confident that they can provide an exceptionally stable environment for a child. Eva plans Kevin’s birth as carefully as she orchestrates and markets her travel books.

However, there are disquieting factors from the beginning. Kevin rejects his mother’s breast and will only accept formula. Eventually, he also rejects toilet training and wears diapers (which he soils at an alarming rate) until he is nearly 6. Babysitters and care-takers quit. Daycare teachers complain of Kevin’s “asocial behavior,” and though he resists learning to talk, he perfects an irritating ability to “mimic” his mother’s speech in a sing-song voice — “Nah, neh, nah, nah, Neh, naw ...”— a talent that she suspects is a calculated attempt to anger her. Distressed by Kevin’s listless manner and his growing hostility to others, Eva begins to wonder if it is possible for a child to actually resent being born. Certainly, there seems to be little in life that pleases the sullen boy. By the time he begins school, he has already developed a bored and indifferent response to all attempts to elicit his interest: “Whatever,” he says, giving the response of the jaded and bored teenager.

Gradually, Eva realizes that instead of suffering from “attention deficient” or any of a host of mental impairments, Kevin is very intelligent. In addition, his indifference to his school, family, clothing and music is genuine. Ruefully, Eva notes that she had her son tested for Downs Syndrome, but “did not have him tested for malice, spiteful indifference, or for congenital meanness.” In time, it becomes evident that Kevin sees the world as “pointless,” viewing it with either hostility or repugnance.

However, he has an ominous fascination for the rash of school shootings that are happening with alarming frequency. He becomes a kind of authority on each incident. He can list all of the “vital statistics” — age of shooter, number of victims, choice of weapons, etc. — smugly noting that he is contemptuous of suicides and killers who leave elaborate notes. Kevin prefers motives that are “unknown, hidden and/or mysterious.”

In conjunction with Kevin’s growing antipathy for the world around him, Eva is alarmed by a series of “accidents” and disturbing events in which her son may have played a part. Kevin’s sister is blinded in one eye as a result of a suspicious accident; an unknown person plants incriminating evidence in the lockers of popular students, evidenced that suggests that they are budding terrorists or racists. Kevin acquires a “friend” who appears to be as maladjusted as he is, and the two boys create a plot that involves accusing a teacher of sexual improprieties; the local police show up inquiring about an alleged “prank.” Someone is dropping rocks and bricks from an overpass onto motorists.

Unfortunately, Eva’s growing distress is not shared by Franklin. What she sees as danger signals, Franklin sees as the robust vitality of a growing boy. When Eva confronts Kevin, Franklin invariably springs to his defense and assumes the role of a tolerant father who encourages his son’s interest in hunting by buying him an assortment of weapons ... including a crossbow. Franklin also promotes a series of father-son activities such as camping and visiting historic sites … including Vietnam. Perhaps the most poignant aspect of this relationship is the growing evidence that Kevin despises his father and will create a special punishment for him.

As the fateful date approaches — April 8, 1999 — Eva becomes increasingly anxious. Later, she will recall in detail the last family breakfast. Especially noteworthy is Kevin’s remark about his mother’s affectionate goodbye to Celia, the sweet and timid daughter. “Sure you don’t want to say goodbye to Celia one more time?” In the years to come, she will wonder if Kevin was hinting about the unthinkable acts that were to come.

We Need to Talk about Kevin will probably become a celebrated and hotly-debated book in the coming months. The fact that there is already a movie version in the theaters, featuring the brilliant actress Tilda Swinton, suggests that Hollywood is mindful of the fact that both the film and the book may prove to be “significant.” Eva, faced with the decision of hiring a lawyer to defend Kevin, observes that “We live in a time where lawyers see trials as games, not morality plays.” She is right, of course, when she continues, “We live in a country that does not discriminate between fame and infamy.”

A number of critics are comparing We Need to Talk about Kevin to works such as Rosemary’s Baby, and admittedly, I was reminded of a Ray Bradbury short story, “The Little Assassin” and a marvelous book by William March (circa 1950s), The Bad Seed. However, Lionel Shriver’s novel is no mere “spook” tale. Although it is a disquieting novel with a “Grand Guignol” ending, there is more here than a momentary scare. It poses a provocative question: why are these massacres happening? Is there a hidden cord, a motif that bounds them together? Is it, as Shriver suggests, a desperate yearning to become “special” in some way in a world where they feel both purposeless ... and anonymous?

We Need to Talk about Kevin by Lionel Shriver. Harper Perennial 2012. 500 pages.

Recently I watched several early episodes of “Blue Bloods,” a fine television series centered on a New York family with a tradition of law enforcement. The father is the New York City Police commissioner, his father is a retired policemen, and his children include a detective, an assistant district attorney, a rookie cop, and a policeman killed on duty. The series is justly touted for its realism regarding both police work and family dynamics. Yet in one of these episodes, the detective participates in a raid; he runs alone up a fire escape to enter through the window of an apartment while an entire contingent of fellow officers breaks through the front door. In all the episodes I’ve seen so far, the commissioner, a widower, is dating a television reporter, but still wears what definitely appears to be a wedding band on his left hand.

Questions: why is the detective running up the fire escape without backup? And why does the commissioner’s lover ignore the wedding band?

Hollywood often gives us movies or television shows in which coincidence is not justified, logic is sacrificed for emotion, and plot and character motivation is as flimsy as a doublewide in a tornado. Style trumps story, drama and excitement run roughshod over reason. Sometimes the magic works, and we are tricked against our better judgment into accepting certain premises, but just as often the curtain blows aside and we see the man working the controls. The magic ends, and we are left with a piece of creaky, irritating machinery.

Unfortunately, these same defects appear in some of the novels we may read.

In Carol Goodman’s The Ghost Orchid, set in an artist’s colony in upstate New York, the story grips the reader from the first page. The narrator of this Gothic tale, Ellis Brooks, is at work on her first novel. Goodman has a genuine talent for creating believable female protagonists, and through Ellis we come to know the other members of the colony: the renowned novelist Nat Loomis; the landscape architect David Fox; the eccentric and lovable poet Zalman Bronsky; the brooding biographer Bethesda Graham.

As in her outstanding first novel, The Lake of Dead Languages, Goodman displays a generous talent for creating tension, both among the characters and in the mystic elements — ghosts, mediums, a past-haunted present — surrounding the Bosco estate. The reader becomes caught up in the lives of the artists as they struggle to unravel the mysteries of the estate with its secret rooms, underground tunnels, mysterious sculptures, and living secrets.

About three quarters of the way through the novel, however, Ellis’ ability to “read” the other characters and to summon up the estate’s dark past become tiresome rather than intriguing. Worse, the connections of the other characters to the estate — by genealogical descent, by a past of which they are unaware — finally become too unreal to be viable. Worse still, for a reader skeptical about séances, poltergeists, and other supernatural phenomena, the last few pages of The Ghost Orchid become a tremendous cheat. The characters suddenly turn to cardboard, the plot to air, and the reader leaves the book feeling slightly ridiculous for having devoted several hours of breath and effort to so awful a contraption.

In The Affair: A Jack Reacher Novel, Lee Childs takes us back to 1997 when Reacher is still working as a special investigator in the Army. Sent to Mississippi to look into the murders of young women near an Army base serving as headquarters for secret missions in the Middle East, Reacher falls for the town’s sheriff, ex-Marine Elizabeth Devereux. Between bouts in the bedroom the two of them try to track down the killers. The Affair is vintage Reacher: finely-tuned dialogue, beautiful women who want to take Reacher to the sheets, Reacher’s own eccentricities (even here, while in the Army, he buys his clothing at thrift shops and throws away his old clothes rather than washing them and using them again).

From my reading of earlier Reacher novels, I had already learned that I needed to suspend certain conventional ideas regarding plot. In one novel, for example, Childs has Reacher randomly get off the bus in a small town. Before the novel is finished and the bodies are stacked higher than the bus, Reacher discovers his brother, a special agent, dead in the town’s morgue. To enjoy the novel, then, means that we must overlook the fact that the odds of this occurrence are spectacularly high.

But in The Affair, about midway through the story, I came to the final end of tolerance for Jack Reacher and his creator. Here Reacher has talked with a young black man, the brother of one of the murder victims, and has encouraged him to join the Army. The young man goes to the nearby post to enlist, but is shot dead by a group of vigilantes guarding the property. Reacher tracks these men down, discovers why they have been stationed around the post, then shoots one of them in cold blood and tells the others to haul the body away and never return.

It was on that page that I closed the book and promised myself never again to read one of these novels. Here we have a military policeman murdering a citizen and then casually telling his two buddies to take the body away. There are apparently no consequences for this killing; I didn’t read any farther into the book, but the other Reacher novels still depict our man running around the country single-handedly killing platoons of bad guys and eradicating evil. The sheer numbing stupidity of such a plot twist, and all the other unbelievable situations in this book and others in the series, have finally brought me back to my senses.

The appropriately titled The Affair brought an end to my own affair with these books. Unlike the traditional breakup line, however, I will say in ending our relationship: “It’s not me. It’s you.”

The Affair: A Jack Reacher Novel by Lee Childs. Delacorte Press , 2011. 416 pages.

Several months ago, I reviewed Daniel Woodrell’s Winter’s Bone, and received an unusual number of responses from readers. In general, the responses were positive. However, there were a few readers who found Woodrell’s description of Appalachian (Ozark) culture distorted and misguided. However, others defended Woodrell’s descriptions of Appalachian life in Winter’s Bone as painfully accurate.  A few spoke with some bitterness about their experiences as “newcomers.”  At length, the whole debate wound down, but it is by no means resolved.

Now comes a new work by Woodrell, a collection of twelve short stories entitled The Outlaw Album. Like many fans of this author, I had thought that Winter’s Bone, despite the bleakness of Ree Dolly’s life, contained a powerful redemptive theme — one that suggested that this teenager would not only survive, but would become the means of saving her family. In effect, there was something innate in Ree Dolly’s genes that would sustain her. She would find a way to keep the land and protect her brothers.

Well, there is nothing in The Outlaw Album that speaks of redemption. These beautifully crafted short stories nestle together like 12 black pearls in a velvet-lined box ... luminous, lethal and uncompromisingly dark. The themes are familiar ones: a conflict with a new neighbor that turns into a murder; a wheel-chair bound serial killer; a campground manager who finds himself in a deadly conflict with a marauding gang; a storeowner, grieving for his missing daughter, and becoming increasingly paranoid as the years pass, wondering if his daughter’s killer is one of his customers. Then, there is the man who sets fire to a real estate development in an attempt to return the land to the way it looked before the developers came. On and on, these spare, dark tales unwind ... each a testament to the infinite variations in the nature of evil. Is it inherited or imported?  Is it a random virus or a judgment?

The protagonist of “Black Step,” an Iraqi veteran who has decided to re-enlist, relates the tragic aftermath of his father’s suicide and how his ailing mother painted the back-step black because it was stained with his father’s blood. After a life-time of raising livestock, the Girard farm is failing and is surrounded by new homes and real estate developments. Before leaving, the Iraqi veteran notes that the farm and the family cemetery appears to be sinking out of sight and observes that he “likes graves that disappear.”

“Night Stand” is possibly the most frightening story in this collection. It is narrated by a man named Pelham, who awakes one night to find a naked man standing by his bed growling. Seizing a knife, Pelham stabs the man to death. Belatedly, Pelham learns that the dead man was an ex-Marine (like Pelham). Eventually he comes to feel that he has been manipulated by a deranged man who wanted to commit suicide. In his search to find why the dead man “selected” him, Pelham befriends the victim’s father. As a consequence, both learn a heartbreaking truth.

“Two Things” proves to be possibly the most despairing story in this collection. Essentially, it defines a meeting between a social worker and the father of a boy named Cecil who is up for parole. The social worker has brought a scrapbook filled with Cecil’s “creative works” ... poems and drawings that allegedly bear witness to Cecil’s innate creative talent. The social worker wants the father to speak on behalf of his son, but she learns that Cecil’s family no longer feels that he can be redeemed. The father says, “He ain’t getting no more poems off of us.”

“The Horse in Our History” attempts to reconcile all of the contradictory folklore in a small Texas town regarding a legendary horse, a black jockey and a Afro-American prostitute named Dyna Flo. Was there an historic race? Was the dead man found by the railroad tracks the jockey? Did the town die because Dyna Flo was ostracized? Was Bleu the name of the horse or the owner?  Is it possible that the horse never existed and the fabulous tale told by the town folks is merely a desperate effort to keep the past alive by making it colorful?

“Woe to Live On” recounts the history of Coleman Younger, an enigmatic outlaw who rode with Quantrill’s Raiders and participated in some of the most horrifying atrocities of the Civil War. Coleman’s biographer, a man named Roedel, attempts to “honor” Younger and his vicious companions by carving driftwood images — a process that he describes as a means “whereby the large is rendered small.” As Roedel whittles and talks about the life of Coleman Younger, we learn that Roedel was a party to some of the war’s most shameful events, including mass executions and scalpings.

Particularly well done is “Dream Spot,” which relates the final episode in the life of a serial killer named Dalrymple and his female companion, Janet. Dalrymple specializes in the murder of hitch-hikers and unsuspecting motorists — that is until this final day when he finds a woman in a long coat standing on a lonely road, a woman who seems to be “predestined” to meet him here on this day.

The character Sleepy in the story “One United” enjoys his job of intimidating a farm family who are scheduled to testify in court. “Do I smell your barn burning?” asks Sleepy as he stands on the farmer’s porch. The frightened family realizes that if they speak out about some of the criminal acts carried out by the banks, they will lose their farm.

I found no stories that could be described as “uplifting and hopeful” in The Outlaw Album. Instead, I found 12 dark fables that provide proof that the world is going to hell. Like Cormac McCarthy, Woodrell not only sees evidence that the world is spiraling into chaos; he believes that we are long past a point where we could reverse the approaching apocalypse. It seems unlikely that there is a significant audience for a message like that.

The Outlaw Album is a paradox: dark and depressing, but beautifully crafted.

The Outlaw Album by Daniel Woodrell. Little, Brown and Company, 2011. 168 pages

Of female writers who appeal the least to the young men in my seminars, Jane Austen surely holds first place. Many of these male students can relate to the work of Annie Dillard or Anne Tyler, and more than a few over the years have taken to Bronte’s Wuthering Heights, if only because of Heathcliff and the author’s magnificently wild prose, but none of these young men have evinced, at least publicly, any interest in becoming, as have so many women, members of the Austenite cult. Even I, though I have found on several readings great treasures in Pride and Prejudice, have in the past mostly taught Austen because the book so gratifies my female students.

In his new book A Jane Austen Education: How Six Novels Taught Me About Love, Friendship, And The Things That Really Matter (ISBN 978-1-59420-288-9, $25.95), William Deresciewicz offers a perspective that may allow men to regard Jane Austen as more than just the queen of “chick-lit.”

When Deresciewicz first introduces himself in this book, he is an immature and arrogant graduate student in literature who is forced to take a course featuring Jane Austen’s Emma, a story which at first seemed to “consist of nothing but chitchat among a group of commonplace characters in a country village.” Bored at first by Emma’s willful attempts to change the lives of those around her, Deresciewicz soon realized that Emma’s cruelty and her contempt for some of her familiars were a mirror image of his own feelings. Moreover, he understood that Austen had written about everyday things and people because “she wanted to show how important they really are.”

Emma led Deresciewicz deeper into Austen territory, first to Pride and Prejudice, and then to the others: Northanger Abbey, Mansfield Park, Persuasion and Sense and Sensibility. He fell so in love with the long-deceased author that he soon decided to include her in his dissertation, and found himself immersed in her life, reading biographies and poring over her correspondence.

Deresiewicz divides A Jane Austen Education into chapters devoted to each of these novels. Skillfully weaving his own stories into his criticism of Austen’s stories, he shows us how her stories and characters affected him, making him a better man. From Emma, for example, he learns how to pay closer attention to the everyday events and people that touch his life, that it truly is the little things in life that count the most. From Pride and Prejudice, and the mistakes in judgment made by Elizabeth Bennett and her revelation regarding those mistakes, Deresiewicz realizes that he himself has often let his own prejudices blind him to reality. “She (Austen) wanted us,” Deresiewicz writes, “to override our emotions, which dwell within us and urge us to do what we want, and replace them with reason — with logic, with evidence, with objectivity — which stands outside us and doesn’t care what we want.”

A Jane Austen Education is also a tale of a young man not only becoming aware of his own flaws, but of learning how to love. Here an older professor helps Deresiewicz grapple with Austen and the lessons to be learned there. From Northanger Abbey the professor quotes Catherine, a central figure in the book: “I have just learnt to love a hyacinth.” The professor points out to Deresiewicz that Catherine had learned to love the hyacinth, and as another character tells her, “Who can tell, the sentiment once raised, but you may in time come to love a rose?…The mere habit of learning to love is the thing.” This, says the professor, is the central theme and lesson of Northanger Abbey.

From Sense and Sensibility Deresiewicz learns perhaps his most important lesson in the art of love, particularly as it relates to women. Austen lived at the beginning of the Romantic period, when feelings trumped reason, yet Austen herself came down firmly on the side of reason in regard to love. The head, according to Austen, trumps the heart — or at least equals it. This is not, on Austen’s part, a cold, calculating reason, but rather, a realization that we should fall in love with a person’s character more deeply than we account their looks, that “falling in love” is all too often temporary while to love someone is permanent. “Austen was not against romance,“ Deresiewicz writes. “She was against romantic mythology.“

The best love, Deresiewicz realizes from his reading of the novels, develops first in friendship, in familiarity, in an evaluation of the character of another, from which there emerges the attraction of real love. “And that was the most momentous revelation of all,” Deresiewicz writes. “Not only does your happiness depend upon your choice of mate, your very self depends upon it — your character, your soul.”

A Jane Austen Education: How Six Novels Taught Me About Love, Friendship, And The Things That Really Matter by William Deresciewicz. Penguin Press HC, 2011. 272 pages

The New Year’s resolution typically leads a short and tragic life. Its father is misdeeds, its mother remorse. Once born, the resolution swarms about its maker as irritating as a fruit fly. Often, too, it lives no longer than the common fruit fly, which is to say about two weeks. Its demise usually evokes in its pall-bearer tangled emotions of foolhardy chagrin and wild, celebratory relief.    

Growing older does occasionally mean growing wiser, and over the last few years I have abstained from making New Year’s resolutions. For most of my adult life, I had made such pledges — to quit smoking, to drink less, to lose weight, to get into shape, to listen better — and while I eventually achieved some control over these vices, my change in habits never came about as the result of a New Year’s vow.

This year is different. Let me explain why I decided to make a resolution and how I determined to carry it out. But first the resolution:

“Resolved, that I will spend 20 minutes per day for the year 2012 reading the following books: Jane Austen’s Emma; Dante’s The Divine Comedy (the John Ciardi translation); Boethius’s The Consolations of Philosophy; the Oresteia trilogy; the Pauline Letters of the New Testament; G.K. Chesterton’s The Everlasting Man; Caulaincourt’s With Napoleon in Russia; Thucydides History of the Peloponnesian War; Tolstoy’s Anna Karenina (which I have previously read, but which has long demanded another visit); Gerard Manley Hopkins’ Selected Poetry; Joseph Pearce‘s Flowers of Heaven: One Thousand Years of Christian Verse. Missed reading sessions must be made up within a week’s time.”

For more than a decade, I have vowed to read certain authors and books, writing that I had missed or neglected along the way. In my twenties, after I abandoned my graduate school studies in medieval history, I flung myself into fiction and poetry with the abandon of a man unleashed from prison, going from Shakespeare to Dostoevsky, from John Donne to Sylvia Plath, from Scott Fitzgerald to Evelyn Waugh. I read these authors and many more for two reasons: I was genuinely interested in the books, and I wanted to learn to write.

By the time I entered my thirties, most of the books I was reading were newer, and by the time my forties and fifties rolled around, nearly all the books were contemporary. The classics still beckoned, and my life in a classroom has kept me in touch with older works of literature, but generally my reading has aimed, both from choice and necessity, at new works of fiction, history, and biography.

But the minutes tick away, and the old books call to me. The time has come to pay them heed. If asked why I want to have read certain books before growing infirm or dying — what difference will such reading make, really, one may ask — I have no more ready answer than the old-timer who wants to climb Everest or the grandmother who wants to run a marathon. The compulsion comes from inside the heart and defies ready analysis.  

Resolutions are effective which come with this axiom: the more specific the goal, the greater chance for success. The man who sets out to “lose weight” fails nine times out of ten. The man who resolves to lose a pound a month between January and September has a fighting chance. I therefore decided to be as exacting as possible in the construction of my own pledge to myself.

Like everyone in today’s mad-rush world, I am busy with commitments. Days often pass in a blur of teaching, writing, caring for a teenager’s wants and needs, and completing the usual necessary household duties. My plan had to take into account the exigencies of my existence while at the same time allowing for some sense of accomplishment. Twenty minutes seemed a good amount of time, an easily remembered number less imposing than half an hour and more worthy than a quarter hour. Twenty minutes a day may seem inconsequential, but it adds up to well over a hundred hours of annual reading, and I am a reasonably fast reader. Self-knowledge led me to include an alternate plan in case, whether by accident or the demands of my schedule, I did miss a session of reading. I wanted a chance to compensate for my failure.

As for the books — I could have chosen any number of other titles. But the books selected here, with the exception of Caulaincourt and Pearce, are ones that I come across again and again in my reading. Some books are included to offset omissions in my education that are just plain embarrassing: to have neglected Dante is, given my interests and education, inexcusable. Some are appropriate to my stage of life; Boethius, for example, wrote The Consolations of Philosophy while under a sentence of death, a circumstance that looms somewhat larger in my life now than it did at age 20. Hopkins I have read in bits and pieces, and wanted a more disciplined approach to his work. I have read several Greek plays, and their stark prose and bare emotions drew me toward the Oresteia. I enjoy military history, hence Thucydides and Caulaincourt. (I also want to learn more about Napoleon and nineteenth century Russia, so the Caulaincourt fits several bills). Anna Karenina appeals to me for reasons of nostalgia; I can vividly remember reading the book and thinking it the best novel I’d ever read. The time seemed ripe to repeat the experiment and see what I think now of poor doomed Anna.

One great difference between this resolution and those made earlier in life is, of course, the fact that I am announcing it in a newspaper. Pressure can shape diamonds or break boulders. We’ll see how it goes.

(Jeff Minick is a writer and teacher. He can be reached at This email address is being protected from spambots. You need JavaScript enabled to view it..)

About 20 years ago, the book collector’s magazine “First” published an impressive article on George Pelecanos, a new writer that was not only imminently collectable, but was (in their opinion) destined to “change the face of crime fiction.” That was the start of my admiration for Pelecanos. Quite honestly, I found the novels consistently brilliant, especially his early works like A Firing Offense, Shoedog and Down by the River Where the Dead Men Go.

Many successful writers prefer to set their novels in their “signature” location: T. Jefferson Parker frequently uses Orange County, Calif.; James Lee Burke loves Louisiana; Many of Dennis Lehane’s characters are at home on the back streets of Boston; and Carl Hiassen (like the late Charles Williford) prefers Miami.

Pelecanos’ turf is Washington, D.C., and his characters move, fight, love and murder each other in the labyrinthine streets of the capital city. In fact, reading a Pelecanos novel is like taking a tour of D.C.’s nightclubs and restaurants while Spero Lucas does a running commentary on the city’s polyglot cuisine, music and crime as he rides his bicycle from Dupont Circle down Georgia Avenue.

However, Spero is a unique creation. Home from Iraq with a lot of bad memories, he quickly becomes a successful cop, but he has what could be described as an unstable “moral compass.” He frequently finds that he has little patience with a spectrum of petty crimes — marijuana (Spero smokes pot himself) and prostitution seem irrelevant in a city filled with violence and mayhem. Due to his training, Spero can kill with speed and efficiency.  In addition, he is never troubled with guilt or misgivings since he only kills people who are intent on killing him.

Oddly enough, Spero is a devoted son who spends generous amounts of time with his Greek family, especially his brother Le, who is a school teacher. Still distraught over his father’s death, he makes frequent trips to the cemetery to deliver flowers. There is also a host of relatives and neighbors that are a vital part of Spero’s life -— relationships that this hardened cop values.

When the narrative of The Cut moves abruptly from Spero, the mindful son who engages in affectionate repartee with his brother, to Spero, the unemotional killer (his hands are truly lethal weapons and his ability to utilize fire arms is awesome), the transition is unnerving. Perhaps what is most troubling is Spero does not hesitate to violate the very laws he has sworn to enforce ... if the need arises.

Consider the significance of the title. The Cut refers to Spero’s portion of an illegal activity. Spero agrees to enter into an agreement with Anwan Hawkins, a known trafficker of marijuana, who has developed an inventive way to transport his product: He simply mails it by FedEx to an address where he knows the resident will not be home. Then, the party purchasing the marijuana arrives with a van and hauls the delivery away ... usually within minutes of delivery. The resident never knows that his address has been used. A problem arises when “someone” arrives and picks up the package (worth about $130,000) and drives away. Anwan asks Spero to find out who is stealing his pot. Spero readily agrees since he has no moral qualms about trafficking in marijuana anyway.  His “cut” will be 30 percent of the marijuana’s value ($50,000).

Why does Spero do it? That is a good question and I’m not sure Pelecanos provides us with an answer. Perhaps it is his expensive lifestyle, since he is part of what appears to be a kind of D. C. “cult” about dress: Spero wears Carhartt clothing and Wolverine boots. Every item (shirts, watches, automobiles) is selected for the prestige of the brand name. Spero loves good food and music. Many of the juveniles that Spero encounters conform to the same “cult” — some even wearing clothing with highly visible price tags and brand names. Tastes in music and sports are regulated in the same manner.

However, the problem in The Cut is more serious than FedEx pot and clothing styles. Two amiable young men, Tavon Lynch and Avon Davis, have the highly profitable job of picking up the FedEx packages for Anwan Hawkins and allegedly find that someone had beat them to it.

When Tavon and Avon are murdered, Spero suddenly finds that he is no longer a part of a questionable activity involving stolen pot. The stakes are suddenly much higher, and Spero’s investigation brings him into conflict with a crime figure (who is a former policeman) known as Rooster Holley, a repugnant man who has surrounded himself with a half-dozen assassins. When the situation escalates, Spero intuitively knows that not only is his life at risk, but also the lives of his family and even his neighbors. His warfare background tells him that not only must he strike first, but that his enemies must be totally eradicated.

In many ways, The Cut is a disturbing book — not because of the violence and brutality depicted, but because of “the message.” Spero can dispatch a would-be assassin with his hands. He can acquire illegal firearms (with serial numbers removed), slaughter a half dozen vicious criminals, and then throw all of the guns into a river ... just like a criminal would do. If need be, he calls “friends” to assist him — men who bear the scars of warfare, but will guard Spero’s back in the same manner that they would have do so in Iraq or Vietnam. Spero is subject to “urges” ... a compulsive need to complete grueling physical exercise (a 25-mile bike trip), to have sex, or to confront a force that threatens his family. There are times when his behavior resembles that of a predator rather than an investigator. He knows how to move quietly in the dark.

To me, the problem is the uncertain wavering of Spero’s “moral compass.” Is it possible that our most effective defenders — those who stand between us and chaos — are men who are very similar to those who threaten us? I am reminded of James Elroy’s novels that often conclude by revealing that the only difference between the cops and the criminals are the uniforms. Should our anxiety be relieved by the fact that Spero is not a total brute? He is capable of love, compassion and loyalty. He is, undeniably on our side. Is that enough? Should we admire him?

The Cut by George Pelecanos. Little, Brown & Company, 2011. 292 pages

(Gary Carden is a writer and storyteller who lives in Sylva. He can be reached at This email address is being protected from spambots. You need JavaScript enabled to view it..)

Although Americans are known for their wandering ways, traveling to California in Conestoga wagons, taking the train to find a place in Broadway’s spotlight, many also retain in their hearts a deep affection for a particular place. Whether that place is a Chicago parish or Mayberry RFD is immaterial. It is this beloved place to which we compare all the other cities and landscapes of our lives, this place which haunts, for better or worse, our memories, this place whose very name is a tsunami, a massive wave swamping us in a thousand names, faces, and events from a past as much imagined as it is real.

Boonville in the Yadkin Valley of Piedmont, North Carolina is my place. Though I only lived in that small town of 600 souls for less than eight years (by comparison I have lived four times as long in these mountains), it is the Boonville of my childhood which haunts my memories, which irrevocably stamped my personality. Say the word home, and the word Boonville floats up in my mind like one of those eight-ball answers.

Allen Paul Speer’s From Banner Elk to Boonville: The Voices Trilogy: Part III (Overmountain Press, 2010, ISBN 978-1-57072-329-2, $14.95) recreates the beauty and the enchantment of Boonville and the Yadkin Valley for the general reader (A caveat and a confession: Allen Speer was my friend during my Boonville adolescence, and remains a dear friend today). Comparing favorably Boonville and its environs to Tolkien’s Shire, Speer writes that “here are some of the words that best describe Yadkinians: practical, helpful, God-fearing, industrious, static, suspicious, confident, and reluctant to stir things up.”

By virtue of example rather than by such definitions, Speer also makes it clear that Yadkinians — a word of Speer’s creation, I suspect — also love storytelling. From Banner Elk to Boonville as well as the earlier two books in this trilogy — Voices From Cemetery Hill, which tells the story of Boonville’s Civil War era, and Sisters of Providence, which also tells that story from the viewpoint of the well-educated Speer women — revel in telling stories. There, for example, is the tale of the Halloween prank when a tractor was mysteriously gotten into the lobby of Boonville school (I was there, and saw it, and to this day marvel at the high school boys who pulled this one off); the stories of various Speer ancestors and townspeople; the coming of the Stammettis, owners of the Astoria Braid Mill who considerably livened up Boonville’s party life; the antics of people with nicknames like Nut, Roach, Marron, and Mouse.

Not all of From Banner Elk to Boonville is sunshine and roses. Speer shares the details of his battle against leukemia, a slow-acting lupus which he has fought for many years now. He also shows us the effect of the deaths of his grandfather and father on his spiritual and mental life. As a boy, he shared a room with his grandfather for several years, and found that after his grandfather’s death, he could no longer sleep in that room. His father, too, he deeply loved, in spite of Red’s fierce temper, and once again that death shattered him, casting him into a deep melancholy from which he took years to recover.

After college, unable to find work, Speer returned to Boonville, earned a little money painting houses, and eventually suffered a mental breakdown. His description of this psychotic episode, which he calls his “meltdown,” lies in some ways at the heart of the book as a defining, perhaps the defining, moment in Speer’s life. His crackup culminated in his attempt to walk from Boonville to Boone, some 60 miles away. He ended his journey only a few miles outside of Boonville, collapsed in a farmer’s yard. Here is a brief but harrowing account of a soul at odds with itself, and of a young man lost even in a place which had always afforded him comfort and respite.

One fine feature of this autobiography is Speer’s sense of humor, his eye for the ridiculous, the absurd, the offbeat, the unconventional. Here, for example, in telling us where he got his love for the theater, he describes a conversation he had with his Aunt Mary about her brother, Speer’s grandfather, whom Speer called Papa:

“’Did you say Papa never finished high school?’

‘No, when he stopped high school, he was still taking freshman English, but he kept on going to school so he could play baseball and be in school plays, and he was in every play they had.’

‘How many years did he go to high school?’

‘Six years.’

‘He went to high school for six years?’

“Yes, he just kept on going ‘til they encouraged him to stop.’”

Speer has organized From Banner Elk to Boonville in chapters named after the seven sacraments of the Catholic Church. Given Speer’s Quaker, Presbyterian, and Baptist roots, this device seems at first ill-fitted to the narrative and may even seem strained to some readers. Those who read carefully, however, soon see that Speer is recounting here the spiritual journey of a lifetime. He offers numerous reflections on God and mortality, and uses stories and dreams to consider both the nature of God and the place of God in his own life. Readers will be delighted to find that in these ruminations, Speer’s sense of humor does not desert him.

Allen Speer, a professor at Lees-McRae College in Banner Elk, has given readers a grand treat of a book — an affectionate and loving memoir of a place, a time, a man, and his people.

From Banner Elk to Boonville: The Voices Trilogy: Part III by Paul Speer. Overmountain Press, 2010.

God’s Harvard: A Christian College on a Mission to Save America by Hanna Rosin. Harcourt, 2007. 304 pages

Every once in a while a book sees print that inadvertently tells the unwashed what the elite thinks of them. Massa waltzes out of the Big House —Washington, Manhattan, Beverly Hills — rubs elbows with the field hands, and then retreats to the Big House to write the other massas about conditions on the plantation. Sometimes Massa morphs into an amateur anthropologist, breathlessly explaining to fellow denizens of the West Side or Georgetown the mores of the poor dumb savages she has encountered in the foreign wastelands of Tennessee, Kansas, and Wyoming.

Chemistry and Other Stories by Ron Rash. Picador, 2007. 230 pages

This remarkable collection of short stories has already been named one of the 15 “notable books” of 2007 by the Story Prize Committee — an award that is presented annually in recognition of the nation’s best. The top award, $20,000, is the largest literary prize in America. In announcing their selection, the contest officials stated “The Appalachian Mountains are the setting of this beautifully crafted collection that begins and ends with a fish and spans several generations in an isolated region with characters as craggy as the landscape.”