Review 229: The Murder of Roger Ackroyd

The Murder of Roger Ackroyd by Agatha Christie

I started reading this because of a student. This is not uncommon, of course – I’m an English teacher, so a lot of what I read these days is because of my students. But this time, rather than trying to find a book to teach, I was actually looking for a book to enjoy.

This student came to me asking if I had any book recommendations, which is an awfully broad question. So I asked her what she liked, and she said “Mystery.”

Mystery, unfortunately, is a genre in which I have little real experience. I read some Raymond Chandler a long time ago, but that’s about it, so I had no recommendations for her. Another English teacher, though, recommended this book and in doing so, planted the tiniest suggestion that led me to figure out who the killer was before Poirot go there.

That in no way took away from the fun of the story, of course. The whole point of reading one of these mysteries is not just to find out who did the terrible deed, but to see how the detective – the famous Hercule Poirot – works out all the details for himself.

This woman knows everything.

And that is what Christie accomplished. The Very British Village of King’s Abbot has seen its share of tragedy. The wealthy widow Mrs Ferrars has died, most likely by her own hand, following the death of her terrible husband. And while the town is reeling from this news, another unnatural death visits them. The titular Roger Ackroyd, a widower himself and a confidante of Mrs. Ferrars has been murdered with a knife to the neck!

The suspects are, of course, various. Was it the butler, looking for some scheme to blackmail money out of him? Was it Ackroyd’s stepson, looking to inherit his stepfather’s well-guarded wealth? Was it his niece, hoping to marry the stepson against Ackroyd’s wishes?

The cast is large, and the story is told through the eyes of the village’s doctor, James Sheppard. With his gossip-hungry sister Caroline prodding him along, he accompanies Poirot through his investigations, looking to find out who was in the summer house, what color the stepson’s boots were, who moved a chair a few inches, so as to discover the true identity of the murderer.

There’s not a whole lot more to say about the plot or some of the narrative choices by Christie without spoiling the ending, so I won’t. What I can say is that Christie’s reputation as one of the great British mystery writers is certainly well-deserved, and there’s a reason why she is one of the best choices for a beach read or a long airplane trip.

The book is fast-paced and very readable, and if the plot does get somewhat convoluted at times, she makes sure to have Poirot (or someone similiar) re-familiarize us with the details of what is known and what is yet unknown, so that we may follow along in the same way that Dr. Sheppard does.

That doesn’t mean we can deduce things the way Poirot does – there are plenty of details that we would consider insignificant that only carry true weight once all has been revealed in a classic Drawing Room, “One of you is the murderer” scene at the end.

What’s more, Christie has carefully built the story to be re-readable. Once you know everything at the end of the book, you can go back and see characters and events in a whole new light. No detail, however insignificant, is wasted. While I think this is often the case for a murder mystery, it is done especially well here.

This guy doesn’t know half as much as Christie does.

This book has been in publication so long that I think it’s actually in the public domain now, so you don’t really need me to recommend it. At one point there was a whole literary society dedicated to discussing Christie’s work – my praise of the book isn’t going to move too many needles.

If you want an entertaining mystery with lots of suspects, twists, turns, and surprises, though, you can’t go wrong with this one. It’s a mystery that respects the reader, rewards close attention to detail, and is still surprising readers.

For those of us who are not regular visitors to the Mystery genre, this is a great place to begin. Christie’s careful and methodical storytelling have kept generations of readers enthralled, and will no doubt make her one of your favorites as well.

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Filed under Agatha Christie, classics, mystery

Review 228: The Rise and Fall of the Galactic Empire

The Rise and Fall of the Galactic Empire by Chris Kempshall

The best fictional worlds invite you to lose yourself in them. They get into your head, makes you wonder what else is there, between the words on the page and beyond the beginning and the end.

Star Wars, of course, is exactly that kind of fiction. What started with a fairly simple space adventure nearly fifty years ago has blossomed into an expansive, living universe, where every new story carries within it the seeds for another story and another one after that. Through the media of film and television, animation and comic books, novels and short stories, Star Wars has built up a world and a history that you could spend your entire life exploring.

Kempshall reflects in the afterward that, for the time he was working on it, it became his whole life. And I certainly can’t blame him for it.

The Rise and Fall of the Galactic Empire is a thorough, insightful history of the Empire from inside the Star Wars universe. Written by historian Beaumont Kin soon after the fall of the New Republic, the Battle of Exegol, and the (probably) final death of Emperor Palpatine, this book attempts to understand how the Empire arose, what its means and methods were, and why, even after the Battle of Endor, its ideology persisted and became the First Order.

It begins with an examination of Sheeve Palpatine and how he rose to power. With the advantage of time, and the testimony of people like Luke Skywalker and Leia Organa, Kin is able to see the Senator from Naboo for who he really was – a master of the Dark Side of the Force, apprentice to a terrible Sith lord, who had decided from his early years that he wanted only one thing: complete mastery of the Galaxy. It follows his career through the Clone Wars, a conflict in which Palpatine, acting as both the Supreme Chancellor and the malicious Darth Sidious, was controlling both sides.

With his power assured, the history then goes on to explore how the Empire functioned, how it expanded, and how it devoured everything in its way. An Empire which rewarded cruelty, blind loyalty, and rampant consumption was everything that Palpatine wanted, and its apotheosis was the Death Star.

Nevertheless, there was resistance, and the history explores that as well. How even with an Empire so comfortable with conflict and aggression might still miss the signs of organized rebellion and even encourage it with its unrepentant use of force and terror.

From there, the book chronicles the assumptions and errors that the Empire made in dealing with the Rebellion, how the loss of figures like Grand Moff Tarkin crippled the Empire’s efforts, and how even though battles like those at Hoth looked like Imperial victories, they did more damage to the Empire than to the Rebellion.

This book is a well-written, detailed, and satisfying look at the history of the stories that we know so well. It draws from not only the films, but also comics, books, and television – any source available that explains the events surrounding the rise of the Empire, the Galactic Civil War, and the Empire’s fall and rebirth.

What makes this book believable is not only that it was written with the full help of the lorekeepers and writers of the Star Wars universe, but that it was written by an actual historian. Kempshall has been writing on war, especially World War One, and found himself in the very enviable position of being able to write a history of one of the most popular fictional universes of our time.

One aspect of this book that is truly fascinating is to see the places where the narrator, Beaumont Kin, lacks information that we, fans of the stories, absolutely have. For example, we all saw the fateful meeting at the beginning of A New Hope where Vader nearly force-chokes Admiral Motti to death. Kin, however, relies only on Motti’s own paperwork, referring to “an almost entirely redacted incident report within the Imperial Archives submitted by Admiral Motti immediately after that summit took place, presumably about something that happened to him during it.”

There are plenty of other places and references that Kempshall includes where he knows that fans of Star Wars will be able o fill in the gaps, having read the books and watched the cartoons, movies, and TV shows. Even more interesting is what he leaves out. There is no mention, for example, of Obi-Wan Kenobi and his role in the rescue of Vader’s children, or Yoda’s training of Luke. Ahsoka Tano, despite her role as the mysterious Fulcrum, is barely mentioned. Dr. Aphra, despite her strange and constant relationship with Darth Vader, only shows up a couple of times, usually in footnotes.

If there is one point of irritation that I have with this book, it’s the way that citations are handled.

It is great that this book is heavily cited – a proper history book should reveal its sources, allowing a reader to go and investigate for themselves, should they want to. The problem is, all of these are in-universe citations. So you might be directed to “New Republic Archives, Section: Adelphi Base, File: Requisition Form #1837p—Subcontract for fulfillment of refuse collection” if you want to know more about how New Republic officers used bounty hunters to go after Imperial remnants.

Now I appreciate kayfabe as much as the next guy, but a lot of these footnotes seemed like they should be pointing at specific literary sources – a show or a comic or something like that – and I really wanted to know what those were. I was hoping that, at the end of the book, there might be a listing of all the sources that Kempshall went to, but alas, there is none. This is a great, but missed opportunity.

The most striking thing, though, was not so much how well it recontextualized the Star Wars universe (and brought more sense to the Sequel Trilogy), but how relevant it was to our world. The rise of fascism, cruelty disguised as order, the seduction of ideology are all familiar to us. The book’s exploration of power and its misuse is painfully on-point, from the terrors of Fascist Europe all the way to the present day. It holds up the grand, sweeping tale of Star Wars as not only an allegory for past conflicts, but as a mirror to our own lives, our own willingness, perhaps, to allow wickedness to be done in our names.

Where the fictional historian narrator becomes angry or sad or frustrated with the terrible works that the Empire performed, you can easily understand how perhaps Kempshall is feeling the same way about our world.

We may not have a Sith Lord running things out here, but we do have petty, power-hungry tyrants; we have people willing to do terrible things because they were told to do them; we have leaders willing to ignore tragedy after tragedy because doing something about it is inconvenient.

This book would be an excellent addition to the collection of any Star Wars fan, and is the perfect answer to those people online who wish, against all available evidence, that Star Wars hadn’t suddenly gotten “all political.” It hasn’t gotten political – it always has been.


“The role of a historian—my role as a historian—is to try to tell you not just how but why these things happened. To try to make you understand the importance of these past events and what they mean for us today and tomorrow.”

Chris Kempshall at Penguin Random House
The Rise and Fall of the Galactic Empire on Goodreads

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Filed under Chris Kempshall, history, politics, science fiction, Star Wars

Review 227: Red Sonja – Consumed

Red Sonja: Consumed by Gail Simone

It must be tough to write about a legend. Both within her own world and ours, Red Sonja is a name to be reckoned with, and Gail Simone more than does her justice in her debut novel.

The She-Devil with a Sword, Sonja is one of the greatest heroes of her age, a woman who goes toe-to-toe with any enemy, no matter how terrible or undefeatable. And when her victory comes, she is the first to quaff some ale and take to bed the prettiest people she can find. There is a reason she is known as the She-Devil, amongst other, more terrifying epithets that run before her, allowing the wiser people in her path to know that they would do well not to trifle with her. Do not try to contain Red Sonja, and do not attempt to bar her way.

This story follows Sonja as she enjoys her life as a thief, aiming to steal a precious gold armband known as the Asp from the beautiful queen that she has taken to her bed, and possibly to love. She finds herself pursued by her spurned lover, hunted by a hired assassin, and an unwelcome visitor in lands who despise her own people, the Hyrkanians. With only her loyal steed, Sunder, she takes charge of her own life, lives by her own rules, and takes who and what she wants. No one has a hold over Red Sonja, and that’s the way she likes it.

However, not even Sonja can escape her past, no matter how far she may go. Her homeland is under attack by terrible creatures that travel through the earth, bursting forth when you least expect it, and pulling you down to join their ranks of undead horrors. For reasons of their own, these terrible beings wish nothing but complete destruction of the Hyrkanians, and fully expect that there is nothing the Hyrkanians can possibly do to stop them.

And they would be right, of course, if Sonja was not compelled by necessity and honor to step in and shut them down.

Of the various genres of fantasy that I read, I don’t often step into the world of Swords and Sandals. Historically, Red Sonja occupies the literary landscape opened up by Conan the Barbarian, traveling through a world that is magical, but in a way that is more or less beyond our hero. Magic is subtle and terrible, used by people who have pushed past the veil of what should be known, and it is usually up to people like Sonja to stop whatever unnatural horrors have been unleashed.

Red Sonja in this book is human in a way that so many fantasy heroes are not – she drinks a lot, takes both men and women to bed when she wants to, fights dirty and fights to win, gets hurt, regrets, and dreads becoming the legend that she already is. She is not a Chosen One or a Fate-Touched or whatever other thing you might expect from Fantasy. She’s a woman who Gets Things Done.

Gail Simone

This humanity clearly comes from Simone’s love of the character. She’s been writing Sonja in the comics for a long time, and talks about her with great joy and love when discussions come up online, and knows the forces that push and pull at the character, creating conflict that can be explored in countless ways.

Sonja’s backstory is certainly tragic. Having lost her family and her village when she was a child, she was forced to survive on her own and use the skills she had been taught in order to just not die. She grew up without a people to rely on, and, like anyone in that situation, found herself doing her best not to be in situations where she had to rely on people.

However, as so many stories have told us, relying on people is the way to get things done, and that’s just as true here. Sonja has to make peace with enemies, allow friends to help and, most importantly, allow herself to do what must be done in order to stop the horrifying entities that are threatening her people. And this is where her humanity shines. She struggles greatly with letting others get close to her, convinced both that she doesn’t need them, and even if she did need them, they’d just get hurt. Simone does a great job of illustrating this conflict within Sonja and giving her the room to really figure out how she’s going to relate to other people.

It might be tempting not to explore what this book is about, thematically, because it’s not the kind of book that usually gets explored that way. Stories about fantastic warriors, strange zombie mole-people, cursed jewelry usually doesn’t get the kind of close literary attention that other, more “serious” books do. But to ignore the meaning in a book like this is to do it a grave disservice.

Among her many great qualities as a writer, Gail Simone is fantastic at finding the emotional core of a character. Just as she has done with characters like Wonder Woman and Batgirl and yes, even Deadpool, Simone knows the emotional core of Red Sonja.

For all of her bravery and bravado, and despite a reputation that runs before her like a shadow at sunset, Red Sonja feels unworthy of love and connection. She knows the danger that her life brings and has made the decision that she can’t involve others in that, and I suppose that makes a kind of pragmatic sense.

Red Sonja absolutely has her priorities.

But for all that, Sonja loves. She loves her people and her ideals and her home despite herself, and for all that it doesn’t make pragmatic sense she can’t stop loving people.

And now we know Sonja’s tragedy. For all her fantastic setting and tragic backstory, it’s that push and pull of relationships and closeness that brings her to life and speaks to all of us. For while very few readers of Red Sonja have commanded their warhorse to put its hooves through a man’s skull while the invincible armies of undead vengeance wreak havoc in their city, we have all been pulled and torn between the twin forces of wanting to be loved and not wanting to be hurt.

That is what allows Gail Simone to bring Red Sonja fully to life, and what makes this story such a good read.


“The great truth of Red Sonja, in her own hidden heart, was that leaving the people she loved was the best gift she could give them, she was certain.”

Gail Simone on Wikipedia
Red Sonja on Wikipedia
Red Sonja: Consumed on Goodreads

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Filed under adventure, fantasy, Gail Simone, Sword and sorcery

Review 226: The Road

The Road by Cormac McCarthy

There should be a name, I think, for the type of book that you’ve absolutely heard of, that pretty much everyone has read, but that you have, somehow, managed to miss.

Well, now I have no choice but to read it, since I’ve decided to teach it this year. I know – a bold move to choose to teach a book that I haven’t actually read to impressionable youngsters. I’m a risk-taker, as the IB would have it.

As you recall from your encyclopedic knowledge of this blog and my many reviews, I have a soft spot in my heart for end-of-the-world fiction. I grew up reading The Stand by Stephen King, I’ve read Swan Song multiple times, and even enjoyed tongue-in-cheek apocalypses like Good Omens. Before going into this book, I would have considered myself an authority on all the various ends of the world.

You see, most apocalypse stories share basic qualities. They have secrets and prophecies, they have good guys and bad guys and hope for a better world after they’re over. We can easily look at the problems of our own times and extrapolate them, see how they could be so much worse, and we need to be able to hope that goodness and civilization will win out against even the most terrible of times.

Cormac McCarthy has decided not to do any of this.

In this story there is a man and a boy. They’re traveling through the ruined, ash-strewn ruins of America, looking for a place that is safe. They freeze and starve and hide from the cannibals and slavers that rove the land. They travel through ruined cities and desolate forests, never sure if the next day will bring them a respite from their misery or the finality of death.

They are moving south, down the titular road. They have a busted shopping cart and some knapsacks full of whatever they’ve managed to scrounge, some rags and remnants of clothes, and that’s about it.

Oh, and a gun. With – briefly – two bullets in it. The Man might need it to kill The Boy and himself with it. Or The Boy can use it on himself, if worse comes to worse. Dying of hunger or hypothermia is bad, sure, but there are so many things worse than dying, a final bullet doesn’t even break the top ten.

The Man, The Boy, the Cart and the Gun.

That’s pretty much all McCarthy gives us, at least as far as the plot goes. We don’t know how the world ended, or why. There is no one in charge of this post-apocalyptic hellscape. The man and the boy are not special in any real way – there is no prophecy of greatness or some hidden store of old world knowledge that can be used to bring back the golden years from before the world ended. The Man and The Boy are not trying to accomplish anything other than not dying, even though that seems to be what their entire world really wants them to do.

So if this book isn’t about un-ending the world, like so many other apocalypse stories are about, what is McCarthy doing here?

The essence of the book is the greatest existential question there is: why should we choose to live when we could choose to die instead?

In our world, of course, there are plenty of reasons to continue to live. We have cats and sunsets and taco trucks and at least another season of Wheel of Time to look forward to. We have music and dancing, true love and juicy gossip and good books and friends and family.

The Man and The Boy have absolutely none of this. They have the opposite of all this.

They have a gun. And two bullets.

When you step back and look at it, they’re in an objectively horrible situation and yet they continue to move forward. They continue to survive – to “carry the fire” as they put it – in the hope that maybe somewhere in this blasted land there will be good people that they can finally survive with. Even that hope is thin and tenuous, though, as there is very little indication that such good people exist anymore.

What’s keeping The Man going is The Boy. He’s the last thing The Man can hold on to that keeps him human, reminds him of what good can look like in the world. His purpose is to protect The Boy, and he carries out that purpose like a holy oath. Without it, he has nothing.

What’s keeping The Boy going is The Man. The Man is, of course, stronger, more knowledgeable and more capable, able to do the tasks that need doing in order to survive. The Man is his protector in a world that can be very, very unkind to little boys. And, more importantly, The Boy knows how much The Man needs him. He knows what The Man would become without him, and he can’t bear to see that happen.

The book isn’t about the world or how it ended. The book is about the two of them, and that’s it. It’s about how they survive for each other, carry each other’s fire through a cold and indifferent land.

It’s about love.

The reason to live is simply to live. To endure in the world even when things go bad. Life itself should be appreciated and protected, and that’s all the reason you need to keep going.

For all the grimness, it’s a surprisingly comforting message from the man that brought us Blood Meridian, of all things, and should lead us to ask ourselves if we truly understand the value and preciousness of the lives we lead. Life itself has value, simply by existing, and we’ll miss it when it’s gone.

Especially the cats.


“Once there were brook trouts in the streams in the mountains. You could see them standing in the amber current where the white edges of their fins wimpled softly in the flow. They smelled of moss in your hand. Polished and muscular and torsional. On their backs were vermiculate patterns that were maps of the world in its becoming. Maps and mazes. Of a thing which could not be put back. Not be made right again. In the deep glens where they lived all things were older than man and they hummed of mystery.”

Cormac McCarthy on Wikipedia
The Road on Wikipedia
The Cormac McCarthy Society

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Filed under apocalypse, fathers, fiction, sons

Review 225: The Power Broker

The Power Broker: Robert Moses and the Fall of New York by Robert Caro

Yes, it’s been a little while. Thank you for your patience.

I decided to read The Power Broker mainly because of the series “The Unsleeping City” over on Dropout, an actual play D&D game that’s set in a version of New York City that is steeped in magic and the supernatural, hidden from its normal inhabitants by an Umbral Arcana. In this game, the Big Bad Guy was a man named Robert Moses, a lich who tries to carve out New York as a magical realm all his own. On top of that, he tries to re-define the American Dream into something which fits his particular vision of what the ideal American should be: rich, male, and white.

Imagine my surprise when I found out the not only was Moses a real guy, but that he was just as bad – if not worse – than Brennan Lee Mulligan’s lich.

That’s an oversimplification, of course. If you want it in detail, read all 1300 pages or so of Caro’s book, and you’ll see that while yes, there were improvements done to New York City that were undoubtedly good in the long run, there were just as many that were harmful. And not just harmful in the moment, like tearing down neighborhoods to make room for expressways, but harmful for generations. Moses himself very likely believed that he was doing what was best for New York City. Unfortunately, he never allowed anyone to ever even suggest that he might be wrong.

Caro’s book starts with an understanding of where Moses came from – an affluent Northeast family with a fondness for civic matters and a certain patrician attitude towards helping poor Jewish immigrants from Eastern Europe learn how to be good Americans. Moses went to Yale and Oxford, and came back with a desire to get into civil service, with a focus on city improvement. What’s more, he wanted to break the hold that moneyed and special interest groups, such as the infamous Tammany Hall, had on city government by placing people not according to their connections, but according to how well-suited they were for the job.

Ironically, it was through strong personal connections that he had through people such as Governor Al Smith that Moses got a job that he had no experience in: managing parks. To be fair, I don’t think anyone had experience with this in the 1920s and 30s, so I can’t really fault him for that.

Moses turned out to be a man possessed of an amazing mind.

He was imaginative – he could look at a stretch of undeveloped land or a bend in a river or a set of hills and know immediately not only what he wanted to do with it, but how it could be done. To hear tell of it, it was like the vision of a finished improvement or project would simply spring to his mind, and he would be ready to go.

He was intelligent – he had an excellent memory for people and legislation, and was considered one of the best bill drafters in New York. He knew how to craft legislation in such a way that seemingly unrelated, yet wholly interlocked, pieces came together to allow him to get the result that he wanted.

He knew people – he was able to create almost cultlike loyalty in his “Moses Men,” the army of engineers, aides, secretaries and other professionals who worked for him over the years. These people were at his beck and call, obeying every order he gave, affirming every vision he had, and acting as his eyes, ears, and hands throughout the government and civil society of New York.

He was relentless – what Robert Moses wanted, he got. Full stop. Whether he used flattery and kickbacks and “gifts” to get it, or whether he utterly destroyed someone’s reputation in the press or in their industry, there were no lengths that Moses would not go to in order to accomplish his goals. He was almost incapable of taking “no” for an answer when it came to his projects.

And therein, I think, lies Moses’ real tragedy, and the reason why (to me) Caro’s book comes across as spectacularly angry.

With the skills and resources available to Robert Moses, he could have built a New York City that would have been a model for a humane, livable city for the ages. He could have built a place that would inspire better communities, better living, a model of how to make a city a place of growth and humanity.

He did not want that, though. Robert Moses loved parks and cars, and that was pretty much it. His answer to most problems of the city was either to build a park (whether or not one was needed) or to build a road. In his time with the city, he built more than a dozen major bridges and hundreds of miles of highways. He built out the highways that turned Long Island into a major New York suburb. He built the expressways that bracket Manhattan, and would have built more if he had been able to.

Unfortunately, a growing city does not need more roads. In fact, as Caro’s book points out, more roads actually make traffic problems worse. It is public transportation – busses and subways – which make a city really work, allowing so many people to live and work in such a densely packed place. But Moses hated public transportation.

Public transportation, you see, would allow poor people to get to his pretty parks. And he wanted none of that.

A very famous anecdote from the book is that, in designing the roads to his beloved Jones Beach, Moses had the overpasses designed at a height that would be too low for busses to access. So, if you had a car (i.e. money), then welcome to the beach! If you were a poor person, though, you’re out of luck. No busses for you. And Moses much later said that he knew he didn’t need to try and get legislation passed to ban busses and The Poor. Laws and regulations, after all, could be changed.

It’s really tough to rebuild a bridge. Or, more to the point, several hundred bridges.

Later, when he got himself involved in other areas of civic improvement, he tore down perfectly good neighborhoods in order to make room for his roads and public housing. These neighborhoods, like Tremont or Third Avenue might not have been wealthy neighborhoods, but they were good ones. Places where people knew each other, had businesses, raised families. Some of them were perfect places for new residents to prepare for living in a city such as New York – they could learn basic city living in Tremont, for example, and then, when ready, move elsewhere.

But Moses wanted that land. He wanted it to build his precious roads and bridges. He wanted it to build public housing that would enrich his political allies. He wanted it so that he could exert power over the city and over the people who made the city work. He, like the Robert Moses of “The Unsleeping City,” wanted to reshape New York in his image, to make it the place he felt it should be rather than the place its citizens needed.

All throughout this book, I could feel Caro walking a thin line. As a biographer, he clearly wanted to be as fair as he could to Moses, but with each passing chapter, I could see that being harder and harder to accomplish. In the chapter “One Mile,” which describes the destruction of Tremont for the Cross-Bronx Expressway, you can imagine Caro begging us, or someone, to tell him what the point of all this was. Why good people had to lose their homes and their lives just so a few other people could get stuck in a traffic jam in the Bronx.

The answer, of course, is because that’s what Robert Moses wanted. And what Moses wanted, he got.

Ultimately, as the title suggests, this is a book about power. About how power is wielded and how it reveals the true nature of people. Young Moses believed himself to be an anti-corruption reformer, the champion of good government and the people. But power revealed that he was anything but.

It’s a chillingly relevant book to read here in the Age of Trump, where we have another ambitious man who is very good at attaining and wielding power in order to fulfill his own selfish dreams of what the nation should be. I don’t think Moses and Trump are really comparable, though. Moses’ dreams for New York were ambitious and grand, and he had an encyclopedic knowledge of politics, infrastructure, and geography.

Trump barely pays attention to the world or facts or anything like that, and doesn’t have any interest in actually learning anything. But, just like Moses, he has power. And he knows very well how to gain and hold on to power.

So what do we do about it? Caro’s book won’t really make you feel any better about this – the only real reason Moses fell from grace is that he went up against someone who wasn’t awed or intimidated by him, and that was Governor Nelson Rockefeller. When Moses used one of his classic techniques to get what he wanted – threaten to resign and thereby throw all his public authorities and projects into disarray, where previous governors had caved, Rockefeller said, “Okay. Have your resignation on my desk in the morning.” That was the first real, substantial crack in Moses’ power and his ability to wield it in New York, and within a decade, he was out.

Maybe that’s the way to deal with people like him and Trump. Call their bluffs. Make them put up or shut up. Expose them for who they are, rather than who they pretend to be. Be willing to tell them that they’re wrong, and stand up for that.

If there’s any real, practical lesson to be taken from this book, I think that’s it. There will always be people who are good at moving the levers of power, and it’s up to the rest of us to watch them very closely. And, if necessary, have the courage to take them down.


“An idea was no good without power behind it, power to make people adopt it, power to reward them when they did, power to crush them when they didn’t.”

Robert Caro on Wikipedia
The Power Broker on Wikipedia
Robert Caro’s website
The Power Broker Book Club

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Filed under american history, history

Beginning a New Chapter

Hello and again, welcome to the Labyrinth Library.

As I said at the end of the last episode, this podcast is undergoing something of a transition from this point – going from a weekly podcast to an occasional podcast. This means that I will no longer be updating every week, for reasons of Reality.

I've also sacrificed my career as PUNCHCAT. I'm not sure which was harder...

I’ve also sacrificed my career as a PUNCHCAT. I’m not sure which was harder…

The basic gist is this: when I started, I had a huge backlog of reviews available to me, since I’d been writing reviews of books I had read for years prior. It wasn’t hard to do a weekly podcast that way, but alas the reality is that I cannot read and review one book per week. I have a job which requires a lot more time and energy from me than previous jobs did, and it’s a job that I am happy to give my time and energy to. Unfortunately, this time and energy has to come from somewhere, and unless there’s an Anonymous Benefactor out there who wants to pay me an absurd amount of money to do a weekly podcast, this is one of the sacrifices that needs to be made.

Fear not, though! I do still read, just at a slower pace than I used to, and I do still write about what I read. This means that I will be updating the podcast on an irregular basis so you kind people can get your fix.

If you’re worried about missing an episode, or can’t be bothered to check the blog every day on the off chance that there might be a new post, don’t worry! The internet has you covered.

  • Click “Subscribe to this feed” in the sidebar, and paste that link into your favorite RSS reader (with the upcoming demise of Google Reader, I’ve moved over to Feedly)
  • If you’re a WordPress user, you can click the “Follow” button at the top of the page and have new posts sent to you by email.
  • You can go to iTunes and subscribe there, or paste the aforementioned RSS link into your podcast catcher of choice.
  • You can follow me on Twitter @lablib or Like the Facebook page, which I will update when new posts are up.

This sums up my reading habits nicely. Also: I should re-grow my beard.

This sums up my reading habits nicely. Also: I should re-grow my beard.

Any of those options will tell you when I post new content, which I will try to do as often as I can.

To make a long story short (too late), this is not the end, but simply a change. I am immeasurably grateful to all of you who have been reading and listening, and hope that you will continue to do so.

Stay well, and keep on reading…

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Filed under FYI

Review 224: A Memory of Light (Wheel of Time 14)

LL 224 - WoT 14 - A Memory of LightA Memory of Light by Robert Jordan and Brandon Sanderson

At last.

At long, long last.

I have been reading this series since it started back in 1990, and have followed it closely in the twenty-three years that followed. I haunted bookstores, waiting for new releases and pestered the employees for information they just didn’t have. I joined WoT message boards back on the old Prodigy system, and even subscribed to a Wheel of Time newsletter back in the day when said newsletters were printed on paper and sent through the mail. (kids, ask your parents) I give you that context so you know where I was, mentally and emotionally, when I started this book. As much as I love this series, I was equally happy to see it finally end.

And oh, what an ending.

We’ve known ever since day one that this series couldn’t end with anything less than the greatest battle the world had ever seen. Tarmon Gai’don – the Last Battle – was due, and simply by definition it would have to be bigger and more terrible than anything that had come before. It would envelop the world, and its ending would shape the future – or end it entirely.

Art by g-a-t-i-n-h-a on DeviantArt

Art by g-a-t-i-n-h-a on DeviantArt

As we begin the book, the first wave of this battle has begun. The great city of Caemlyn is under siege by the forces of the Shadow, and the lands along the northern borders of the world are marching to war. The Seanchan are still itching for a fight, and the Aes Sedai are finally beginning to re-assert their power and their unity. Under all of this, however, the Shadow is lurking, waiting, planning and plotting.

There is no calm before this storm. All that can be done is to prepare.

Rand al’Thor, the Dragon Reborn, is the one who will fight the Dark One itself and truly win or lose the world. There is an earthly situation to take care of, though, and he has a plan for it. By fighting a four-fronted battle, he hopes to keep the forces of the Shadow busy while he strikes at their heart in Shayol Ghul. Thousands will die, but they will give him the time he needs to penetrate the heart of the Dark One’s power.

If he is very, very lucky, he will not only defeat the Dark One, but also leave a legacy behind that will ensure some measure of peace and stability. Assuming the world doesn’t end entirely before he can win.

Really, I’ve probably spoiled enough already, and it’s hard not to go into a lot of detail when you talk about this book. There’s just so much stuffed into it – twists and turns, deaths and defeats, victories and sacrifices – that to start listing them creates the need to list them all.

Ultimately, the best that can be said for this book is that it was the right ending for the series. A lot of that can be attributed to the skill that Brandon Sanderson brings to the table, and his ability to not only keep Robert Jordan’s world alive, but to make it somewhat leaner, more modern in its execution. Sanderson is excellent at writing action, which pays off in many, many, many scenes in the nearly 200 page chapter titled simply, “The Last Battle.” Jordan may have laid the groundwork for it, but it was Sanderson who made sure its finished form made sense and had the emotional punch necessary for the end of such a series.

art by Raymond Swanland

art by Raymond Swanland

And boy, were there emotional punches. Punches galore. From the repeated attempts to destroy the horror that Demandred has become to Elayne’s stand against the armies of the shadow to Rand’s own terrible battle with the embodiment of all that is evil and wrong in the universe, the fights that go on in the Last Battle are not just physical. They are a struggle against not only physical oblivion but also spiritual destruction.

Battling the Dark One is a battle against despair and hopelessness, as Rand discovers during his own battle – a duel of realities in which he and the Dark One propose their ideal worlds to each other. Unfortunately, Rand discovers that his own vision of a world without evil is just as horrifying as a world without goodness would be. It isn’t a supernatural source that defines who human beings are, but rather their struggles against the challenges of the world that do so. Without evil, humans could not be what they are. Rand comes to understand this, and with that understanding comes the realization that good is not what opposes that Dark One. You’re not going to beat him by being nice or putting on a white cloak and smiting shifty travelers.

You defeat the Dark One by simply never giving up. It’s a maltheistic universe – when the most powerful supernatural force known is one that wants you to lay down in despair, simply the act of getting up in the morning is an act of defiance. Taking up arms against an army of monsters, an army that will almost certainly destroy you, is the greatest example of this hope that confounds the Dark One so much. For even if Rand’s forces die, they will not have been defeated.

Art by dem888 on DeviantArt

Art by dem888 on DeviantArt

Of course, given what we know of fiction, if you predict that the Forces of Goodness win, well, that’s a pretty safe bet. But how they win and what they sacrifice to win are the reason we read. There are deaths that we saw coming a mile away, and others that are surprising and saddening. There are twists in strategy that don’t seem to make a lot of sense until much later, and wonderful moments where you just want to put the book down and applaud. And, as it’s the metric of any good adventure story, there are “Oh shit” moments a-plenty.

The book is not without its flaws, certainly, and every reader will find something that didn’t meet their very, very high expectations. But you know what? That’s just too damn bad. That’s the way the series ends, and perhaps after some time and some distance, some of the choices that Jordan and Sanderson made will be a little more palatable to us.

The unanswered questions that the book leaves us with, however, may not. From the identity of the mysterious Nakomi to the fate of Elayne’s twins to exactly how Rand lit his pipe at the very end – these things may never be explained. And that, too, is something we’ll just have to live with.

The way I see it, this book was best ending we could have hoped for. There were so many ways that it could have gone wrong, that it could have been so terribly disappointing – to say nothing of simply not existing at all – that to have the book be as good as it is is something we should all appreciate. If we nitpick, if we call attention to some points that didn’t make us perfectly happy, well, that should be done knowing that we still have an excellent final volume. One that many of us have waited a long, long time for.

There are no endings to the Wheel of Time, really. But this is an ending. And it’s a good one.

—–
“You’re welcome in my house when this is over. We’ll open a cask of Master al’Vere’s best brandy. We’ll remember those who fell, and we’ll tell our children how we stood when the clouds turned black and the world started to die. We’ll tell them we stood shoulder to shoulder, and there was just no space for the Shadow to squeeze through.” – Perrin Aybara, A Memory of Light

Robert Jordan at Wikipedia
Robert Jordan at Tor.com
A Memory of Light at Wikipedia
Wheel of Time at Wikipedia
A Memory of Light at Amazon.com

Wheel of Time discussion and resources (spoilers galore):
Theoryland
Dragonmount
The Wheel of Time Re-read at Tor.com
The Wheel of Time FAQ
Wheel of Time at TVTropes.com

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Filed under adventure, Brandon Sanderson, epic fantasy, fantasy, Robert Jordan, war, Wheel of Time, wizardry

Review 223: The Amazing Adventures of Kavalier and Clay

LL 223 - Kavalier and ClayThe Amazing Adventures of Kavalier and Clay by Michael Chabon

I have long been a reader of comic books, as you probably know by now if you’ve been following my reviews. Ever since I was a kid, comic books have been there, reliably giving me my costumed heroes and world-beating wonders, storylines that wrapped themselves up in a few issues or less. I could – and still can – recite the secret origins and backstories for hundreds of characters at the drop of a hat. [1] The comics universe was a place where I would gladly live, assuming the powers and physique came with it.

What I didn’t know anything about, during those formative years, was the actual creators of comics. It wasn’t until I started to really pay attention that I noticed who the writers and artists were, and names like John Byrne, George Perez, Dick Giordiano, John Ostrander and their colleagues came to have meaning for me. I was soon able to see a little better the work that went into making comics, and the art that doing so required.

Jack "King" Kirby (art by Jonathan Edwards)

Jack "King" Kirby (art by Jonathan Edwards)

What took me longer to learn, however, was the history of comic books, and how all of these wonderful worlds came to be. The history of comics, as it turned out, is a fascinating story full of brilliant characters, amazing achievements, jaw-dropping betrayals, and vast shifts in cultural and literary attitudes. Names like Stan Lee, Jack Kirby, Jerry Siegel, Joe Shuster – these were not the names I grew up with, but they are the ones who made my childhood possible.

Michael Chabon has managed to give us a glimpse into that history through his book, The Amazing Adventures of Kavalier and Clay, a history of comic books from a slightly different point of view.

The titular characters, Joseph Kavalier and Sam Clay, are cousins from opposite ends of the world. Kavalier, a young Jew from Czechoslovakia, has escaped certain death at the hands of the Nazis and come to America to seek his fortune. Sam Clay is a young man of great ambition, but few means. Apart, they are lost and wandering, but together they become a force that changes culture as they know it.

Stan "The Man" Lee

Stan “The Man” Lee

Armed only with a few ideas, bravado, and a good helping of talent, Sam and Joseph break into the newborn world of superhero comic books, creating a character that catches the imagination of readers all over the country. Soon, the Escapist – a master of the art of escapology – is popular enough to rival Superman, and has the potential to make Sam and Joe very rich men.

What follows is a complex, interwoven dual biography as the team of Kavalier and Clay find fame, break up, find love, risk death, and eventually settle into something resembling happiness over the course of several decades. Along the way, the complicated and adventurous history of comic books is a constant in their lives, from the heady days of wartime superheroes to the dark era of Senate hearings and Frederic Wertham’s crusade against the comics.

As one might expect from Chabon, it’s a narrative that covers a lot of ground. It wanders and moves about, going off into places that the reader might not expect, from an Antarctic military base to a men’s retreat on a posh Long Island estate. In that sense, you would think it would be heard to pin down what this book is actually about. It’s about family and friendship, it’s about art and creativity and risking everything for the one big chance at success. It’s about facing your fears and accepting your choices. It’s about so many things, all at once.

Jerry Siegel and Joe Shuster (art by Shuster)

Jerry Siegel and Joe Shuster (art by Shuster)

But what it’s most about is freedom. With the character of the Escapist as the book’s central metaphor, we watch a cast of characters search for freedom. It might be political freedom as Joe tries to get his family out of Europe, or creative freedom as Sam looks for a way to make the ideas in his head into real things. It’s freedom from the restraints of a publisher, and from the responsibilities that come with being a friend and a partner. Everyone in this book is searching for freedom at one time or another, and those searches are neither easy nor short.

There is a certain quality to Chabon’s writing that I wish I could emulate, and the problem is that I can’t say exactly what that quality is. Perhaps it is the way he selects details that so perfectly illustrate a character. Perhaps it’s turns of phrase that linger in the mind, or moments of natural emotion that might have you smiling or worried or – if there’s some dust in the room perhaps – wondering where you put your handkerchief. The characters are vivid and real and interesting, as is the world they live in. His use of detail, his manipulation of both time and space through the use of flashback scenes, make the book great entertainment.

250px-Michael_Chabon_Presents_the_Amazing_Adventures_of_the_Escapist_01It’s not perfect, certainly – there are places where the book slows down, and you want the focus to return to one of the other characters, to examine a new question, but those moments of clear beauty make it all worth it to me. What it all amounts to is a group of wonderful characters who are all looking to find a place where they can settle down and stop escaping from themselves.

—-
“Forget about what you are escaping from. Reserve your anxiety for what you are escaping to.”
– Kornblum, The Amazing Adventures of Kavalier & Clay
—-
[1] The Boyfriend has learned to be wary of asking me about comics. If I’m not careful and very, very succinct, he’ll just walk away while I’m still talking…

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Filed under adventure, alternate history, comic books, family, friendship, Michael Chabon, super-heroes

Review 222: Sourcery

LL 222 - SourcerySourcery by Terry Pratchett

Yes, I know – I’ve gone on a Discworld bender. Just one, I thought to myself – I’ll just read Lords and Ladies and that’ll be it. But then I saw Small Gods just sitting there… looking at me. Next thing you know I’m halfway through Sourcery and I don’t know how I got there. I may need professional help…. What am I supposed to do, though? They’re quick, they’re easy, they’re entertaining! I promise, though – after this, I’ll leave the Discworld alone for a little while.

If I can.

The Discworld, being a flat world that is carried through space on the backs of four elephants, who in turn are standing – rather patiently, I think – on the back of a great turtle, is, understandably, a world awash in magic. There are magical creatures on the Disc – trolls and dwarfs and elves – and people who know how to use the magic that infuses the world. People like wizards.

There are other ways to be a wizard, but they're not recommended.

There are other ways to be a wizard, but they’re not recommended.

If you want to be a wizard, there are ways to get there. The best thing you can do is to be the eighth son of an eighth son – that type is almost certainly destined for the more arcane arts. Once you’ve become a wizard, you dedicate yourself to one thing: magic. And late lunches, comfortable robes and your pointy hat, but mainly to magic. Wizards don’t marry. Wizards certainly don’t have children.

Except for one wizard. Ipsalore the Red, the eighth son of an eighth son, broke this law of wizardry. He fell in love, ran away from the University, and had sons of his own. Eight of them. His youngest son, Coin, was the carrier of a great power. He was the eighth son of the eighth son of an eighth son. Wizardry squared.

A Sourcerer.

Back in the old days, when the magic on the disc was much wilder, there were sourcerers everywhere. They built great castles and fought horrible wars of magic, the effects of which still scar the Disc to this day. Modern wizardry is a pale reflection of those days, and for good reason. If wizards continued to battle as the sourcerers did, the disc would be broken beyond recognition. Every wizard knows this.

And yet, when young Coin comes to the Unseen University of Ankh-Morpork, bristling with power and holding a staff possessed by the ghost of his father, the wizards are more interested in the power he can give them than the responsibility they have. A sourcerer has arisen, and a new age of magic has come, with all of the terror that implies. Coin reminds them of what wizards used to be, and the power they used to have. Through him, old men who could barely manage a simple illusion are now able to re-shape the world with their wills. With a sourcerer behind them, there is nothing these wizards cannot accomplish.

Not quite Hogwarts material.

Not quite Hogwarts material.

Only one man can stop them. His name is Rincewind, and he really, really doesn’t want to get involved.

Rincewind is a wizard (or, if you go by his pointy hat, a “Wizzard”), although he is so deficient in magical talent that it is believed that the average magical ability of the human population will actually goup once he dies. He wants nothing more than to be left alone to live a boring, mundane life. The universe, it seems, has different ideas. Together with Conina – the daughter of Cohen the Barbarian – and Nijel the Destroyer, Rincewind has to figure out how to stop a sourcerer from destroying the world.

This book is one of the early volumes of the Discworld series, and so it doesn’t quite have the depth that later books do. Oh, there’s certainly a message to be found in it – mainly on the subject of identity. Rincewind identifies himself as a wizard, despite having all the magical talent of a lump of silly putty, and cannot conceive of being anything else. The sourcerer Coin, on the other hand, has been told who he is to become, mainly by the spirit of his dead (and rather monomaniacal) father. Conina has the blood of heroes in her veins, but her dream is to wield nothing sharper than a pair of beautician’s scissors. And Nijel the Destroyer – who looks almost exactly the way his name sounds – desperately wants to be a barbarian hero, despite being about as muscular as a wet noodle.

Yes indeed. Be yourself. Whatever that may be.

Yes indeed. Be yourself. Whatever that may be.

Despite all of this, however, the characters succeed when they decide for themselves who they want to be. The ones who suffer the most are the other wizards – the ones who allow Coin to tell them who they are. They invest their entire sense of self in the inflated image fed to them by the sourcerer – an image of power and strength – and when it all comes crashing down around them, they are only left with shame and disappointment. In the end, they remain who they always were, and that is the tragedy of their downfall.

So if there’s a lesson to be had in this book, that’s it: know who you are and be it, as hard and as loud as you can. Other than that, it’s a rollicking little adventure. Enjoy.

—————————————————
“It’s vital to remember who you really are. It’s very important. It isn’t a good idea to rely on other people or things to do it for you, you see. They always get it wrong.”
-Rincewind, Sourcery
—————————————————

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Filed under Discworld, fantasy, identity, Terry Pratchett, wizardry

Review 221: We Learn Nothing

LL 221 - We Learn NothingWe Learn Nothing by Tim Kreider

While I was reading this book – in a faculty meeting, I have to confess – my colleague looked over, looked at the title and remarked something along the lines of, “That’s completely against what we do here.” I just shrugged, flicked to the next page, and went on reading, as it would have taken too long to explain right there, to say nothing of outing me as someone who wasn’t paying what might be called “strict attention” to what was being presented at the time.

Book Release InvitationIt is true that, as teachers, we might recoil from the idea that we learn nothing. After all, if that is true, then what are we even doing here? It might seem that some of our students have chosen this motto as the guiding principle for their years of secondary education, but still and all, we like to believe that they come out of this school having learned something – if only how to bullshit the teacher into thinking you’re smarter than you really are.

Kreider isn’t talking about book learnin’ here, though. He’s not talking about learning how to do math or why the sun shines or how to make a delicious pie. Those are indeed things we can learn, and should learn. What he’s talking about are the things we fail to learn in life, the big-scale decisions about love and family and politics, where no matter how badly we screw up, we always seem ready – eager, even – to stand up, brush ourselves off, and screw up again.

He begins the book with a statement that not many of us can make: “Fourteen years ago, I was stabbed in the throat. This is kind of a long story and less interesting than it sounds.”

Past TimKreider goes on to say that there is an expectation that getting stabbed in the neck and nearly dying is the kind of thing that should make a person re-evaluate his life. Perhaps gain some perspective on the things that are important and those that are merely trivial. And while there was a time where he looked at the world anew, eventually he reset back to where he was before his brush with death. Yelling in traffic, getting impatient with other people, fixating on things that were in no way good to fixate upon.

In short, after the ephemeral nature of life was made clear, he eventually went back to living as though nothing had changed, simply because one cannot live in a constant state of gosh-wow bliss all the time.

Through this collection of funny, touching, and thoughtful essays, Kreider looks at the lessons he just doesn’t seem to want to learn. He talks about the women who have broken his heart, and how given the chance, he’d let them do it again. He reminisces lovingly over his extended youth of drunkenness and adventure, knowing that it wasn’t the best way to spend so many years, but at the same time knowing he wouldn’t trade them in for a more conventional life. He lets us in on the dark secret of the crazy, pathological uncle that he tried to help despite his mother’s insistence that he stay as far away as he can, about his attempts to infiltrate the Tea Party just to find out if it was crazy as we all thought it was, and about letting his anger and frustration have free rein as he drew cartoons during the Bush Years.

We Could've Had the MoonIn short, Kreider is just as aware of his flaws as he is unable to correct them. But it’s not his fault, really, as these are flaws that we all have. They’re glitches in our reasoning and gaps in our self-knowledge that we couldn’t fix even if we wanted to. They’re part of the human drive towards self-destruction – potent in some, less so in others – that cause us to make irrational decisions that we know we’ll regret in the fullness of time. While my life may not have been quite as exciting and turbulent as Kreider’s, I could still see in his stories the same kind of willful ignorance of shortcomings that has sabotaged many a good thing in my own life.

But as bad as all that sounds, they make us who we are. Kreider wouldn’t be who he is and do the things he does if it weren’t for the events that shaped him. The decisions he made throughout his life – the bad and the good – molded his personality, gave him purpose, and made him the person that he is. The same can be said for all of us. We have our weaknesses, our foibles, our neuroses, many of which are prime impediments to having what we imagine to be a good life. What we can change, we should. But those things that we cannot change about ourselves are perhaps the things we should embrace. They are the things that keep us humble and human, and as long as we know they’re there, well… maybe they won’t do too much damage.

——-
“The Soul Toupee is that thing about ourselves we are most deeply embarrassed by and like to think we have cunningly concealed from the world, but which is, in fact, pitifully obvious to everybody who knows us.”
– Tim Kreider, We Learn Nothing

The Pain Comics (not entirely work-safe)
We Learn Nothing on Amazon.com

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Filed under essays, humor, memoir, Tim Kreider