Wise Blood

One look at the cover of Flannery O’Connor’s debut novel makes clear what is central to the story. The red heart, wrapped in barbed wire, conjures the image of the sacred heart of Jesus, but I doubt most Catholic readers will be able to persevere through this heady and often gruesome novel–but they certainly should!

If you have known me for more than a minute, you’ll know two things about me: I am a writer (of mysteries mainly) and I am a Catholic. When I was first considering converting, a poet friend of mine gave me a book of letters between Shelby Foote and Walker Percy, two southern writers whose friendship waxed and waned over the decades. At one point, Foote expresses his trepidation over Percy’s conversion to Catholicism, believing that religious orthodoxy would restrict his freedom of expression and thus hinder his writing.

Anyone who fears the limiting effects religion will have on their fiction should immediately read Wise Blood and have their fears dispelled. While the novel overflows with Christian symbolism–the tree (the cross) that Sabbath dances in while Haze Motes wrestles with the theological underpinnings of his new “Church Without Christ,” the illuminated cloud that seems to wear a curling white beard (the father) and then transforms into a bird (the holy spirit) before moving away from Haze, the swine that populate the narrarive in various carnations–the story itself is neither sentimental nor heavy handed. In the true high-modern fashion, these symbols are used holistically, as a braided thread that ties the narrative together, and while religious and quasi religious figures run rampant–in the guise of preachers and prophets and messiahs–none of them are admirable or worth emulating.

When orthodoxy does arise in the novel, it is shrouded in mystery, the unseen and the unspoken, a thing that can be contemplated but not known; and though the protagonist is “a Christian malgré lui” (in spite of himself) as O’Connor states in her author’s note, he is neither stereotypical nor laudable. After we discover that Haze Motes has turned to acts of mortification, placing rocks and broken glass in his shoes, barbed wire around his chest, it becomes clear that he does not understand what he is doing or why. In fact, his very name suggests that his vision of the world is hazy as though he has the proverbial mote in his eyes.

While a foundational reading of the Gospels and Sophocles’ Oedipus trilogy will add depth to the understanding of this sledgehammer of a book, Wise Blood stands on its own thanks to the tension, which is as taut as a worship singer’s guitar strings, and the characters, who are both incredibly unlikable and incredibly compelling. Though our sympathy is not engaged, we are–until the very last image and beyond.

Mystery Review: Down a Dark River

From the publisher: London, 1878. One April morning, a small boat bearing a young woman’s corpse floats down the murky waters of the Thames. When the victim is identified as Rose Albert, daughter of a prominent judge, the Scotland Yard director gives the case to Michael Corravan, one of the only Senior Inspectors remaining after a corruption scandal the previous autumn left the division in ruins. Reluctantly, Corravan abandons his ongoing case, a search for the missing wife of a shipping magnate, handing it over to his young colleague, Mr. Stiles.

As an orphan and former bare-knuckle boxer, Corravan would make a great hard-boiled detective, but Odden plays it traditional with this one. In fact, he reminds me much more of the detectives of the Golden Age period of mystery novels than the noirs of the same time–that is if Dickens was writing then instead of Agatha Christie. There is clearly a great deal of period-expertise and research behind this novel, but that doesn’t get in the way of a great mystery.

As a mystery writer myself I am always daunted by the task of coming up with something “new.” I seek out a new method or a new motive and usually settle on a new variation. I was pleased to discover something entirely new in Odden’s novel, though I won’t spoil it for you.

Fans of both traditional mysteries and Dickensian-period dramas will find much to enjoy here. As this is the first in the series, I’m excited to see what Corravan will get into next. Check out the series today: https://www.amazon.com/dp/B091Q7PR8C?binding=hardcover&ref=dbs_dp_awt_sb_pc_thcv

Review: The Wayward Path

Synopsis

Charity Gray was an intelligent, inquisitive teen who disappeared fifteen years eariler. When her body is discovered, it should be a typical cold case. Before the Detroit police can get started, the FBI commandeers the investigation, with a prime suspect in mind: retired mobster Leo Agonasti. When Agonasti slips through their grasp, he reaches out to Sergeant Jefferson Chene. Their unusual friendship draws Chene into the thick of the case. Burdened with two reluctant FBI agents, Chene is working against the clock and the feds to find the real killer. Chene senses they are getting close to the answers. Will he be able to solve the murder and clear the old mobster of this heinous crime before time runs out?

Review

Cutting back and forth between the perspectives of prime suspect Agonasti and lead investigator Chene, The Wayward Path walks the line between a police procedural and a crime novel, giving us lots of characters to root for. As it becomes clear that Agonasti had nothing to do with the death of Charity and Chene learns about her fierce curiosity, only more questions arise? What did the teenager come across? Who is targeting Chene? And why, after a gunfight in the streets that lands Chene in the hospital, do police find a picture of Chene’s girlfriend in the shooter’s pocket?

Fans of straight police procedurals will find a lot to like in the pages of Mark Love’s newest. Also, those with an interest in seeing both sides. With his attention to Agonasti’s backstory, I was reminded of Dennis Lehane’s Joe Coughlin series.

This is a solid read with interesting characters and a mystery with more than meets the eye.

Pre-order today on Barnes and Noble, Amazon, and Apple Books!

Mystery Review: The Madness of Crowds

Taking it’s name from Charles Mackay’s classic study of crowd psychology, Extraordinary Popular Delusions & the Madness of Crowds, Louise Penny’s most recent mystery takes us back to Three Pines and Chief Inspector Armand Gamache as he first protects a controversial statistician and then must investigate a murder following her visit.

Abigail Robinson is a visiting Professor of Statistics ready to give a lecture at a nearby university. However, her talk is cut short by gun fire. Why? One reason is certainly the content of Robinson’s lecture: forced euthanasia for the infirm and the elderly. One thing a worldwide pandemic proved, at least in Robinson’s eyes, was that the death of the sick and aged saved the country of Canada a lot of money. What if the nation took the tragedy as a model of public health moving forward? What if unavoidable death became mandatory? The slogan that gave so many hope during the pandemic, ça va bien aller, all shall be well, soon becomes a sinister mantra. If we kill all who aren’t well, then all who remain shall be well.

Inspector Gamache, his second-in-command Jean-Guy Beauvoir, and their team soon uncover an intricate web of deceit, torture, and murder, and it seems that half of Three Pines is involved or at least knows a small piece of the puzzle.

While both engaging and timely (the spurious correlations made by Robinson are some of the very same we’ve heard about the pandemic in general), the plot does tend toward the overly complex at times. I have often wondered if contemporary mysteries have a convolution problem, as if the only way contemporary mystery writers can create an unsolvable crime is to add rope after rope, coil after coil, until they have a proverbial Gordian knot. I won’t give away the resolution of The Madness of Crowds, but suffice it to say, it requires a lot of people to be guilty of a lot of tangentially related things. Rather than an elegant reveal and a motive we should’ve seen from the beginning, we end with Gamache untying a number of threads I wasn’t sure should’ve been tied together in the first place. I had the right suspect fairly early on, but the motive took a lot of uncovering to understand.

That being said, I enjoy Gamache and the folks of Three Pines, and Penny did provide a good meditation on our times. One thing the pandemic has proved, to me at least, is that the pro-life movement continues to struggle toward consistency. With this mystery, Penny offers an interesting take on the concept.

Buy it on Amazon

On Publishing Stories

I received my first print publication of a short story last month—six months after my debut novel came out. Read “The Opening of a New Spy Novel by an Author You Love” online at Calliope on the Web. Fans of post-modernism, especially the work of Italo Calvino, will find much to enjoy.

I was always told to focus on the short form before venturing into writing a novel. However, the short story has frequently eluded me. While novels and feature films feel intuitive, with their large and climactic narrative arcs, their dynamic and wide-open characters, short stories have felt less straight-forward. Where should one start a story? Where should one end it?

I recently read an Oulipo piece, “How to Tell a Story,” by Jacques Bens. In it, a writer character named Matthew fails to teach a class of college students the art of story telling. Afterward, he wanders around Paris contemplating what he should’ve said and as he does so, he concocts an “example” story, featuring a young and beautiful barrel organist. At the end of his wandering, the organist, now flesh and blood, visits him in his office, telling him, the author, that the hero of his story now wants to marry her, which seems a bit fast. Then she adds, “I must be missing an element somewhere.” Matthew responds, “Yes, something is missing, that much is clear. But where? And what?”

I often feel just as Matthew does after finishing writing my own stories, and even more often after reading those of the greats. While some of my favorites wrote primarily short stories—Amy Hempel, Flannery O’Connor, and Donald Barthelme among them—I invariably turn to a guide of some sort, be it critics or the authors themselves. Whereas with novels I almost never do. I read it. I comprehend it. I move on. Even when I do turn to a guide for the purposes of teaching a novel, the guide does not suddenly reveal the meaning I missed. Usually, it merely helps me form the right question or locate the proper page number. What is left out of the story is almost always included in the novel. Why is this? I do not know.

Some things I’ve found helpful over the years are the writing exercises in 3AM Epiphany, George Saunders’ wonderful analysis of Russian stories, A Swim in the Pond in the Rain, and a recent series of instructional videos from Reedsy, entitled “Short Fiction Deep Dive.” I hope these help you in your own journey and that they save you some of the time I spent puzzling and shaking my head.

Wild Rose Review: Murder Undetected

After her husband runs off with the girl next door, psychologist Britt Thornton decides to blow off some steam by accompanying her friend Arielle to France where Arielle is planning on purchasing a cheese shop.

Once in France, Britt immediately realizes her accounts have been frozen. Not only has her husband been unfaithful, he’s been embezzling funds and is now being tracked down by the FBI. They also track Britt down overseas.

Viane Thibaudet is a young, ambitious chef whose great aims lay far beyond her town of Chevalier. She wants to buy a restaurant in Paris with her husband’s money, only Jean-Luc isn’t willing to do it.

When Jean-Luc collapses after eating something his wife made for him, Britt is there to give him CPR. It is after all Viane’s cheese shop her friend Arielle is trying to buy.

This was a solid mystery with a delightful setting. Like the author, I am also a bit of a Francophile and it made me long to visit this fictional village. The only thing that didn’t connect for me was a B-plot or C-plot about a troubled teen named “Thirteen.” Britt receives steadily more unsettling text messages from him back in the states, but the tension never really rose for me. It is a very minor thread, however, and didn’t take anything away from the read.

Fans of cozy mysteries, especially those set in international locations, and epicureans will find much to enjoy about these characters and their strife.

Amazon

Review: Standard Deviation

Graham Cavanaugh is on the twelfth year of his second marriage, Audra is his beyond-outgoing wife who works as a graphic designer part-time and may or may not be having an affair, Matthew is their middle-school-aged son with Asperger’s and an obsession with origami, and Elspeth is Graham’s ex-wife, a successful attorney who Audra is convinced they should become friends with. The characters of this novel are richly imagined, unique yet believable. The story itself is just as new and real as the people. Just when you think you know what’s happening or what’s coming, the story takes a hard left.

I have read a lot of funny books, but Katherine Heiny hangs with the best of them. Like very few authors–Dave Barry, Steve Martin, Nora Ephron–she is able to deliver real laughs almost every page. I was impressed and also wildly discouraged as a writer. Like all great books, this made me want to work a whole lot harder at my craft.

I just finished reading Standard Deviations and wrote this review immediately, because you have to read it!

Recent Events

I decided to start promoting my debut mystery novel, How Everything Turns Away, at the local library and coffee shop. Here are some highlights!

A full house – for a fiction class in Southwest Kansas, that is
What’s the difference between a crime novel and a cozy? I’m glad you asked!
They even let me sell a book or two
A cozy reading at Patrick Dugan’s in downtown Garden City

Overall, it has been a successful launch for the book. In-person sales are steadily trickling in, a few each day, and my rankings at the online book sellers are moving up and down mysteriously, so that’s exciting. If you know of a coffee shop, book store, or library that would like to have me put on a reading or workshop, let me know!

The Wild Rose Press: Scarlet at Crystal River

After history teacher Darrell Henshaw has his bachelor party crashed by a cake-inhabiting medium, he knows he’s going to have one interesting honeymoon. In a strange Slavic accent, she whispers, “Ven you go to Crystal River, you vill have…two visitors from the other side, two visitors vaiting for you.” These visitors quickly turn out to be Daniel and Mia, the children of migrant workers. Through the course of the novel, Darrell and his new wife Erin must work with translator Luis to get to the bottom of what happened—all while simultaneously having a honeymoon.

This is my first paranormal mystery. It has a lot in common with traditional mysteries. For instance, the detective conducts interviews, gathers clues, and faces personal peril. However, much of what drives his investigation, as the genre suggests, comes from otherworldly agents. A medium tells him about the victims, visions of phantoms and a weeping painting help him ID children, and then eerie Christmas carols haunt a crucial scene.

The setting, Florida in the late 90s, appeals to me as I lived in Florida in the late 90s. I remember bringing in the new millennium in Tangerine, Florida at my aunt’s house as I was living in Orlando at the time. Overbeck portrays this strange time and place accurately, dropping in several fun Easter eggs, such as swimming with manatees and the approaching Bush-Gore election, which would become big drama in Florida politics.

If you’re a fan of paranormal mysteries or 90s paranormal film, you’re sure to enjoy Scarlet at Crystal River.

Postmodern American Fiction

I first began reading this anthology (or perhaps I should say “attempted to read”) a little over a year ago. I thought it would be a good book to breeze through while teaching from home because of COVID. I was wrong. About the breezing, at least. While I was immediately met with authors I have loved and, for the most part, understood: Pynchon, Burroughs, Barthelme, I soon felt as if I were reading something in a foreign language. Robert Coover’s “The Phantom of the Movie Palace” and Mark Leyner’s “The Making of ‘Tooth Imprints on a Corn Dog’ ” were two places that had to take considerable breaks, reading other stories or novels, sometimes in actual foreign languages.

One trouble I think I have with postmodernism or rather have had with it stems from the fact that I have been raised in it. In school, “postmodern” has often carried the same weighty context as “calculus.” We will cross that bridge when we get to it. However, all of the art I have loved from that last thirty-plus years has been influenced by it. Some of my earliest memories of movie watching include Star Wars and Indian Jones (pastiche of 30s-50s American serials); Back to the Future (a sci-fi head-trip of multiple timelines); and Edward Scissorhands (and all of its cross-genre, ironic, temporal distorted, and magical realist glory).

The point at which I achievement my long-awaited aha moment came after reading Bobbie Ann Mason’s “Shiloh,” a short story about, among other things, a couple’s trip to the sight of a Civil War battle: Shiloh, Tennessee. After finishing the story, I asked myself, “Okay, so what was postmodern about that?” It took a little research to realize that the gender roles and national identity the story questions are things society has questioned and reformed my entire life. While some aspects of postmodernism feel “other,” most aspects have been adopted whole-hock and incorporated seamlessly. I noticed this most recently while watching Chloé Zhao’s Nomadland. The film is at once a straightforward story about Fern (Frances McDormand) who is driven to live in her van and travel the country as an itinerant worker. It’s also a scathing attack of consumer society, which at one point destroys Fern’s entire town and at other times abandons countless characters who only want to work. It also functions as a circular anti-narrative, beginning with the Christmas-rush at an Amazon distribution center during the Great Recession and ending a year later with Fern’s situation unchanged, still showing up to Amazon to work for a month, still traveling in her van, still precariously outside of house-dwelling society. Fern even serves a stint at Wall Drug, the amusement-park-like store outside the Badlands in central South Dakota. I could not help being reminded of Jean Baudrillard’s critique of Disneyland in his seminal work, Simulacra and Simulation. Yet if I did not have this anthology at my finger tips, so recently submitted to my short-term memory, I don’t know that I would’ve noticed any of these elements. Rather I might’ve thought, “Well, that story never really got going.”

And that is the very point. If nothing else, Postmodern American Fiction has let me into some of the secrets that have been all around me as I’ve read, watched, and listened. I won’t go so far as to say I have a complete understanding of this ever-evolving art movement, but this anthology has certainly given me a more solid foundation than I had before I set out.