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The Pulitzer Prize-winning author of The Stone Diaries and Larry’s Party wields her pen again and turns the mundane into the magical. In Dressing Up for the Carnival, Shields offers us a collection of stories, at turns wise and droll, that explore the question of identity, the very nature of our public and private selves.

In the title story, Shields places an average street scene under her microscope, looking into the lives of various people whirling about any given town on any given day. She picks up one strand, then the next, creating a living portrait of life’s rich pageantry. We meet a man who impulsively buys a mango having never tasted one, another who carries a bouquet of flowers to his unappreciative daughter-in-law, and a woman who imagines for herself a different life as she pushes an empty stroller.

Not surprisingly, artists (especially writers) and academics appear throughout the collection. In A Scarf, Shields turns a light silken object into a weighty image as she relates the story of a struggling author’s book tour. On a more playful note, The Next Best Kiss pokes fun at the bombast of academic discourse.

These are not stories with startling revelations, but with quiet discoveries. Mirrors, one of the best in the collection, involves a husband who marvels at how he and his wife can remain strangers to one another after years of marriage, while Eros explores a cancer survivor who remembers a lover from long ago. Other stories, like Flatties and Ilk are just downright whimsical and show Shields stretching her wings at her absurdist best. In Absence Carol Shields says of one of her characters, an author, . . . she wanted only to make, as she had done before, sentences that melted at the center and branched at the ends, that threatened to grow unruly and run away, but that clause for clause adhered to one another as though stuck down by velcro tabs. In this superb collection, Shields does just this with her unique, elegant prose. She is a master of the small detail, of the way it can offer a window into a life. And Dressing Up for the Carnival is a window worth looking into. ¦ Katherine Wyrick lives in Little Rock, Arkansas.

The Pulitzer Prize-winning author of The Stone Diaries and Larry's Party wields her pen again and turns the mundane into the magical. In Dressing Up for the Carnival, Shields offers us a collection of stories, at turns wise and droll, that explore the question of…

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In his tightly written and swift moving new novel, author John Ridley weaves a taut and terrific tale about a loser whose life suddenly changes when he meets a woman. But Ridley, with his gritty writing style, offers a new perspective on the all too familiar boy meets girl story. Love Is a Racket is the celebrated writer’s sophomore literary effort and the much awaited follow-up to his bestseller, Stray Dogs. In his new book, the author uses a no-nonsense and earthy writing style that immediately ensnares readers from the moment they are introduced to the main character. Jeffty Kittridge is a down-and-out drunk, who lies, cheats, steals, and pretty much does what he has to do to make it on the tough and not so friendly streets of Los Angeles. The philosophy of the street hustler is simple: con or be conned; use or be used.

Indebted to loan sharks for gambling debts totaling a cool $15k and shuffling from curb side to rooming house to wherever, Jeffty is constantly scheming and plotting his next con in order to earn a buck or two and get the sharks of his back. He is a character readers will not pity; as we are led through his bouts with the DT’s, frequent and violent assaults from the sharks, and wayward life of the streets, a got what he deserved attitude is probably what readers will feel. Eventually, he meets a woman named Gayle. Homeless, helpless, yet beautiful, the two get together for sex and good times. Jeffty believes he has fallen in love and vows to change his ways in order to build a life with Gayle. Whether his words and actions are for real or just another con remains a secret until the end of the book.

Love Is a Racket is, at turns, a sarcastic and funny book that tells it like it is and paints a vivid picture of life on the streets. It also shows to what extremes people will go in order to survive, especially when it involves matters of the heart usually someone else’s. Glenn Townes is a journalist in Kansas City, Missouri.

In his tightly written and swift moving new novel, author John Ridley weaves a taut and terrific tale about a loser whose life suddenly changes when he meets a woman. But Ridley, with his gritty writing style, offers a new perspective on the all too…

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Welcome to hard times From a high school history class in the late 1950s, I remember a teacher, attempting to shake us children of relative privilege out of our apathy, telling a personal story to illustrate the awfulness of the Great Depression. Out of work himself in those years, he was walking along a city street one day when he saw a small crowd at a doorway, encircling what proved to be the dead body of a man. Only later, he said, did he learn that the man had died of starvation.

I don’t know about my fellow sloths, but obviously I was affected enough by the story to remember it. Not that I or they needed his anecdote. We could have had anecdotes aplenty if we’d wanted them, which we mostly didn’t from our mothers and fathers, our aunts and uncles people now part of what T.

H. Watkins calls in The Hungry Years: America in an Age of Crisis, 1929-1939 a generation of witnesses who are passing from the scene and to whom he intends his book to be a tribute.

If any subject comes close to rivaling the Civil War and World War II for being written about, it is the Depression. Indeed, Watkins himself has written an earlier book about the period and an award-winning biography of one of its leading figures, Harold Ickes. So why another tome on the pile? The author explains in his foreword that he wanted to write not so much about the New Deal and politics as about the people whose lives were changed by what the Great Depression brought, to take the story as far beyond Washington, D.

C., as I can get it, and wherever possible present the story from the ground up. In this he largely succeeds. He divides his book into three sections, the first a chronological overview, the other two examinations of the Depression’s grip on urban and rural America. These last two are, as he intends, considerably more descriptive and anecdotal than the first, but even here there is still plenty of detail about what might be called the story from the top down the lives and motivations of Franklin D. Roosevelt, other politicians, union leaders, businessmen, and so forth.

Except in incidental ways Watkins is not interested in what movies people watched, books they read, or songs they sang and danced to. The Hungry Years is almost exclusively a political, social, and economic as distinct from cultural history. He devotes his book to Americans’ struggle with hard times and to an examination of Roosevelt’s attempts to get the nation out of the economic morass that he believes FDR’s predecessor, Herbert Hoover, did little to keep it from sinking into.

In this interpretation he is hardly alone, of course. Hoover’s fiddling while America burned has pretty much become the revealed truth of 20th-century American history. Watkins admires the New Deal’s nobility of purpose that few governments have ever entertained, but calls it, when all is said and done, a magnificent failure whose reach far exceeded its grasp. Watkins deftly rounds up all the usual suspects and grills them hard. One of his best examinations is of the nation’s exclusive dependence on volunteerism, local aid, self-reliance, and private charity that, to give Hoover his due, made a good and capable man a prisoner of ideology and kept him from doing more than he did.

FDR was not about to be any such prisoner. Immediately upon achieving office he began serving up the famous alphabet soup of public works and relief: the soil soldiers of the Civilian Conservation Corps, for example; and the Public Works Administration, which eventually would put at least one construction project in all but three of the country’s 3,073 counties; and the most ubiquitous program of all, the oddly named Works Progress Administration, which included the federal writers, music, and theater projects. One of the New Dealers’ signal failures, he writes, is in the decade’s labor unrest and rising unionism, because of their lack of understanding of and sympathy for the working class. He maintains that they were more comfortable giving workers government jobs than helping them fight for their own.

All too soon our own children will no longer have a generation of witnesses to these hard times. Luckily, they or at least the few who show more interest than my generation did will have The Hungry Years to tell them what they were fortunate to have missed. ¦ Roger K. Miller is a freelance writer. He can be reached at roger@bookpage.com.

Welcome to hard times From a high school history class in the late 1950s, I remember a teacher, attempting to shake us children of relative privilege out of our apathy, telling a personal story to illustrate the awfulness of the Great Depression. Out of work…

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Tiel McCoy, the gusty heroine in Sandra Brown’s Standoff, is like many protagonists: smart, ambitious (perhaps overly so), quick on her feet, and faced with a seemingly unreconcilable situation. A reporter by trade, Tiel is on her way to a much-needed vacation when she is diverted by an unfolding drama. The situation holds the promise of professional advancement, if only she can scoop the other reporters who will undoubtedly be in hot pursuit. Stopping at a convenience store to pick up some snacks and call her boss, Gully, Tiel unwittingly places herself smack dab in the middle of a botched robbery by a kidnapper and his alleged victim. Now a hostage herself, Tiel must insure that the kidnap victim, the daughter of a hotheaded Texas millionaire, survives a particularly nasty situation. Sandra Brown has written an infinitely readable suspense story with characters who are funny, tragic, sexy, and calculating. There is the feisty, newlywed senior citizen couple, Gladys and Vern; a couple of Mexicans who pose more of a threat than anyone could have imagined; Donna, the blabbermouth cashier; and the very mysterious and handsome man everyone calls Doc. And those are just the characters inside the convenience store. Outside are the Texas millionaire readers will love to hate, the unusually level-headed and fair minded FBI agent, the father of the kidnapper, and Gully, who flies into town to provide support to his star reporter. The major secondary characters, though, are of most interest. With the characters of Ronnie and Sabre, Brown sets up a suspense that is not only action-based but also emotionally driven. Readers will no doubt be rooting for the pair in a way that is surprising and refreshing. Through the ordeal she endures, Tiel is forced to face her own demons, and ends up failing miserably. It is through her failures that readers will come to recognize the very real humanity in this character. The question is: Can Tiel forgives herself for these mistakes? In short, Standoff has all the elements needed for suspense: danger (literal and figurative), emotional content, love, sex, and a whopper of an ending.

Crystal Williams’s first book of poetry, Kin (Michigan State University Press) debuts this month.

Tiel McCoy, the gusty heroine in Sandra Brown's Standoff, is like many protagonists: smart, ambitious (perhaps overly so), quick on her feet, and faced with a seemingly unreconcilable situation. A reporter by trade, Tiel is on her way to a much-needed vacation when she is…
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In this wondrous book, Michael Allin seduces us into a wealth of political and intellectual history by weaving together a thousand facts that shimmer like fairy tale and myth. Zarafa shows the Egyptian tyrant Muhammad Ali modernizing his feudal country even if he has to brutalize his subjects, the 19th century’s burst of discoveries of ancient Egyptian artifacts beneath the idle sands, the disputed legacies of the bloody revolution in France, natural wonders of the upper Nile and central Africa, the spread of European rationality and, by no means least, Napoleon Bonaparte, who mastered sound bites and media manipulation long before the invention of the cathode-ray tube.

But the narrative line of this extraordinarily satisfying historical synthesis tracks a purposely orphaned Masai giraffe, the Zarafa of the title. Captured as a calf in the Sudan in 1824, France’s first living giraffe was Muhammad Ali’s idea of the perfect diplomatic gift to the nation where his brightest son was studying Western theories and technologies. Allin’s recent research and travel have solved some mysteries about Zarafa’s two-and-a-half-year journey from Africa to Paris, but these speculations are also used to introduce the many colorful humans who fought desert wars, stole and fenced antiquities, spied for opposing forces and risked their lives for science in an age of virtually limitless thirst for new knowledge and exotica.

The climax of Allin’s story is Zarafa’s patient walk of 550 miles from Marseilles to the City of Light, accompanied by loving handlers, a famous if physically challenged scientist and at least one scoundrel, while the French gathered by the tens of thousands to watch her slow progress and admire her gentle ways.

For almost two decades, after sparking a predictably Gallic giraffomania in decorations and style, Zarafa lived serenely in the Paris Zoo, groomed daily by the Egyptian Arab keeper who climbed ladders every night to sleep within scratching reach of her head. He became a famous Romeo with French ladies interested in cultural exchange; no mate was ever found for Zarafa. Allin has written a revealing, stylishly spare, even elegant book that should be kept on the bookshelf and passed around to friends and family. Perhaps a kindly editor should have warned him that repeating a remarkable fact will diminish its impact, but the writing is characteristically clear and intrinsically trustworthy. Allin needs no footnotes to convince. The logic of his sentences is the logic of truth-seeking. By the end of Zarafa, we have seen the passing of exoticism into geopolitics, of curiosity into commerce, but Zarafa herself somehow abides. It will be surprising indeed if the dingy museum in La Rochelle that houses her stuffed body does not become a lure for a certain kind of sentimental traveler. Certainly, most readers will regret never knowing her in life, for Allin persuades us that everyone who ever saw her was enchanted by her, undeniably because she showed such surprising trust in them. Charles Flowers is the author of A Science Odyssey (William Morrow).

In this wondrous book, Michael Allin seduces us into a wealth of political and intellectual history by weaving together a thousand facts that shimmer like fairy tale and myth. Zarafa shows the Egyptian tyrant Muhammad Ali modernizing his feudal country even if he has to…

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In The Twisted Root by Anne Perry agent of enquiry William Monk is asked by Lucius Stourbridge to help locate his missing fiance, the widow, Mrs. Miriam Gardiner. Miriam departed a gathering at the Stourbridge estate and, along with coachman Treadwell and the coach and team, vanished. Lucius is crushed; his parents and maternal uncle Aiden Campbell act similarly. But they reveal that Miriam was perhaps a step down in station, over-familiar with servants, and at least nine years their son’s senior.

Presently, the coachman is found murdered, and Miriam is presumed the killer. Monk, an ex-police officer fired for insubordination, believes there is more to the crime. With the assistance of his new wife Hester Latterly, Monk pursues an investigation that, with classic Anne Perry twists, leads into Victorian bedrooms and, eventually, the courtroom. ¦ Tom Corcoran is the Florida-based author of The Mango Opera and the new Florida Keys mystery, Gumbo Limbo, both from St. Martin’s.

In The Twisted Root by Anne Perry agent of enquiry William Monk is asked by Lucius Stourbridge to help locate his missing fiance, the widow, Mrs. Miriam Gardiner. Miriam departed a gathering at the Stourbridge estate and, along with coachman Treadwell and the coach and…
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It often seems that certain contemporary mystery writers own a city: Robert Parker owns Boston, J.

A. Jance owns Seattle, Robert Crais owns L.

A., and Sara Paretsky owns Chicago. By the same token, T. Jefferson Parker owns Orange County, California. Each of his seven previous novels, from the groundbreaking Laguna Heat to the recent Blue Hour displays his familiarity with and affinity for the sun-drenched communities of California’s south coast. Parker’s latest novel, Red Light, picks up where The Blue Hour left off, chronicling the life and times of Sheriff’s Investigator Merci Rayborn.

It has been two years since the death of Merci’s partner Tim Hess, her sometime lover and the father of her child. In the intervening months, Mercy has kept her nose to the grindstone at work, while still trying to find the time to be a good mother. She has only recently started keeping company with a member of the opposite sex, another sheriff, and the road has been somewhat rocky to say the least. When all of the clues in the murder of a young prostitute seem to point to her newfound sweetheart as the perpetrator, Merci is faced with the tough decision of telling what she knows, information which will further implicate her boyfriend, perhaps beyond any hope of extrication. The plot thickens as Merci realizes the details of a 30-year-old murder bear a striking similarity to her current case; to confound matters further, fingerprints found at the scene of the current crime appear to belong to someone who has been presumed dead for years.

The further Merci digs, the more she begins to believe the two cases are intertwined, and that the answers she seeks may in fact lie with some of the most highly placed individuals in the current law enforcement administration. Somehow she must make her case without alerting the powers-that-be to her strategy.

As in each of his previous books, Parker has given us a thoroughly human protagonist, flawed but ultimately moral. Merci Rayborn is among his best; as such, she has the distinction of being the only character that has appeared in more than one of his novels. Red Light, like its predecessors, is a book for reading in one sitting, so block out a long evening free of distractions; you won’t want to put it down.

Bruce Tierney is a writer in Nashville.

It often seems that certain contemporary mystery writers own a city: Robert Parker owns Boston, J.

A. Jance owns Seattle, Robert Crais owns L.

A., and Sara Paretsky owns Chicago. By the same token, T. Jefferson Parker owns Orange…

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Veteran NYPD detectives Joe Gregory and Anthony Ryan make their fourth appearance in Edward Dee’s Nightbird. The longtime partners know the boroughs, the worlds, and underworlds of urban New York as intimately as the cop saloon they frequent. When Broadway actress Gillian Stone plunges many stories to her death, many assume suicide. This theory is bolstered when the detectives learn that her employer, producer Trey Winters, had requested that the young woman submit to a drug test. If she’d been using, her career would halt.

But word filters down that Gillian and Winters were lovers. And the case is complicated by the detectives’ discovery that Danny Eumont, Ryan’s nephew, had once been involved with the dead woman. What begins as a routine case becomes a complex and personal challenge to the partners.

Edward Dee, an ex-New York detective, paints backdrops with authenticity and cynicism. Gregory and Ryan, purposeful and sharp, take different approaches to crime solution, yet blend their insights to reach resolutions.

Tom Corcoran is the Florida-based author of The Mango Opera and the new Florida Keys mystery, Gumbo Limbo, both from St. Martin’s.

Veteran NYPD detectives Joe Gregory and Anthony Ryan make their fourth appearance in Edward Dee's Nightbird. The longtime partners know the boroughs, the worlds, and underworlds of urban New York as intimately as the cop saloon they frequent. When Broadway actress Gillian Stone plunges many…

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One of the leading writers of historical fiction, Jeff Shaara follows his popular bestsellers, Gods and Generals and The Last Full Measure, with his latest novel, Gone For Soldiers. This prequel of sorts explores the early careers of several legendary military figures of the Mexican-American War who would achieve prominence 13 years later in the Civil War. Like his Pulitzer Prize-winning father Michael, Shaara relies heavily on information gleaned from the diaries, letters, and journals of his principal characters, Captain Robert E. Lee and Major General Winfield Scott.

While the Mexican War had few major battles, there was substantial loss of life after General Santa Anna’s initial confrontation with the American forces under the command of General Zachary Taylor. The outmanned Taylor wisely used his artillery to devastate the Mexican army, especially its cavalry. His victories were eventually trumped, however, by the brutal terrain of northern Mexico and the opposition’s knowledge of the territory. At that critical point, Scott offered a bold move to break the impasse by attacking the enemy from the sea, driving a spearhead through the vital port of Vera Cruz to the nation’s capital.

Shaara understands that the joy of reading these novels for military buffs and fans of Americana comes in the analytical depiction of battle techniques and the key players involved. He takes his readers into their heads, detailing their strengths and weaknesses and how each of them wrestles with the endless crises of battle.

If Scott proves the old master of tactics, then Lee is shown to be the perfect pupil as a 40-year-old engineer who has never experienced combat. It is to Shaara’s credit that he is able to depict the evolving relationship between the pair with such skill and depth.

Gone for Soldiers is an inspiring historical yarn of courage, ingenuity, and sacrifice that depicts the growing pains of young America at a political and military crossroads.

Robert Fleming is a journalist in New York City.

 


One of the leading writers of historical fiction, Jeff Shaara follows his popular bestsellers, Gods and Generals and The Last Full Measure, with his latest novel, Gone For Soldiers. This prequel of sorts explores the early careers of several legendary military figures of the Mexican-American…

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Twenty-one-year-old Leandra was estranged from her sister and had never flown on an airplane or been outside her native North Carolina more than once. That, however, didn’t keep her from flying to Massachusetts immediately after her sister, Pamela, asked for her help during a difficult pregnancy. Little did Leandra’s much older brother-in-law, William, know when he first saw her at the airport that he would enter into a brief but passionate love affair with her not too long afterward. Little did both of them know that tragedy would soon follow this affair, and again a decade later.

But sometimes the foreknowledge of tragedy can illuminate startling beauty. In Susan Dodd’s mature, poignant, and warm-hearted third novel, The Mourner’s Bench, she shows the simple and strong ways that two seemingly incompatible people can find the consolation and love they need within each other.

At the novel’s beginning, Leandra is living alone in her house on the coast of North Carolina, mending dolls by vocation and still mulling over the deaths of her sister and her sister’s baby. William, or Wim, is dying of cancer and is traveling down South to see Leandra for the first time in ten years. Though he has remarried, he has decided that he is going to spend the rest of his short time left with Leandra that is, if she will let him.

Dodd, who has taught at Harvard University and the Iowa Writers’ Workshop, demonstrates her mastery of the English language by telling the powerful story in two distinct voices: the literary and decidedly high-brow tone of Wim, and the wise and just plain wise-cracking Southern style of Leandra. The two different voices allow Dodd to show the vulnerabilities of her two characters and the grace with which they accept the emotional baggage they will carry for the rest of their lives.

Through the comfort she conjures through telling details the preparation of a simple meal, the glow from stars overhead, the feel of a rose-colored comforter when one is bone-tired Dodd also shows that, ultimately, the connections that most reward are the ones that need no extra adornment. Loss and tragedy are unavoidable in life (and certainly in the ending of Dodd’s novel), but through it all, Leandra and Wim show that the chance to love and be loved is reassuringly near.

Deb Saine is a reviewer in Rock Hill, South Carolina.

Twenty-one-year-old Leandra was estranged from her sister and had never flown on an airplane or been outside her native North Carolina more than once. That, however, didn't keep her from flying to Massachusetts immediately after her sister, Pamela, asked for her help during a difficult…

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Anyone who has read Vladimir Nabokov’s novel Lolita has probably wondered what Mrs. Nabokov thought about her husband’s literary preoccupation with pedophilia. Stacy Schiff writes that Vera Nabokov was actually responsible for Lolita, in one respect at least: she saved the manuscript from the fire into which Nabokov was determined to throw it. Schiff writes that Lolita‘s survival "is testimony to Vera’s ability to — as her husband had it — keep grim common sense from the door, shoot it dead when it approached. She feared that the memory of the unfinished work would haunt him forever."

This episode characterizes the Nabokovs’ marriage, which Schiff explores and explicates in Vera (Mrs. Vladimir Nabokov). Their lives were entwined to the point that even Nabokov’s authorship was not entirely his own. Schiff’s biography follows this inextricability even in its subtitle: "Portrait of a Marriage." Thickly footnoted, illustrated with a wide variety of photographs, and written with an eye toward Nabokov’s writing as well as his wife, Schiff’s book paints a comprehensive picture of one of literature’s more complex couples. She employs interviews with their son, grocery lists, diaries, and correspondence in her work to illustrate the extent of the Nabokovs’ impact on one another. Their inseparability was not merely romantic; as Schiff writes, "The man who spoke so often of his own isolation was one of the most accompanied loners of all time." Schiff notes that the Nabokovs’ unique marriage did provide some confusion: "It was no wonder that Vera appeared to have some trouble discerning where she ended and her husband began . . . ‘I ask you to bear in mind that we have a poor mind for legal expressions,’ she contended." Ultimately, however, Schiff’s depiction reveals an unrivaled intertwining of personalities. As she writes of Nabokov, "For many years he had been a national treasure in search of a nation; Vera was a little bit the country in which he lived."

Anyone who has read Vladimir Nabokov's novel Lolita has probably wondered what Mrs. Nabokov thought about her husband's literary preoccupation with pedophilia. Stacy Schiff writes that Vera Nabokov was actually responsible for Lolita, in one respect at least: she saved the manuscript from the fire…

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Shooting at Midnight by Greg Rucka begins not with the author’s compelling character Atticus Kodiak, but with the bodyguard’s sometime lover, Bridgett Logan. This New York cop’s daughter is a streetwise investigator and recovering addict with a sense of justice and a weakness for drugs. Bridgett is asked to honor a promise made years ago to Lisa Schoof, a fellow down-and-out teenager. But the pledge to help protect her from an abusive ex-lover gets twisted. Lisa wants to murder Vince Lark.

Within hours, Lark has been killed in a shooting gallery, Lisa refuses to speak in her own defense, and Bridgett realizes that her father’s service revolver is missing. Bridgett must risk her life to learn the circumstances of the murder. The investigation exacts horrendous sacrifice, and Atticus is delivered a mysterious summons. To tell more would ruin this gritty novel’s true-to-life suspense.

Tom Corcoran is the Florida-based author of The Mango Opera and the new Florida Keys mystery, Gumbo Limbo, both from St. Martin’s.

Shooting at Midnight by Greg Rucka begins not with the author's compelling character Atticus Kodiak, but with the bodyguard's sometime lover, Bridgett Logan. This New York cop's daughter is a streetwise investigator and recovering addict with a sense of justice and a weakness for drugs.…

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Evan Connell’s Chronicle captures carnage and glory of the Crusades The novel as an art form embraces a multitude of expressions, from the epistolary adventures of Samuel Richardson’s Clarissa to the stream of consciousness wadings of James Joyce’s Ulysses, and many other stops in between. Whether it also embraces Evan S. Connell’s Deus Lo Volt! Chronicle of the Crusades is a nice question, but probably unanswerable.

It may also be moot, because in pre-publication publicity Connell emphasizes that he thinks of Deus as a book about the Crusades, not an historical novel. . . . Monologues and dialogues in the book are paraphrased or condensed from those in medieval documents. Every meeting, every conversation, every triumph or defeat, no matter how small, was recorded centuries ago. The title is Latin for God wills it, the cry that exhorted Christians to go forth and wrest the Holy Land from Islam’s grip. The book runs from 1095, with Pope Urban pleading for the liberation of Jerusalem, to the end of the 13th century, when the Crusades lay in ruins along with many of the sites the Crusaders sought to liberate.

Connell, noted for Son of the Morning Star, his book about George Armstrong Custer, says that for this book he drew from numerous sources, prominently Chronicles of the Crusades by Geoffrey de Villehardouin and Jean de Joinville. He makes Joinville the narrator of Deus, looking back on the entire history of the Crusades in which generations of his family took part, including himself in their closing years.

Deus is, as its subtitle says, a chronicle. This is not a mere literary conceit; Deus literally reads like a re-creation of a medieval chronicle, with its flatness, monotone, and lack of perspective. The medieval chronicler reported events, and left it to his homogeneous audience to sort out the world-shaking from the mundane, knowing that, since they shared his world-view, his readers would be able to do that. Thus coronations, crop reports, battles, and astrological signs and portents were put down hugger-mugger, a jumble of events with scarcely any emphasis, because nothing in God’s creation is truly trivial.

So it is with Deus, with its hundreds of pages of undifferentiated head-loppings, piles of severed body parts, and unending rivers of Christian and Saracen blood each development accompanied by a pertinent, and typically vicious, moral reproof. The tone of the whole thing is morally instructive again, like a genuine chronicle and any irony is totally accidental. Of an early slaughter that did not go well for the visiting team, Joinville says, 4,000 Christians arose to glory in our Savior. To be sure, the events described, though usually gruesome, are colorful. There is the incident of the spy who came apart in the air after being flung toward Jerusalem from a catapult. What led him astray? asks the narrator. Ignorance of our Lord. It is fun to read about pilgrims in a Jerusalem released from bondage viewing the skull of Father Adam and fragments of the True Cross and the stone that felled Goliath.

And reading about the slayings of thousands of Jews and heretics in the course of a campaign to slay thousands of Muslims centuries ago, we naturally contrast that with our own times and realize that the justifications for butchery have not grown any better: Hence the wicked must be destroyed that the good may flourish. . . . Hence, for Saracens to be slain is good and necessary that their turpitude not increase. In the last quarter of the book Joinville begins to speak of his own experiences on crusade. He tells us more about the culture of the period and less about sending Saracens to the fiery pit and Christians to the arms of Jesus.

From this swamp of sanctimony-driven carnage comes the still, small voice of one old woman, who appears briefly and in passing, saying for love of God one ought to live honorably, not in hope of entering Paradise or from dread of Hell. Deus does not say so, but no doubt at some point some worthy knight improved that humanist attitude with a sword.

Roger K. Miller is a freelance writer in Wisconsin.

Evan Connell's Chronicle captures carnage and glory of the Crusades The novel as an art form embraces a multitude of expressions, from the epistolary adventures of Samuel Richardson's Clarissa to the stream of consciousness wadings of James Joyce's Ulysses, and many other stops in between.…

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