Thursday, June 12, 2008
This was done in order to keep everything under one roof.
If anyone is interested in moving their blog over to the MBS digs (still a work in progress) drop me a line and let me know.
Thursday, May 10, 2007
What the Dead Know will by the end of the year be recognized as one of the top novels of the year.
In many ways What the Dead Know is a tour-de-force of story telling whose only serviceable comparison is the tapestry of bullshit, truth & wonder that Verbal Kint weaves in the movie The Usual Suspects. To extend the comparison just one step further if the central question of the movie was ‘Who is Keyser Soze’? Then the central question of What the Dead Know is ‘Who is Heather Bethany’? It’s exactly this question that Lippman will answer for us over the course of 384 masterfully controlled and written pages.
The story is crafted in such a way so that it leap-frogs back and forth in time. This serves two purposes and executes both beautifully. First it allows Lippman to pick and choose which bits of information to give us and when to give them to us. The bits of information quickly become a potent mix of hints and red-herrings that will form a literary bread crumb trail. Second, and perhaps more importantly it will allow for a careful dissection and examination of the events and the relationships surrounding them. Read More
All of my reviews can be found here
Wednesday, May 09, 2007
A scene from the set of the fifth season of The Wire,now currently filming around town OR real life.
There are only 42 Homicide detectives in
The Homicide departments closure rate for the year so far is 23.4 percent. The national closure rate, according to the FBI, is 62 percent.
All of this information is especially relevant after the announcement last week that Homicide detectives are going to have to start walking the beat.
When David Simon wrote Homicide ---- years ago he painted a bleak and sober picture. Things have gotten worse and now this. Ridiculous.
There were 20 murders in the month of April. Four have been solved. On April 7th Brent Flanagan was beaten and stabbed. His body was dismembered and stashed in a house. Then the house was set on fire to cover it up.
State Delegate Jill Carter wrote recently “Bullets in
That last line is important and sad because it reflects how used to murder the people of
Only in the bureaucratic nightmare as portrayed so accurately in The Wire can something like the following happen:
Joseph Ensey died in November 2006 due to complications from a 1991 shooting. Ensey’s death was ruled a homicide by the Medical Examiner’s Office on April 20. The man police say is responsible for Ensey’s killing, Gamel Brown, 42, of
APRIL HOMICIDE VICTIMS
April 2: Darrell Smith, 21, of
April 8: Eric Zuraski, 39, address unknown, stabbing
April 9: John Daughtry, 25, of
April 11: Tavon Campbell, 20, of
April 12: Brent Flanagan, 16, of
April 18: Johnnie James, 25, of
April 18: Kevin Randall, 45, of
April 19: Christopher Wayman, 23, of
April 20: Joseph Ensey, 45, of Woodlawn, shooting *
April 22: Van Johnson, 29, of
April 22: Damon Dubose, 23, of
April 26: Ernest Buchanan, 18, of
April 27: Dewitt Smith, 25, of
April 29: Ronald Daniels, 29, of
April 29: Victim’s family not notified, 36, address unknown, shooting
April 29: Azerwoine Walker, 30, of
April 29: Leroy Sanders, 22, of
April 30: Deshaun White, 31, address unknown, shooting
April 30: Adult male victim unidentified, shooting
April 30: Eric Queen, 24, of
Wednesday, May 02, 2007
Tuesday, April 17, 2007
I've read Bishop's novels over the years and his introductions to other works. I was very shocked to hear about his son. I've never met the Bishop's but it still felt close to home to walk over to my book shelf and realize that this man's son was killed yesterday.
A man should never have to bury his child. My heart and thoughts are with you Michael
Sunday, April 15, 2007
The story is told over 20+ years, during which we get to watch these characters grow, change and age. Every character is complexly rendered producing very real, very sympathetic people.
The terse, clipped prose moves the story along at a fast pace. The first part of Ice follows three characters through their lives as they are awakened and after the awakening has taken place. They are plucked from all walks of life and economic backgrounds. Not only do we get to witness first hand the at times brutal awakenings but we also get a nice cross section of Russian life. The second part of the novel threats us to a lengthy first person account of how one member of this group was awakened. The Nazi’s took her from her village as a young teenager. Upon arrival in Germany she was kept aside at a camp because of her physical features then awakened. Her heart proves to be older then her body and she quickly become part of the upper echelon of the secret group. Her personal history will act as a history lesson of the group for not only us but also the three recently awakened characters from the first part. We will learn about its origins and its relationship with the Tunguska event, its methods and its ultimate goals.
From the moment we witness the first awakening in the opening moments, and especially as we learn more about them, we are forced to wonder if they are a menacing group or are they our superiors. Will their success be a benevolent act for a humanity that was never supposed to be? Will the destruction of the world, as we know it be a mercy killing for a patient that has been dead for a long time, even if they just didn’t know it? Will the final act be one of selfless love or ultimate selfishness? These are not easy questions to ask and no clear answers are provided.
Monday, April 09, 2007
When Paper Trails was published a couple of months ago I decided that I was going to re-read Paris Trout. It had been a long time since I read it; in fact it had been a long time since I read any Dexter. He's such a low key guy, damn near invisible in fact, that I have a tendency to forget about him sometimes.
I'm happy to say that Paris Trout has not lost any of its dark power over the years. I had forgotten portions of the book and mis-remembered others so it was a fresh experience for me again.
The language is stark and impressive with some scenes being so hard to watch unfold and yet so utterly compelling. I felt, at times, like a rubbernecker gawking at a car accident on the side of the road.
The characterizations are so deeply detailed that the ending of the book becomes so tragic on every level. It’s the rare book that just leaves you gasping for air as if you'd been punched in the gut.
Lest I forget why I started reading Paris Trout in the first place it should be said that Paper Trails is just brilliant. I've been reading it in little bits to try and make last as long as possible
Plus they both are PT books.
I also spent some time reading The Last Good Kiss by James Crumly again. Without a doubt it blew my hair back when I first read it but does it still hold up and should it be considered a classic? Interestingly the answer is yes and no.
On one hand it is a classic because by the time Crumly came out the hard-boiled, noir, PI genre was stale, predictable and reductive. Ultimately pandering to its lowest common denominator. So its influence can never be taken away and for that it will always be a classic.
Crumly has a vivid writing style that is both masculine and sentimental. His exploration of the underside of the American psyche/experience in the post-Vietnam era was sober and refreshing. It also brought the genre kicking and screaming into the present and out of the domain of fedoras and dames. This was a brutal modern western in every sense of the word.
He presents the post conflict solider as a tragic teary-eyed figure floating adrift, lost as he finds himself out of his element now that he isn't in the jungle with his brothers. The government created them as warriors to fit their needs and then forever cast them aside. To live with that they have turned to drugs and alcohol and sex. Think the first Rambo movie, but without the descent into cartoonishness.
An interesting question though needs to be asked. Is Crumly a writer of his time, specifically that of post-Vietnam era
Afterthought: Crumly shows a willingness to poke fun at the genre in later books, just witness the first part of The Mexican Tree Duck. From the planned execution of a jukebox to the repossession of tropical fish from a biker gang using a Sherman Tank and the assistance of two fat brothers. Must be read to be believed.
One could say that Crumly's characters are pompous blowhards. That they have a total inability to adapt to the real world. Crumly’s answer to a reductive genre was a reductive response, all of his characters fit into the parameters of 'If its the bad guy then kill it; if it has a hole then fuck it; if it can be cut into a line then snort it and if can be rolled then smoke it.'
It seems readily apparent that only those with penis's can really understand these characters and their plight of trying to cope in the real world. Only those who fought in
Crumly's world is not only reductive but it’s overly simplistic as well.
After playing devils advocate with myself I've come to the conclusion that it is a book worthy of being called a classic but maybe when considering some other aspects of it that it’s better to call it a flawed classic. But then aren't most classic books flawed in some way?
Now I called this post Re-reads & A Case of Weird Synchronicity for a reason. I'm reading a book now called Ice by Vladimir Sorokin. In it a woman is violated by a wine bottle. In Paris Trout a woman is violated with a glass water bottle.
What the hell kind of stars have to align for someone to read two books in a short period of time where women are treated this way. In Paris Trout the scene was effective in making the character of