Next Monday, 2/06 at noon I’ll be at the Brainerd Public Library reading from and presenting a PowerPoint entitled “The Facts Behind Writing Crime Fiction”. It’s the story behind my latest novel, Boomtown. The event is part of the library’s “Borwn Bag Series.” It’s free, open to the public, and there will be signed books available for purchase. Tell your friends and relatives in the Brainerd Lakes area.
See you there!
Anthem by Ayn Rand (1995. Signet. ISBN 978-0-451-19113-7)
And we sighed, as if a burden had been taken from us, for we had been thinking without reason of the Palace of Mating. And we thought that we would not let the Golden One be sent to the Palace. How to prevent it, how to bar the will of the Councils, we knew not, but we knew suddenly that we would. Only we do not know why such thought came to us, for these ugly matters bear no relation to us and the Golden One. What relation can they bear?
That’s the most complex language and literary structure this novella ever achieves. Throw in the fact that the primary premise, one man, the “we” (otherwise known as Equality 7-2521) in the above sequence, escapes a post-apocalyptic world into a vast and empty forest because he is being hunted for his re-discovery of electricity (an improvement of modernity that is forbidden, secret, and seemingly lost to the mass of humanity) is so flawed in detail and plausibility so as to remind me of a seventh grader’s attempt at speculative fiction. To be fair, Rand’s native language was Russian so perhaps her depth of English comprehension when she began this work in the early 1920s wasn’t as expansive as when she penned Atlas Shrugged some three decades later. But for this weakly penned work to ever have seen the light of day (pun intended) is a remarkable testament to the unpredictability of editorial taste. So many questions, questions that any self-respecting science fiction author would attempt to cover in a story’s narrative, remain unanswered that it’s extremely difficult to take Rand seriously as an author or philosopher. How does Equality 7-2521 generate the electricity that eventually lights the glass box that he carries about? How does he move from his discovery of a crude battery (metal and liquid in a jar that creates current) to a power source that is portable and seemingly inexhaustible? How does he fashion a bow and arrow sufficient to down birds for meals when he has no tools? How is it that he and the Golden One (who inexplicably finds him in the great wooded wilderness with no outdoor or tracking skills) surround themselves with a ring of fire (how many matches do they have, anyway?) to stave off wild beasts and yet they do not cough or inhale the smoke of the fire surrounding their resting place? These are but a few points to consider, but points that even a seventh grade novelist would attempt to tackle. Rand apparently saw no need to make her tale of individuality believable, relying instead upon a steady revelation of the importance of “I”, the singular one, to carry the tale. But she doesn’t pull it off. The story is limpid, dull, and much like her doctrine of objectivism (the premise that each man must be left unfettered by constraints of government, religion, or culture to attain his natural position in the order of the world), fatally flawed. I enjoyed, to a degree, Rand’s storytelling, if not her pontification, in Atlas Shrugged and The Fountainhead. I read both to learn more about the philosophical underpinnings of the political thinking of modern day objectivists such as Rand Paul and Paul Ryan. If you too are interested in alternative ways of thinking about mankind, those are two novels that I’d recommend. I would not recommend Anthem.
One final note. The addition of Rand’s manuscript corrections to the British version of the book adds absolutely nothing to one’s understanding of the story or Rand’s point of view.
1 star out of 5. If you must read this tripe, save a tree and buy it as an eBook.
I’ll be at the Grand Rapids Public Library on Tuesday, 1/31 from 6-7 talking about the “real story” behind my latest novel, Boomtown. Sponsored by the Friends of the Library, free and open to the public. Come and be part of the discussion and, if you have a mind, pick up a signed copy of one of my books!
Custer’s Trials by T. J. Stiles (2015. ISBN 978-307-59264-4)
My senior paper to attain my BA in history from the University of Minnesota-Duluth was an examination of the public reputation and iconization of Lt. Col. George Armstrong Custer. In preparation for writing my work, which was completed while I was in my first year of law school (a long story that I’ll tell another time), I read contemporary newspaper and magazine accounts of Custer’s death to provide a chronology of the evolution of the man from Civil War hero to tragic victim. Of course, to Custer’s opponents on the Plains, the Lakota and the Northern Cheyenne, he was not an innocent victim of a brutal massacre but a casualty in their war for survival against the advance of the Industrial Age into territory vital to their nomadic cultures. I think I incorporated the complexities of these diverse views of the Battle at the Little Big Horn and Custer into my paper. But I did not, in any fashion, examine the psychological makeup of Custer to any great degree. That’s not an uncommon failing in articles, essays, and books trying to peer into the soul of this captivating yet morally ambiguous man. I can honestly attest that Stiles, in Custer’s Trials, puts all of Custer’s moral, racial, political, and military successes and failures under a magnifying glass to fully illuminate the man’s internal nature. Stiles succeeds in, for the first time in the history of examinations of George Armstrong Custer, giving readers a full-bodied review of the man in context. And that, given more than one hundred years have passed since Custer’s death, is no easy task.
Throughout Custer’s life, the man’s love (and contradictory ambiguity) towards his wife, partner, and biggest booster, Libbie, was always front and center, constantly on Custer’s mind even as he dallied with other women. There were, as Stiles portrays the relationship, periods of upheaval during the soldier’s long absences from the marital bed, during which it is fairly clear that Custer found satisfaction-if not love-in the warmth of another woman’s embrace. This theme, while a minor moral impingement of Custer’s standing in history, speaks volumes of the man’s lack of steady faith and virtue:
He longed for her to show real love for him again. He hoped to persuade her that she was wrong, that “however erratically wild or unseemly my conduct with others may have been, you were still to me as you always have been, the one great all absorbing object of my love”…Here the letter seems to veer away from gambling to other women. “I will not pretend to justify my conduct with others,” he wrote. “Measured by the strict laws of propriety or public opinion I was wrong. I knew it as plainly as I know it now.” Their difficulties refined his love, he claimed…Again and again, he had indulged in flirtations, perhaps even infidelities, then promised Libbie his heart was true, only to do it again.
In many respects, Custer’s Trials, which indeed does chronicle not only his emotional and marital trials with his wife, but myriad conflicts, tests, and courts martial and civilian court proceedings, is the first in-depth psychological analysis of the man. Stiles doesn’t offer the reader an ultimate scientific diagnosis for Custer’s seemingly erratic and certainly egomanical behavior, but he does lay it all out for us in bold and concise terms. His use of original source materials and secondary documents such as letters written by Custer’s strongest supporters and his most vehement critics is masterful. For anyone interested in peering into the depths of George Armstrong Custer’s soul in hopes of discerning the man’s attributes and failings, this is as good as it gets.
5 stars out of 5. A must read for Custerphobes.
Facing the Music by Clay Eals (2006. ECW. ISBN 976-1-55022-732-1)
I want you to close your eyes. It’s 1977. You’re in a college ballroom on the campus of a medium-sized public university. The house lights are low. You are sitting on the floor cross-legged next to the girl you want to marry. There are maybe 100 other students and faculty sitting on the floor or in folding chairs arrayed in a circle around a microphone stand. A short, slightly rotund, long-haired Jewish boy from Chicago steps from shadow into light and confidently plants himself in front of the microphone. An acoustic guitar hanging from a strap will remain unplayed throughout the first song. The singer, his brown eyes clear and bright, begins an a Capella lament:
Oh my name is Penny Evans and my age is twenty-one
A young widow in the war that’s being fought in Viet Nam
And I have two infant daughters and I do the best I can
Now they say the war is over, but I think it’s just begun.
If you can visualize the scene and hear Goodman’s voice, then you will understand how that concert remains, for me, along with seeing Bruce Springstreen perform live, on of the favorite musical moments of my life. “The Ballad of Penny Evans” was born of genius: a man singing in the voice of a war widow about the loss of her husband and what remains. And yet, unlike some other great songs written during the 1970s, it’s a song that very few folks know or appreciate. I’ve heard it performed publicly just twice in the thirty-three years since Goodman’s untimely death in 1984. Once in an Irish pub in St. Paul by a local dude simply making music and once, in my own voice, as I stood scared as a school girl in front of a live audience as the MC for Law Law Palooza at the Clyde Iron facility in Duluth raising money to provide free lawyers for the indigent. I’m pretty sure the dude in St. Paul hit the mark. Not so sure about me. But that’s the impact seeing Goodman one time, long ago, had on me. I bring all of this up as an introduction to my review of Clay Eals’s massive (778 page) biography of the singer/songwriter who wrote not only “Penny Evans” but some other very, very notable tunes, including “The City of New Orleans” (recorded by Arlo Guthrie, Johnny Cash, and Willie Nelson, to name a few), and “You Never Even Called Me by my Name” (a country hit for David Allen Coe). In between these well known songs, Steve Goodman penned such classics as “California Promises”, “The 20th Century is Almost Over”, and a host of others. But despite a great storyteller’s voice, mastery of the acoustic guitar, a wicked sense of humor, and a knack for creating memorable lyrics, Goodman never achieved universal acclaim. That’s the story Eals so painfully tells, along with Stevie’s 15 year-plus battle with leukemia, his roller-coaster marriage to Nancy, and his doting affection for his three young daughters. And, despite a misstep or two (sometimes bordering on redundancy) Eals manages to keep the life story of this beloved but obscure genius in focus throughout this massive read. The question I have to ask myself as I consider how to rate this book, how to fairly evaluate the over 1,000 interviews Eals conducted (with musical legends such as John Prine and Mary Stuart and Jackson Browne, and non-musical folks such as Hillary Clinton (who attended high school with Steve)) and mountains of newspaper and other written references that the author consulted to create a complete life of a man who died underappreciated by the general public, is this: Would anyone other than a devoted Steve Goodman fan or a Chicagoan want to read this tome? I think the answer is an unqualified “yes”. Here’s why.
First, Goodman was an Everyman, a Midwestern boy raised in a suburban, middle class neighborhood whose dad was a war veteran from the Greatest Generation, and whose Mom encouraged his career through its ups and downs, who, upon learning of his fatal cancer diagnosis just out of high school, was determined to “make it big”. He tried, like so many of us in the arts have, through sheer will of effort and personality and ability, to convince The Man (i.e., record company executives) and the public of his worth, wanting the brass ring so badly that, as Eals points out, he even moved his family to California in the misguided belief that being closer to the record producers would give him his “big break.” Instead, we learn that, as Steve’s studio career tanked (he was axed by both Buddah and Asylum), live audiences, from those who saw him on the “Austin City Limits” stage to fans attending over 200 Steve Martin concerts, loved him. Having only seen Goodman once, and having been enthralled with his story ever since, I can attest that, just like The Boss never leaves a stage without expending the last drop of sweat from his body, Steve Goodman was cut from the same cloth. When he performed live, he was “all in”. So it seems to me that anyone with any sort of unfulfilled aspiration, whether it be in music, writing, the arts, or some other endeavor, will appreciate the painstaking narrative created by the author to depict Goodman’s slender successes and luminous failures.
And then there is this: I’ve read many other memoirs and biographies of musicians, from Woody Guthrie to Neil Young to Dave Crosby to Springsteen and Clapton. I’ve found them all fascinating looks at how musicians find success, hit the wall at some point in their careers, and then recover. But none of those books tear back the curtain so we are there, in the moment, both on stage and in the offices of the record company executives making deals, like this compilation does. In addition, Eals takes great care to memorialize the songwriting process, both Goodman as a solitary bard scribbling away on his own, or during the collaborative chaos Goodman engaged in while penning masterpieces with John Prine, Mike Smith, Jimmy Buffet, and a host of others. The depth and complexity the author ascribes to the process of songwriting is something to behold and, by itself, makes this biography a worthy read.
In the end, the book is long-winded but beautifully written. The language is direct, concise, and never flowery or cumbersome. And, I sort of get why Eals wanted to include everything in this book. I did the same thing in my biography of my late uncle, State Rep. Willard Munger (Mr. Environment: The Willard Munger Story). I knew, as Eals did, that no one else was going to pen a biography of his subject, at least not one that would conclusively document the life of someone so iconic yet so underappreciated. And so, Eals, left in anything that was revealing about Goodman’s life and creative process. In the end, I think that’s a definite plus. The world can now understand the background, struggles, and brilliance of the man who wrote, what Johnny Cash once called, “The best damn train song ever written…”.
4 and 1/2 stars out of 5. 5 stars if you are a Steve Goodman fan. It is a must read for you if you’re in that category!
The Koran Interpreted (translated by A. J. Arberry) (1996. Touchstone. ISBN 9780684825076)
As with my reading of The Book of Mormon, this is a review of the literary merit of one of mankind’s most beloved scriptural texts, The Koran. It is not my attempt to critique or disassemble the theology of Islam: I will leave that to the scholars. I am just an average, ordinary American, raised Christian amongst other Christians and a smattering of Jews and nonbelievers, who is trying to understand the basic tenets of a faith that underpins many of the lives, cultures, and social orders of the latest immigrants to the United States. So take what I observe and write here in the spirit in which it is written: as a critic of the language, writing, and structure of The Koran, not as a criticism of The Book’s core beliefs.
First, the repetition. Gehenna, a Biblical valley that appears in Hebrew scripture, is referenced, by one account, more than 70 times in The Koran. I gave up counting how many times the terms “chastisement” (as in “the unbelievers will suffer a great chastisement”) and “punishment” appear within the suras (chapters) of the book. This constant refrain of salvation and damnation, the repetitiveness of the text, may well, when read aloud in a mosque or recited by heart at prayer, reinforce the central themes of the second largest religion in the world. (One source has Christianity as the largest at 33% with Islam second at 21% of the world’s population; USA Today predicts that by 2070, Islam will supplant Christianity as the world’s largest faith community.) But when read as a complete text, from beginning to end, this consistency becomes redundant. I found this repetitiveness reminiscent of the overly repeated refrains found in The Book of Mormon, though, to be fair, The Messenger’s collection of revelations and scripture precedes Joseph Smith’s discovery by 1,200 years, making The Koran a likely source of inspiration for the Mormon prophet’s revelations. One thing that sets The Koran apart from Smith’s retelling of the contents of the golden plates is the language. Whereas Smith, an uneducated and illiterate religious searcher, relied upon a tone and tenor that was pedestrian and ordinary in its prose, The Messenger’s presentation of the Eternal Book is, despite also coming from an oral tradition, far more polished and, in some suras, reaches the poetry of The Bible:
Hast thou seen him who lies to the Doom? That is he who repulses the orphan and urges not the feeding of the needy. So woe to those that pray and are heedless of their prayers, to those who make display and refuse charity.
This is not an easy text to read. And I am certain that if I was privileged to hear the verses and suras recited in their original Arabic, there would be a flow, a magic to the words that transcends even the best English translation of this compilation of revelations from the Divine. But even in English, The Book displays moments of linguistic clarity and beauty; and, departing from my initial premise (that I would not delve into theology) much of what radical Islam is preaching and acting upon (jihad being raised against children, women, the old, and the infirm in the name of God) is nowhere to be found in this book. Certainly, just as with Judaism and Christianity, there are facets of a faith that come from customs and practices created over millennia of observance, some of which may support suicide bombings, kidnappings, beheadings, and the murder of noncombatants or captured combatants. But I did not, in my time with The Koran, find those practices ingrained in the spiritual message of this book. As a Christian, I may be troubled that The Messenger defines Christ not as God embodied on Earth, but as a mortal prophet akin to Moses and Noah. In addition, there is a theme of evangelism to the text; the need to convert unbelievers to The Book that mirrors Paul’s exhortations to conversion in the New Testament. But The Koran incorporates both Jews and Christians into a larger, monotheistic framework of faith, considering those religious bodies to also be People of the Book. Perhaps the world would be a better, calmer place if Jews and Christians extended the same courtesy to Muslims.
Reading The Koran was not easy but it was enlightening and, given the world we live in, essential for non-Muslims to at least attempt.
4 stars out of 5. The book is, as indicated, rated for literary merit, not its spiritual content.
“Rene’,” I called out across the kitchen, “I think the microwave is dead.”
The appliance was installed 17 years ago when we built our new house along the banks of the wild and scenic Cloquet River. Our contractor installed the under-the-counter, over-the-stove model that served us well for nearly two decades. But, after repeated attempts to resurrect the dawdling unit, I came to the unfortunate conclusion (unfortunate because who wants to spend extra money just before Christmas on an appliance?) that the life source of the microwave had indeed given up the ghost. After reaching this fatal conclusion, Rene’ and I trundled off to Home Depot to check out new microwaves.
Now, I won’t lie. Home Depot is my kind of store. Generally speaking, if I can’t buy it at Menard’s, Home Depot, Walmart, Dick’s, or a bookstore, I detest shopping. So when my wife and I stood staring at the plethora of shiny, black and stainless steel compact ovens hanging from fake cabinetry at Home Depot, I wasn’t all that miffed about having to shop.
“Can I help you?”
The store was quiet and the clerk who stood behind us had plenty of time to tend to our needs. We talked wattage. We talked warranty. And then, because the new unit was going to have to fit above the range and below cabinetry, we talked size. Now, understand, I had, in my best “Tim the Tool Man” fashion, measured the dimensions of the space the new microwave would occupy. I hadn’t brought the ruler with me to check whether the GE would actually fit where we wanted it to fit but when I asked about the unit’s size, I heard nothing but reassurance.
“They’re all standard. Just take down the old unit, remove the wall bracket, install the new wall bracket, hang it, and you should be go to go!”
I was skeptical that my meager carpentry skills would allow me to get the thing mounted and operable but the clerk was very reassuring.
“Not a problem. We do offer installation but we’d have to charge shipping and delivery as well.”
“I’d guess around two-fifty.”
The price tag of the microwave was two-fifty. I was looking at either attempting the job myself or paying two kids in blue jeans with body art and piercings an amount equal to the cost of the new unit to drill a few holes, mount a bracket, and tighten down a half dozen bolts.
“Whatdathink?” I asked my wife. (I’m not sure I officially involved her in the discussion. But for sake of blameworthiness, I’ll include her response, real or imagined.)
“I think you can do it.”
Later that afternoon, I called my son Matt to come over and help. He was occupied with the kids so I decided to begin the process of removing the old microwave without him. After pulling the range and oven away from the wall, I stood on a step stool, opened the upper cupboard, unplugged the dead microwave, and loosened the screws holding the unit. When the screws were mostly free, I asked Rene’ to hold the unit while I completed the task. Then, easy peasy, I tilted the microwave away from the wall and removed it from its wall bracket. I took a look at the existing bracket and the rear of the new unit. Just as the store clerk had warned, the new stove wouldn’t fit on the old bracket. I needed to remove the old bracket and install the new one so the bracket’s metal tabs lined up with slots in the back of the microwave. As I began to remove the existing bracket, I noticed the first major issue with my “do-it-yourself” approach.
“What about the contractor?”
“When his guys mounted the microwave, they stripped two of the lag bolts holding the bracket. I can’t use a wrench or a vise grips to get them out.”
I stared at the offending bolts, the heads stripped and useless. A solution made itself apparent. A half hour later, after cutting the bracket away from the ruined bolts with a tin snips, repeatedly bending and twisting the metal until it came free, the old bracket lay in a crumpled heap on new snow outside our back door. I measured the new bracket, found the studs in the wall, and had it mounted in a matter of minutes.
“Help me set the new microwave on the new bracket,” I asked Rene’. Matt still hadn’t shown but the GE wasn’t all that heavy. The two of us easily lifted it in place.
“What about the clerk?”
“One size fits all. Bullshit. The new microwave is too tall for the opening between the tile backsplash and the bottom of the cabinet.”
“We’ll have to take the microwave down, remove the new bracket, and chip out at least two rows of tile.”
My wife’s eyes grew wide. She’s the craftsman in the house. She had, without a word of it to me, gone out and bought the tiles, the grout, and whatever else she needed, and installed a backsplash of small, metallic tiles around the kitchen cabinetry. It was a masterful job, one that I could never have replicated. And now, here I was, suggesting I was going to take a hammer and chisel to her masterpiece.
“Ah, maybe I should do that.”
I shook my head. We set the new microwave on the hardwood floor. “No, I’ve got this.”
After a half hour of steady diligence, I managed to remove two rows of tile without damage. Matt arrived as I was re-hanging the new bracket. “Help me set the microwave on this bracket,” I said. We did. The unit fit snugly between the cabinet and the backsplash. But there was another problem. In my OCD zeal to toss out the extraneous, I’d tossed the template needed to drill holes for the two bolts running from the cabinet into the top of the microwave. The old holes in the base of the cabinet didn’t line up with the holes in the new unit and without the template, I’d have to resort to guessing. I slid on my boots and wandered out to the garbage can. I dug and dug and dug but couldn’t come up with the template.
“Shit,” I muttered as I stomped snow off my boots, slid them off, and padded back into the kitchen.
“What’s wrong?” Matt asked.
“Nothing. Let’s see if we can line up the bolts with the microwave.”
After a couple of false starts, with Matt holding the microwave and the tabs of the new bracket holding the unit in place, I managed to get one lag bolt locked in place. “Damn it,” I yelped, my four year old grandson Adrien within earshot, “this second bolt just won’t line up.”
I’ll spare you the back and forth that took place over the next hour as I drilled the hole larger, as Matt raised the unit up, as the bolt refused to take, as more colorful words were expressed by Grandpa. At one point, Matt climbed the step stool and tried to adjust the unit so the bolt met up with the hole in the unit. No one noticed Matt was standing on the stove top while he worked. After additional moments of futility, I removed and inspected the second bolt. “This $#@! thing is stripped!” I said. We took the unit down off the bracket. I walked out of the house, into the garage, found a hacksaw, and cut off the last 1/4″ of the bolt. I was pretty darn upset by this point. But I was still, despite time wasted, money ahead.
I won’t sugar coat it. That’s what came out of my mouth when I mounted the step stool and Matt pushed the unit back on the bracket, holding it in place, and I placed my foot on the top of our stove for more leverage. My foot met the ceramic top of our range. Glass gave way under foot.
There’s more. Oh, much more. But I managed to pull it together enough to get the bolt in place. The microwave was solid, sturdy, and looked pretty damn good hanging beneath the cabinet. But the old stove? Home Depot was happy to sell me a new one.
Tonight (12/14) I’ll be at the Ely Public Library from 4-6 talking about and reading from Boomtown, my latest novel. Set in Ely, Grand Marais, and the Babbitt area, Boomtown explores the present-day controversy surrounding copper/nickel mining in the context of a fictional accident/murder. Should be warm conversation on a cold night! Books available at the event for purchase through Piragis’ Bookstore. Hope to see all my friends from Ely in attendance!
First, if you’re interested in how and why I write, there’s a nice interview up on Ed Newman’s blog. The link is: http://pioneerproductions.blogspot.com/. Then, if you are looking for some places to shop for nice holiday gifts, my schedule this week includes the following:
On 12/08 from 4-6, I’ll be at the Aurora Public Library with other regional authors signing and selling my books. Here’s a link: http://aurorapubliclibrarymn.blogspot.com/.
Then, on Saturday, 12/10, I’ll be at the beautiful Christ Church Lutheran in Minneapolis (a National Historic building: A visit is well worth the effort!) from 12-4:00pm for their Joulu celebration. Here’s more info: https://www.eventbrite.com/e/holiday-christmas-buffet-12-2-pm-at-joulu-magical-finnish-christmas-tickets-28643986936.
Stay warm and see you at event near you!
Listener in the Snow by Tim Jollymore (2013. Finns Way Books. 978-0-9914763-0-5)
Readers who enjoy Louise Erdich’s or Linda LeGarde Grover’s or Sherman Alexey’s brand of native mysticism wrapped within a fictional tale will enjoy this new novel by Cloquet, Minnesota native Tim Jollymore. Interwoven stories of the first-person narrator, Tatty, a mixed race Mi’Maq whose wife Mary is of Ojibwe lineage, and three legendary trips north from Tatty’s home in the States; first, for his father’s funeral; second, to bring his mother home to die in Canada; and third, to northern Minnesota to assist Mary in the birthing of her young cousin’s twin girls, all intersect in ways that are strange, enlightening, frightening, and legendary. Jollymore is a skilled storyteller and wordsmith, though, from time to time, the eloquence of his prose might, at least in this reader’s humble opinion, slow down the intensity of the action driving the plot. Still, there are so many well crafted passages and scenes throughout this flight of fancy intermixed with adventure and emotive recollection that one hardly notices the interruption of the storyline. Here’s an example one of Jollymore’s better pieces of narrative:
After the expansive, dazzling snow burning under the cloudless sky, the inside of the cabin was close and nearly black. The fireplace flame, whose smoke I had seen from above, was the first thing to reveal itself to my sun-glazed eyes. Then appeared the fainter glows of the windows, where drifts had been partially flung back by Danny’s shovel-work. As my eyes adjusted, I saw a white-draped bassinet standing away from the fireplace. Over this hovered a tiny silhouetted figure signing words I could not make out.
There are many memorable characters inhabiting Jollymore’s fictional story; from the enigmatically strong and defiant Mary, to the reclusive Tiny, to the aging, inherently wise Granny-the old woman who helps Tatty understand the visions he is plagued by. Each one is well crafted and unique. One criticism of the book would be that, for a work this polished, I found a few typos and/or missing words. These are rare occurrences, to be sure, and something my own work, also being self-published, has suffered from as well. There is also something unsettling about the climatic scene involving Roscoe and the ice flow. I won’t spoil the ending for you because this is a book that, if you have an interest in Native American fiction, you should read: Perhaps as a member of a book club to spawn discussion regarding the storytelling, the accuracy of the tale’s depiction of Native American life in the 21st century, and a host of other topics. Despite these minor flaws, I found the characters and the story memorable and well worth the time.
4 stars out of 5. A good novel for a book club to pick up, read, and discuss.