Musings from Brian J. Noggle

I was surprised and pleased to find a Robert Crais book on my to-read shelves; I just read A Dangerous Man, which is relatively new. How is it that a Crais book has languished on my to-read shelves for so long? Turns out, it has probably not. I read this book when it was new in 2008.

But it was on my to-read shelf, so I read it again anyway. Robert Crais might be the only modern writer whose works I can read and re-read like I can with John D. MacDonald’s work.

So Cole had gotten this guy free from a murder charge, and the guy apparently kills himself with photos from that and other killings on his lap. Cole doesn’t like the thought of having freed a killer to kill twice more, and then he suspects that perhaps the dead man was not the actual killer. So he goes to work.

The book is told in pure first person narration without jump cuts that most modern writers use. Even Crais uses them in later books. Somehow, it seems a more connected and flowing, a purer, literary style. And a throwback.

A couple things struck me mostly about the passage of time.

Elvis Cole does tae kwon do kata on his deck; twelve years ago, I could not have imagined that I’d be a black belt in tae kwon do, basically, the next time I read this book. Although my school is a satori school that does not focus on kata.

Also, I said then:

A good book overall and one that keeps me interested in the series, which makes it one of two contemporary series I appreciate (Sandford’s Lucas Davenport being the other).

Yeah, well, not so much now.

So will I end up “accidentally” buying more Crais books at book fairs just to read them again? Maybe!

I just read Thomas’s short story Holiday Memory, but upon checking my notes (this blog), I see that just read was almost five years ago. Tempus fuhgeddaboudit.

This is called “A Play for Voices,” which probably means a radio drama more than a stage play. The cast of characters indicates why: There are 63 named “voices” in the play. Apparently, this drama debuted as a staged reading in New York City with six people (including Thomas) doing all the voices. It must have been confusing to watch and keep up with it without the names above the spoken words, as several voices (Drowned One, Drowned Two, and so on) appear, say their line, and then disappear for half of the play only to reappear later. In context, you can kind of figure out who they are–they’re more types than real characters–but to see this on stage with only six people doing five voices each would have been underwhelming.

At any rate, the drama is a limited omniscient slice-of-life day of a small town where not much happens. You look into the minds of lovers, husbands and wives, the clergyman, and a variety of other characters as they go through their day. And CUT!

I mean, there’s no plot to speak of; we get some characterizations of the various characters, but it’s just a day in their lives.

The words are poetic and would be pleasant to listen to, but the “play” lacks any drive or development beyond its presentation of this day in the life. So it, too, underwhelmed me.

I’m going to start an idle speculation about the evolution of drama. In the old days, like 1592, you read a lot of drama about heroic characters (or tragic ones), kings and princes and whatnot, but in the 20th century, is there a shift to more working people and common people as protagonists (as it were)? Does this reflect a shift in the audience–from common people seeing heroic stories to academic and upper class people watching stories about distant lives of the common folk? I suppose I could write an academic paper or a book making that argument and throw in how today’s commoners flock to movies about outsized heroes. Were I so inclined and not so lazy.

At any rate, worth a read if you’re into Thomasania.

This completes my reading of the four books I bought at ABC Books this month. I thought about going up on Saturday to buy more, but I decided that I have enough to read for now. If they have an author signing next week, however….

This book is a short (54 pages) theological explanation of the (or perhaps a) Christian view of life after death based on Biblical texts. It talks about what life is, what death is, what happens at death, and what happens in the final reconciliation / resurrection.

He definitely explains the monistic Christian idea of the soul+body combination versus the dualist notion that the soul exists outside the body and takes issue with the common conception that someone who dies goes immediately to Heaven and then talks about the resurrection of the body (and soul). So it runs a little counter to popular sermon fodder and populist notions of life after death.

The author draws upon biblical sources but also classical literary sources (Shakespeare, Tennyson, and Matthew Arnold) along with theological sources and delves into different philosophies such as Platonism, Aristotleanism, and Existentialism to contrast them to Christian thought and explains how different translations of Greek texts have led to the popular misconceptions. So it’s a heady and literary work, but it’s not academic–the mentions of these other sources and philosophies are kind of pointers toward more examination rather than requiring esoteric knowledge of others’ footnotes to understand this work.

Personally, I contrast this book with its learnedness but targeted to common laity circa 1962 with common Christian best-sellers of today, and I find them lacking. Even though I have not read a bunch of them, they’re a bit contemporary self-affirming from what I said, whereas this is deeper. Not quite the Tillich (alluded to in this book), but scholarly enough.

Oh, and another thing. I flagged a mention in the section of What Is Our Relation To The Dead regarding ESP:

The depths of the human heart and the experiences to which they lead must not be treated lightly. In our day research in extrasensory perception has indeed afforded remarkable insights into the potentialities lying in personal relations, far exceeding the ordinary. But the exploration of that experience and the determination of its genuineness must be left to the psychologists. The concern of Christian faith is man’s relation to God.

You probably don’t get many such references in contemporary works to ESP as being possible and not necessarily demonic, either.

For some reason, when I bought this book at St. Michael’s book fair in Lemay in 2009, I thought it was a play. Which would have made it fit right in with the drama I have been reading to start the new year.

I got this book in November (I have read two of those five books so far, but I have been to ABC Books since then, so no rush to read them all soon). When I was looking for something else this weekend, I found the book and wondered where I’d gotten it and how long it had been on the shelves. Not long, a quick search of this blog reveals. Which is why I have this blog: to help me remember.

At any rate, this collection is not as deep and dense as even When You Come To A Fork In The Road, Take It!. Instead, it’s a collection of quotes from Berra, one per page, with photos from his life and captions that explain the photo, the quote, or both. So I was able to browse it easily during playoff football games and following. Which was nice.

A pleasant enough browse and read if you’re into Berraiana. Which, apparently, I am.

For some reason, I had gotten it into my head that this particular play was one of the most popular plays produced by high school theatre groups. I have no idea where I got that idea–I am pretty sure it predates wide adoption of the World Wide Web–but if it’s true, I can see why. The play has a lot of characters, and most of them have a manageable (that is, few and easily memorized) set of lines. Perfect for kids getting their feet wet on stage with a couple of more involved roles for those who are natural at it and will go to Hollywood in a couple of years to have their dreams crushed. Also, it’s a play within a play!

So, about the play: It’s a high-level view of a town in three acts. The main role is the Stage Hand who narrates and breaks the fourth wall to exposit a lot about the town and its inhabitants which are kind of treated like it’s a play, but the people in the play don’t know it (hello, Mr. Shakespeare). The acts focus on two families at home, the town doctor and the paper editor, with wives and two children each. A bit slice-of-lifeish, with the first when the kids are young, the second when the son of one family is going to marry the daughter of the other, and the third at the too-soon funeral of the now-married daughter who communes with townspeople who have predeceased her.

So it’s not a very plot-driven play, as there’s no central story to it. A lot of characters walk on and have a couple of lines, sometimes about irrelevant other towns people (threads that are knit loosely into the play, but aren’t central to it). It reminded me a lot of The Time Of Your Life by William Saroyan, and I see they are contemporaneous (have I used that word in two straight book reports? Indeed.). Too many characters, too little intensely driving them.

Although I guess I liked this one a little better since it sort of celebrates bourgeous values more, although the overarching message might be one of subtle Existentialism.

This is the second of the four books that I bought this month at ABC Books (the first, of course, was The Heart in Hiding, a poetry collection). Given that the other two are also plays, it is entirely possible that I will have read them all by the next time I go to ABC Books. At which time, should it be so, I will proudly announce it to Mitchell and/or Mrs. E. So now it’s a goal (much like my goal to read all of the books I bought at Calvin’s Books last year before the end of the year–a goal I met, gentle reader).

I had thought this might be a good book to browse during football games, but it turned out not. The book is actually weighted heavily to text, in small print, that talks about the photographer and his trips (well, trip to India which lasted roughly seven years) and the hardships of taking piles of photographic equipment of the middle nineteenth century into the Himalayas and around the Indian subcontinent.

In most cases, I decry a heavy text-to-image ratio in art and photography books, but in this case, I found it suiting since the story of his treks and whatnot were more informative and interesting than the photographs themselves. I mean, we have a couple mountain passes, a couple portraits, and a couple forts/monasteries, with an occasional figure thrown in to give a sense of scale (and sometimes the best part of viewing a photo was playing Where’s Waldo? in trying to pick out the tiny human in front of the great mountains). But they are mostly landscapes, interesting undoubtedly in their time to viewers who had not actually seen photographs of these places before. But here in the 21st century, we have it all in IMAX.

So I found the photos themselves less interesting than the contemporaneous Civil War pictures of Matthew Brady as the latter has historical significance. But the story of getting the images from this book are far more interesting than Brady’s photography given that Brady had pretty level ground and roads to get there.

Bourne was a principle in a photography shop called Bourne and Shepherd that sold prints of the photos Bourne and his partner took as well as doing portraits and official photography and whatnot. Founded in 1863, this business just closed in 2016. Which itself is fascinating.

So worth a read (22 pages, but two columns and small type) even more than a browse. It helps if you can remember the historical context, though: people seeing actual pictures of far away lands and being able to buy them for their own homes.

This is a former Springfield Art Museum library book which I just picked up last May, but the last date stamped (!) into the book is 1990. So no one has (probably) looked at this volume in thirty years. Which seems kind of sad, but it will probably languish on my bookshelves for that long as well unless my estate sale is sooner than that.