The Importance of a Great Setting In Crime Fiction (Repost)

What’s worse than a shameless plug? A rerun of a shameless plug!

I’ve been laid up with back problems all week and haven’t been doing much, so I thought I would repost this oldie. I had a lot of fun writing this essay. Many thanks to the good people at CrimeReads for giving me the opportunity.

Check it out…

Book Talk – “The Dispossessed”, Part 1!

In this latest episode of our on-going YouTube series, Read a Classic Novel…Together!, Margaret and I go over the first half of The Dispossessed, Ursula K. Le Guin’s classic literary science fiction novel. We also address other topics such as was Communism doomed from the start, are flashbacks overused in fiction, and do New York City rats constitute their own, separate species?

Check it out!

What I’m Reading: “Rebbe”

I’ve read a lot of biographies in my time. Some of my favorites have been about great monarchs (Catherine the Great by Robert Massie), presidents (Truman by David McCoullough), scientists (Oppenheimer by Kai Bird), architects (Frank Lloyd Wright by Meryl Secrest). Now, I can finally add religious leaders to my list. Or at least one religious leader, the Rebbe Menachem Mendel Schneerson

It’s taken me this long, I think, because while I am fascinated by the study of various religions, I am not very interested in the life-story of most religious leaders. This is, in part, a consequence of the vexed historicity of such figures. Usually, they lived in the distant past, shrouded in veils of myth, with the actual, living person being lost to time. But this is not the case with Rebbe Schneerson. After all, he was not only a very recent figure, having passed away in 1994, but he spent most of his life right here in the United States—Brooklyn, in fact, that modern locus of Hasidic Judaism, and especially the Chabad-Lubavitch dynasty, which Schneerson led since 1951, succeeding his father-in-law. 

As Joseph Telushkin recounts in his excellent book, Rebbe: The Life and Teachings of Menachem M. Schneerson, the Most Influential Rabbi in Modern History, Schneerson was essentially appointed to the position by general acclimation, bypassing the previous Rebbe’s son who had been the heir apparent. Community leaders and other rabbis in the movement were simply awed by Schneerson’s considerable intellect—he spoke half-a-dozen languages, had an Engineering degree, and was considered a “genius” in Talmudic study from the age of seventeen—and pressured him to take the job. 

Which, thankfully, he did. I never thought I would ever read a book about an orthodox Jewish rabbi and, at the end, think to myself: “Wow, he seems like a really cool guy.” After all, I’m used to being utterly repulsed by most “leaders” in my own religious sphere, Christianity, with the exception of the current Pope and his immediate predecessor. But the more I read about Schneerson, the more impressed I was, not only by his general wisdom in matters of religion and morality, but also in his endless, practical concern for the well-being of ordinary (often poor) people, both Jews and Gentiles. 

One example Telushkin provides involves Shirley Chisholm, the first black woman elected to Congress. Racist creeps in the House refused to appoint her to any high-level committees and instead stuck her on the Agriculture Committee, which, considering Chisholm represented a section of New York, seemed absurd to most observers. Yet, the snub also presented an opportunity that she, herself, never suspected. As Telushkin writes:

She soon received a phone call from the office of one of her constituents. “The Lubavitcher Rebbe would like to meet with you.” Representative Chisholm came to 770. The Rebbe said, “I know you’re very upset.” Chisholm acknowledged both being upset and feeling insulted. “What should I do?” The Rebbe said: “What a blessing God has given you. This country has so much surplus food and there are so many hungry people and you can use this gift that God’s given you to feed hungry people. Find a creative way to do it.”

And she did, creating one of the first federal food-aid programs in the history of the United States, in which surplus food was bought by the government from American farmers and distributed to poor people, thus helping the recipients, the farmers, and pretty much everyone else.

On a more personal level, Schneerson always emphasized the importance of kindness and compassion over religious stricture. In one of his drashas (sermons), he famously told the story of how his predecessor, the Alter-Rebbe, once stopped in the middle of his Sabbath observations to attend to a young woman who had just given birth and who had been left alone by her family so that they could attend synagogue. Telushkin writes:

That day, the Alter Rebbe, having somehow learned that the new mother was alone, was suddenly overwhelmed with the certainty that the woman required someone to attend to her needs immediately; it might well be a matter of life and death. And since no one else was taking care of her, he concluded that he should be the one to do so.

This story apparently shocked his followers in way that most modern, secular people like myself cannot really appreciate. The idea that a rabbi might 1.) forsake the Sabbath observations in order to 2.) do menial work on the Sabbath like chopping wood and 3.) do so for an ordinary woman was radical in the extreme.  

Such was Schneerson’s boundless respect and love for ordinary people that he was always concerned about inadvertently embarrassing or insulting anyone, especially those who were most vulnerable. Decades before the so-called woke movement (a bad name for a very noble cause), Schneerson refused to use the word “handicapped” in reference to battle-maimed Israeli soldiers. Telushkin writes:

Referring to the fact that such people are designated in Israel as nechei Tzahal, “handicapped of the Israel Defense Forces,” the Rebbe addressed the men as follows: “If a person has been deprived of a limb or a faculty, this itself indicates that G-d has also given him special powers to overcome the limitations this entails, and to surpass [in other areas] the achievements of ordinary people. You are not disabled or handicapped, but special and unique as you possess potentials that the rest of us do not. I therefore suggest”—the Rebbe then interspersed with a smile—“of course it is none of my business, but Jews are famous for voicing opinions on matters that do not concern them—that you should no longer be referred to as ‘disabled veterans’ but as ‘exceptional veterans’ [metzuyanim], which more aptly describes what is unique about you.

In addition to being a genuinely good and wise person, Schneerson also seemed to have what can only be described as superpowers. He worked eighteen hours a day, six-days-a-week, for most of his life. Being busy with his primary duties during the day, he met with people seeking advice in the evenings, often as late one or two o’clock in the morning. Some of the people seeking advice including future and former Prime Ministers of Isreal such as Menachem Begin, as well as many other powerful and influential figures. But, more of than not, they were comprised of ordinary men and women in his congregation. I was especially impressed with Telushkin’s story of a young woman, Chana Scharfstein, who often came to his office seeking academic as well as personal (dating) advice:

The Rebbe clearly knew his agenda for this meeting, and the conversation quickly turned in a personal direction. At a certain point, he asked Sharfstein if she felt ready to get married. Sharfstein told him that she had begun dating—in Chasidic circles, young men and women date only for the purpose of marriage—and the Rebbe asked her about a specific young man. She recalls being taken aback and thinking to herself, That’s interesting that he should ask about somebody that I had met. Sharfstein told the Rebbe that she had met the young man he mentioned, that he was clearly a fine person, but not for her. The Rebbe said all right, and then mentioned another name, and again it was someone to whom Sharfstein had been introduced. Here, too, the young man was very nice but not for her. Then the Rebbe mentioned a third name, and a fourth, “and I became really uncomfortable then. How did the Rebbe choose all the names of young men (bachurim) that I had met? I was just absolutely overwhelmed that he should mention people that I had actually met.” Only later did she learn that prior to going out with a girl, each bachur in Chabad would write to the Rebbe to inquire if the girl seemed suitable for him, and so the Rebbe, who obviously had responded in each case that Chana Zuber was suitable, had a very precise idea of all the people with whom she had gone out. But even taking all this into account, Sharfstein still remained staggered at the Rebbe’s recall. After all, he “was [already] a world leader at this time, and to keep track of each person and who had been dating whom, it’s really mind-boggling.”

As this story relates, Schneerson’s remarkable memory and formidable intelligence were often sources of awe among those in congregation. Another example involves a young student, Irving Block, who came to discuss philosophy with the Rebbe:

At the time, Block, who was studying for an MA in philosophy, was immersed in the study of the great Greek thinkers, Plato in particular. And that’s the direction in which the Rebbe led the discussion. Only Block didn’t realize at first to whom the Rebbe was referring, because it was a man named Platon about whom the Rebbe started talking. It finally struck him that Platon is how the name of the Greek philosopher is written in Greek, though in English his name is always pronounced as Plato. It’s not that the n is silent in English; it isn’t written at all. This was Block’s first surprise of the day. The man seated in front of him, dressed in the garb of a Rebbe, obviously knew about Plato, or Platon, from the original Greek and pronounced his name as it was supposed to be pronounced.

Block was not only amazed by the Rebbe’s deep understanding of the “Platon’s” philosophy but by his utter rejection of it. (Plato believed that the nuclear family was an evil institution and should be abolished, an idea that was in direct contradiction to all humanist values, including those of Judaism.)

In recounting such stories as these, Telushkin’s book is really more of an appreciation or tribute than an in-depth biography. And yet he manages to relate the primary facts of Schneerson’s remarkable life with grace. Born in Imperial Russia, Schneerson moved with his family to the US in the spring of 1941. Thereafter, he served as Rebbe for over 50 years, finally passing away in a time when the world was much changed. 

One might say that he was born in the time of Tsars and passed away in the time of the internet. And, in all that time, one thing remained constant: his steadfast commitment to the practical well-being of all the people, rich and poor, high and low, in his community and around the world. Truly a person worth reading about. Check it out…

Shamus Award Nom

I am very happy to announce that I am a finalist in the Best First P.I. Novel category for this year’s Shamus Awards! Many, many thanks to the good people of The Private Eye Writers of America for this great honor.

Good luck to all the other nominees, especially my friends Alexis Stefanovich-Thomson and Henry Wise. I hope one of us wins. And I really hope it’s me.

Classic Sci-Fi Book Cover: “Something Wicked This Way Comes”

Okay, let’s get this out of the way: Something Wicked this Way Comes is not a science fiction novel. It’s dark fantasy, and, in my opinion, a precursor to many famous books in that genre from the likes of Stephen King, Anne Rice, Erin Morgenstern, and others. 

However, Ray Bradbury’s books were always sold in the science fiction aisle when I was a kid. And I read all his books thinking they were science fiction. (I didn’t read fantasy back then.) So, I’m shoe-horning him into my classic sci-fi book covers thread. 

Having said all that, let me add that this is one of my favorite novels, not to mention Bradbury’s best. It’s the tale of two 13-year-old boys, Will and Jim, who have grown up next door to each other in 1930s Illinois. Will and Jim are almost exactly the same age, with Will being born one minute before midnight on October 30th and Jim being born one minute after midnight on October 31st. Yes, one boy is born a minute before Halloween begins and the other born a minute after. (Guess which one is the “bad” kid?)

It might seem like clunky symbolism, but in Bradbury’s prolix hands, it works. The duality between the introverted, good-natured Will and the adventurous, mischievous Jim—that is, between light and dark sides of our being—is repeated throughout the novel. Both boys are forced to confront their darker impulses when a demonic carnival arrives on the edge of town in the middle of the night. Will and Jim soon discover that the carnival is a vehicle for a bunch of malevolent,  vampire-like beings who want nothing more to lure innocent people onto the midway and tempt them into evil.

The only person who believes the boys when they tell what they’ve seen is Will’s father, an older man who doubts his own strength and courage. Together, they challenge the men who run the carnival, Mr. Cougar and Mr. Dark (another light/dark duality) for the soul of the town.

I really like this cover—created by veteran illustrator David Grove—because it captures the nostalgia, magic, and dark wonder that are the great strengths of the novel. Specifically, it refers to a moment in the story when Mr. Dark wanders through the town looking for Will and Jim. He has the images of the boy tattooed on his palms, and he shows them to passersby to see if anyone recognizes them. It’s an extremely creepy scene in an amazing book. (It’s also the first moment when Will’s father shows his courage and guile in besting Mr. Dark.)

My appreciation for the cover is in no way diminished by the fact that it appears to be a poster tie-in with the film adaptation produced by Disney in 1983, depicting the likenesses of some of the actors (most notably, the great Jonathan Pryce, who performance as Mr. Dark is worth the price of admission all by itself).

Also, not long after Mr. Grove passed away, Tor.com published a tribute to him and his career. You can see it here

What I’m Reading: Middlemarch

As some dedicated readers of this blog might know, my friend Margaret Luongo and I posted a pair of videos discussing George Eliot’s classic novel Middlemarch to our “Read A Classic Novel…Together!” channel on YouTube. Ever since then, I’ve been meaning to take the time to write a post about it, mainly because it had such a big impact on me. I mean, lots of books have achieved the classic moniker and yet don’t hold up to modern scrutiny. But Middlemarch does. In fact, it’s one of those titanic works of literature that you almost can’t get your head around. It has so many sides and so many aspects, such that it attains a kind of sublime quality. Like Shakespeare’s works, Middlemarch is a different experience for everyone who reads it.

When I say titanic, I mean it literally. Middlemarch is a big book–eight hundred pages in most editions–following the lives of six major and at least a dozen minor characters in the fictional, provincial town called Middlemarch. The story is set in the 1830s, but Eliot wrote the book in the 1870s, when the world had already been vastly changed by the industrial revolution in England. And so, the book has a little bit of a “lost world” feel to it. One can sense that Eliot (whose real name was Mary Ann Evans) is writing about the social and economic environment that is already a thing of the past. However, absolutely nothing about the book feels the least bit sentimental or nostalgic. Quite the contrary. Eliot was a great writer whose blazing intelligence seems to illuminate every page of this very long book. And everything she describes feels as true and relevant today as when she wrote it.

Continue reading “What I’m Reading: Middlemarch”

My Interview on The Writer’s Dossier Podcast

Recently I chatted with my friend Jeff Circle on his excellent “The Writer’s Dossier” podcast. We discussed topics ranging from growing up in Gainesville to 80s music to crime fiction. I had a great time, even though I was slow to grasp the concept of “rapid-fire responses.” Oh, well. I’m getting old.

Check it out…

Books on Art: “The Slip”

I had an event to attend in New York City last week, but I couldn’t afford the hotel when the event was actually being held. So, I got a room for my wife and me a few blocks north, on 7th Avenue and 53rs Street. Venturing out for coffee the next morning, I was thrilled to see a sculpture directly across the street, a giant rendering of the word HOPE in red and green letters. 

The sculpture is, of course, by pop-artist Robert Indiana, and is a version of his famous LOVE print from 1964. With its simple, Didone letters and bright, primary colors, it’s one of the most instantly recognizable images in art history. Later, Indiana transformed the image into a sculpture which was installed in Central Park for decades. Later still, he made parallel sculptures using other words, like the HOPE version I saw (and photographed, below).

For me, seeing that particular sculpture, in that particular spot, literally right outside my randomly chosen hotel, seemed like a profound instance of synchronicity. This is because I had been reading Prudence Peiffer’s excellent non-fiction book The Slip: The New York City Street That Changed American Art Forever, which illuminates the history of Coenties Slip (pronounced koh-ENT-tees), a semi-abandoned industrial area of lower Manhattan that had once been a small pier jutting into the East River. The slip was filled-in during the early 19th Century and became a locus for sail-making, one of the most skilled and highest-paying trade jobs of the era. Sail-making requires a lot of open warehouse space, and in the early 1960s, those same warehouses (long since abandoned) became cheap studio space for struggling artists and actors, and it is these brave figures that Peiffer’s book illuminates. Chief among them were Robert Indiana, James Rosenquist, Agnes Martin, Elsworth Kelly, and Lenore Tawney.

Continue reading “Books on Art: “The Slip””

Edgar Award Symposium Video

I had a lot of fun being on the “Do You Remember the First Time?” panel at the Edgar Awards Symposium last week. Panel chair Terry Shames did a great job, and I got to meet some hitherto online-only friends like Audrey Lee. I also made some new ones.

I was pretty nervous and I think it shows, but oh, well. Check it out if you’re interested.

Great Mystery Novels: “The Doorbell Rang”

Frequent readers of this blog might remember a post a did some years ago called “My Rex Stout Shout-Out,” and will therefore already know of my long and abiding admiration for Rex Stout. Specifically, for his Nero Wolfe novels, the best of which is perhaps The Doorbell Rang.

It’s one of Stout’s later novels, published in 1960, and it was also the most controversial, involving as its central, unseen villain no other than J. Edgar Hoover himself. And, yeah, that’s one reason I like it. Stout’s detestation of the American right-wing’s tendency toward fascist behavior reached a fever-pitch level, which I share. But the main reason I like the book is for its story, which is actually two interlocking plot lines, each of which complements the other in inventive and surprising ways. The central line involves a very rich widow, Rachel Bruner, who suspects that the FBI is tapping her phones and generally harassing her. She wants Wolfe—the most brilliant man in New York City—to figure out a way to stop them. (Fun fact: this is an example of a little-known sub-sub-sub-genre of detective fiction in which the P.I. serves as a kind of fixer for some rich person’s critical problem.)

Through the intervention of NYPD Inspector Cramer (a highly intelligent but belligerent recurring character, who serves as a frequent foil for Wolfe throughout the series), Wolfe learns that FBI agents are suspects in the murder investigation of a journalist. Thus, Wolfe (and Stout) sees an opportunity to connect these two lines of inquiry. That is, by solving the mystery of the murdered journalist, Wolfe might be able to get some leverage on the FBI, and thus stop its harassment of Mrs. Bruner.

It’s a devilishly clever story, and made even more entertaining by the ways in which Wolfe and his loyal “leg-man,” Archie Goodwin (the narrator of all the Wolfe novels), contrive to outwit the dunder-headed FBI agents. This involves hiring actors to copy the dress and mannerisms of both Archie and Wolfe, so that the actors can impersonate both men and lure the agents into a trap.

Every good story is, in my opinion, a kind of whodunit, if only in a psychological or philosophical sense. Every successful novel asks a question, which the reader must keep reading to discover. With actual mystery novels, this question is explicit—who did the murder and how will the P.I. catch them—but that’s the only real difference. What always amazes me about Rex Stout is how good he is at asking this essential question. In fact, in The Doorbell Rang, he essentially poses it in the opening lines of the book

Since it was the deciding factor, I might as well begin by describing it. It was a pink slip of paper three inches wide and seven inches long, and it told the First National City Bank to pay to the order of Nero Wolfe one hundred thousand and 00/100 dollars. Signed, Rachel Bruner. It was there on Wolfe’s desk, where Mrs. Bruner had put it. After doing so, she had returned to the red leather chair.

Already, the reader is sucked in. We have to find out what’s the deal with that check, which leads us to the crux of the entire mystery.

This passage also illustrates another great strength of the Nero Wolfe novels—and it ain’t Nero Wolfe. Rather, it’s Archie. Archie’s voice. Smart. Sharp. Sardonic. But a bit noble, too. Take this example from a few paragraphs, later:

After she was in the red leather chair I put her coat, which was at least a match for a sable number for which a friend of mine had paid eighteen grand, on the couch, sat at my desk, and took her in. She was a little too short and too much filled out to be rated elegant, even if her tan woolen dress was a Dior, and her face was too round, but there was nothing wrong with the brown-black eyes she aimed at Wolfe as she asked him if she needed to tell him who she was.

I love that bit about Brunner’s eyes. Archie is, of course, an avowed heterosexual, with some kind of romantic exploit in every book. Yet here he finds himself taken with a woman (an older woman, at that) not for her looks but for her obvious intelligence and determination. It’s a great detail, of the sort Stout always delivers.

It’s also a great example of how vividly drawn Stout’s characters are, especially the recurring characters. The snarky and slightly amoral newspaper editor Lon Cohen. The fastidious and unflappable chef, Fritz Brenner. The cool and precise leg-man Saul Panzer. All of them become as familiar to us over the course of the series, like old friends.

Naturally, Wolfe and Archie manage to pull off the caper, trap the FBI agents, and solve the murder, all simultaneously. I won’t spoil it by giving away the climax of the novel, but trust me…it’s a dozy.

Check it out…