Thursday, November 10, 2022

BLACKWATER FALLS, first-in-series Muslim immigrant-themed thriller


BLACKWATER FALLS
AUSMA ZEHANAT KHAN
(Inspector Inaya Rahman #1)
Minotaur Books
$27.99 hardcover, available now

Rating: 4* of five

The Publisher Says: From critically acclaimed author Ausma Zehanat Khan, Blackwater Falls is the first in a timely and powerful crime series, introducing Detective Inaya Rahman.

Girls from immigrant communities have been disappearing for months in the Colorado town of Blackwater Falls, but the local sheriff is slow to act and the fates of the missing girls largely ignored. At last, the calls for justice become too loud to ignore when the body of a star student and refugee—the Syrian teenager Razan Elkader—is positioned deliberately in a mosque.

Detective Inaya Rahman and Lieutenant Waqas Seif of the Denver Police are recruited to solve Razan’s murder, and quickly uncover a link to other missing and murdered girls. But as Inaya gets closer to the truth, Seif finds ways to obstruct the investigation. Inaya may be drawn to him, but she is wary of his motives: he may be covering up the crimes of their boss, whose connections in Blackwater run deep.

Inaya turns to her female colleagues, attorney Areesha Adams and Detective Catalina Hernandez, for help in finding the truth. The three have bonded through their experiences as members of vulnerable groups and now they must work together to expose the conspiracy behind the murders before another girl disappears.

Delving deep into racial tensions, and police corruption and violence, Blackwater Falls examines a series of crimes within the context of contemporary American politics with compassion and searing insight.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review
: Look at that rating above. Now, listen to me: I am heartily sick of reading about men who abuse, rape, and murder girls. It's imagery I don't want in my head...real life provides more than enough examples of this disgusting, evil, inexcusable, reprehensible thinking and behavior.

Now are you more impressed that this story earned four stars from me?

Author Zehanat Khan is a talented wordsmith, and a very adept plotmonger. Her hate crime in this story is so extremely nauseating to me that I seriously thought about just not going forward with the read. A young Muslim immigrant girl's body is found crucified on the doors of a local mosque.

That was it for me. I closed the Kindle and just barely didn't delete the DRC. But, as people I know posted reviews that were equally appalled but full of praise (though sometimes they intended it to be condemnation), I thought I should pick up the read. I'm not pleased I did, but I'm glad I've read it.

I am in sympathy with Author Zehanat Khan's politics so I didn't feel it necessary to whinge about them. Her deeply felt disdain for the evangelical christian congregation in this story is short of the religion-blaming game that so many "christians" indulge in (despite their own "savior"'s injunctions not to judge others). I was pleased by that. I'd've been equally pleased had she indulged in christian bashing, though. The fact that she has Inaya ruminating on the *people* who committed this heinous act is a step up from the run-of-the-mill thriller.

The girl-posse that works together was, I suppose, fan service. It didn't make me feel any warmer towards that gynergy-celebrating stuff. It also led me to wonder if, in her authorial haste not to bash men as a whole, she hadn't rushed the possible romantic stuff she's hinting at between Inaya and Lieutenant Seif. It feels too soon to me. I want to get to know her as a person before thinking there might soon be a part-of-a-couple vibe.

More especially I want to see Inaya grow into her own powers as an investigator. This is a rookie's case. Let her get past this, move into a more confident footing, before saddling her with a man. That isn't what's going to happen, it seems, but it was an issue I felt needed to be addressed in my four-star review...as you're beginning to see, I liked the read but wasn't mad for it. I rated it higher than my first instinct said to rate it because it's very important to make these kinds of crimes public. I don't, as said above, like reading about violence against women. I am rather fond of a fair few women and don't wish to think of this kind of horror being perpetrated on them. But it's not like it doesn't happen, and disproportionately to immigrants and women of color; swallowing down my visceral disgust for the kind of sick fuck who could conceive of this crime as an act to be brought to fruition is necessary.

We need, as a society, to have the horrible, painful conversations that are the only way to get past the us-v-them divides that animate these haters. Books, novels most especially, are the premier way to give us permission to discuss hate and its dreaful consequences. I hope a few of y'all will see that opportunity and seize it.

Tuesday, November 8, 2022

THE GIANRICO CAROFIGLIO PAGE: THE COLD SUMMER, new mystery series from the author & THE MEASURE OF TIME, sixth Guido Guerrieri procedural


THE MEASURE OF TIME
GIANRICO CAROFIGLIO
(tr. Howard Curtis)
Bitter Lemon Press (non-affiliate Amazon link)
$9.99 Kindle edition, available now

Rating: 4.25* of five

The Publisher Says: The latest in the Guido Guerrieri series.

The setting is Bari in Southern Italy. Against his own instincts, defence attorney Guerrieri takes on an appeal against what looks like an unassailable murder conviction. The alleged perpetrator is the son of a former lover. A taught legal thriller and a meditation about the ravages of time.

One spring afternoon, defence attorney Guerrieri is confronted with an unexpected spectre from his past. In her youth, Lorenza had been a beautiful and unpredictable girl with dazzling charm. A changed woman faces him in his office that day. The ensuing years have ravaged her appearance and embittered her mind. As if that weren’t enough, her son Jacopo, a small-time delinquent, stands convicted of the first-degree murder of a local drug dealer. Her trial lawyer has died, so, for the appeal, she turns to Guerrieri as her last hope.

Guido is not convinced of the innocence of Lorenza’s son, nor does he have fond memories of the way their relationship ended two decades earlier. Nevertheless, he accepts the case; perhaps to pay a melancholy homage to the ghosts of his youth. His old friend Carmelo Tancredi, a retired police inspector, and his girlfriend, the charming investigator Annapaola Doria are once again by his side.

A masterful, compassionate novel, striking a balance between a straightforward trial story—some say the purest distillation of human experience—and the sad notes of time as it passes and exhausts itself.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

Book One review — Book Two review — Book Three review — Book Four review — Book Five review

My Review
: Last time we met Avv. Guerrieri, he was feeling his age and feeling Time's Arrow poking him between the shoulders. I think he, and Author Carofiglio, are winding down their association. That feeling is stronger having read this latest entry in the series.

As Guido reacquaints himself with the lyrics of "What a Fool Believes," he works his dogged best to ignore the ancient and life-changing on his side relationship he had with Lorenza while her son languishes in prison for a crime he swears he's innocent of. The trouble is he simply can't. I don't guess we ever can. Meeting someone special from long ago is inevitable, I suppose, but more often than not unsatisfying. It's Lorenza's son's bad luck to have a mother his new lawyer can't get over.

Yet get over her Guido does...it takes a lot out of an old-flamehood to go painstakingly over the present's ugly realities with her. And, lest you forget, Guido's feeling his age in many ways these days. When one does something, even does it well, for a long time there creeps in a staleness and a tedium to make the world just a bit darker all around. That's where Avv. Guerrieri is in his life, doing his dead-level best for Lorenza's sake and to satisfy his bone-deep conviction that everyone deserves the best representation possible. He knows young Iacopo did not get that. But...is he, after all, guilty? Could this just be time-serving, motion-going-through? It's an unnerving truth that Guido doesn't know. He just does not know.

Scary place for a defense lawyer to be.

At any rate, the story is told in vintage Carofiglio style...we are there, we are never kept in the dark about the developments that Guido himself isn't kept in the dark about. I am on record as liking this style of telling a procedural story, especially one that's set in a legal system very unlike the one I'm accustomed to by six decades' reading of mysteries. It's also interesting to me that Author Carofiglio (a lawyer by trade before becoming a writer and a Senator) goes through Avv. Guerrieri's speeches to the judges and, in real-time, gives us his second-guessing internal monologue. That is very much to my taste, and it's still in evidence (!) in this entry in the series.

Where I wasn't quite so enthused, though, was in the number of Lorenza flashbacks Guido indulges in. This woman was extremely formative for his life and his outlook on gender relations! I get it, the need to process that old baggage is deep. I felt, though, that it got in the way of my seeing Lorenza the mother of the accused, as well as Iacopo the accused himself. It was, I suppose the best way to say it is, both overdone and underpresented.

It wasn't a fatal blow to my pleasure in the read since I gave the book four and a quarter stars. I think it was effective at one of its jobs, to wit: Demonstrating Avv. Guido Guerrieri's increasing longing to retire, to find a life outside his living. He's worn a groove in his spirit doing this important, and satisfying, job. This case...its links to a past he doesn't want to dredge up but won't fail to look in the eyes...its unsurprising results...its ending that we saw coming because of course...it's all just another turn of the wheel.

Stopping and alighting are, I suspect, the next things Avv. Guido Guerrieri will do. If so, I'll miss him. But I completely understand.

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


THE COLD SUMMER
GIANRICO CAROFIGLIO
(tr. Howard Curtis)
Bitter Lemon Press
$7.99 Kindle edition, available now

Rating: 4.75* of five

The Publisher Says: The summer of 1992 had been exceptionally cold in southern Italy. But that’s not the reason why it is still remembered.

On May 23, 1992, a roadside explosion killed the Palermo judge Giovanni Falcone, his wife and three police officers. A few weeks later judge Paolo Borsellino and five police officers were killed in the center of Palermo. These anti-mafia judges became heroes but the violence spread to the region of Bari in Puglia, where we meet a new, memorable character, Maresciallo Pietro Fenoglio, an officer of the Italian Carabinieri. Fenoglio, recently abandoned by his wife, must simultaneously deal with his personal crisis and the new gang wars raging around Bari.

The police are stymied until a gang member, accused of killing a child, decides to collaborate, revealing the inner workings and the rules governing organised crime in the area. The story is narrated through the actual testimony of the informant, a trope reminiscent of verbatim theatre which Carofiglio, an ex-anti-mafia judge himself, uses to great effect.

The gangs are stopped but the mystery of the boy’s murder must still be solved, leading Fenoglio into a world of deep moral ambiguity, where the prosecutors are hard to distinguish from the prosecuted.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review
: The cold summer indeed...very cold for those whose Earthly remains could, thanks to massive bombs killing them, be measured in teaspoons. Author Carofiglio was, during that memorable summer that turned the tide against the Sicilian Mafia and its other regional affiliates, a working prosecutor fairly early in his career. His story, as told here, is one that truly feels like it happened exactly this way despite its being fiction. When one knows the author's history, it does inform the experience of reading the author's words. In this case, I've been on Team Carofiglio since I first discovered the Guerrieri series a decade-plus ago.

In this book's case, it's the second Fenoglio novel written but the first translated into English. In Italian, the first one's called Una mutevole verità or literally "A Changing Truth" but I'd probably call it "Slippery Facts" or something similarly indicative of dishonesty. It's a much shorter work and isn't about Fenoglio so much as about how a man in his position...a "foreigner" to the Barese he works with since he's from Piedmont-Savoy (basically France to the Southern Italians)...can see but not get what he's seeing. This outing, being about a gigantic trauma that shook Italy to its core, makes more sense to have come out first in the series.

The set-up for the story is Author Carofiglio's usual quiet, meandering walk through the detective's days as the crime is committed and he begins to look into the causes and results of it. About midway through, a huge shift happens. In this story, the shift is a break in the wall of silence around organized crime's activities. All it takes is one lousy creep afraid of getting punished for a particularly unpopular crime (child harm is a death sentence in most prisons around the world) to blow open the stalled cases he knows about.

Structurally, the way Author Carofiglio manages the case-breaking event in this book is to spend several chapters on the scumbag's interrogation. This isn't flash-fast, as I imagine you're thinking it might be. Italian crime fighting moves at a different pace and to a different rhythm than the US version. The cast of characters is different because the legal system is organized very differenly, with responsibilities split in different directions. That, for my dollar, is one of the selling points of these books. I am absolutely enrapt in the cast of legal characters and eager to hear more about what they do and why they do it...I suspect Translator Curtis, having worked on a half-dozen or more Carofiglio novels in several series (as well as no series at all), is responsible for the ways some characters discourse explanatorily...as it sharpens the pleasure of being swept up in a very different world. That being something I look for, and forward to, in my reads, I'm happy as Larry while it's going on. YMMV, of course, so don't forget to account for your own tolerance for exposition when choosing these reads.

The reason I'm fond of Fenoglio, and I suspect I'd be fond of Author Carofiglio, is the way his policemen philosophize:
“I like finding out what happened. In so far as it’s possible. I like that people trust me and decide to tell me what they know, even in the most unexpected situations. I like it when what I do – and it does happen – gives a little dignity back to those who’ve lost it. It gives meaning to chaos.”

–and–

The problem is that we like to control everything: a stupid, pointless, unhealthy idea. We need to have the opposite attitude, accept the fact that nobody really has any control over his or her own life: that was what the barman Nicola, from the Caffè Bohème, had said to him once.

One day at a time. He had also added that it’s a good rule not to take anything personally. We think that everything revolves around us: both what other people do and what they don’t do. It’s almost never true. Things happen and that’s it; most other people are uninterested in us, for good or ill.

The quiet musings of Pietro Fenoglio, an intelligent man, as he works his way through the complexities of human venality and evil, demanding a reckoning for those not able to demand one for themselves. I like this pace, this path, and this person's journey. I will say that I found the bad actors all a bit interchangeable. I can't for the life of me remember one's name without looking it up to be sure I'm not misassigning another one's name to him. Nothing made by human hands can ever be perfect, can it. But very damned good, this one's got locked down.

Monday, November 7, 2022

THE PLOTTERS, Korean alt-Seoul murderfest & DEATH ON THE PIER, debut QUILTBAG mystery set in the Golden Age


DEATH ON THE PIER
JAMIE WEST

Brabinger Publishing (non-affiliate Amazon link)
$4.52 (?!) Kindle edition, available now

Rating: 4.5* of five

The Publisher Says: A murder mystery playwright turns real-life detective when, during one of his plays, an actress is shot and killed, while an unsuspecting audience watches on.

This theatrical murder mystery debut from Jamie West introduces Bertie Carroll, one of the most successful playwrights of the 1930s, and his old school friend Chief Detective Inspector Hugh Chapman. Together they team up to see if they can solve the mystery.

During the performance, the audience watches former Hollywood star, Celia Hamilton, as she is shot onstage, unaware that a real murder is taking place. It’s only when the curtain falls that the cast realise that something has gone horribly wrong.

Did someone swap the bullets in the prop gun for real ones, without anyone noticing? The actress who fired the gun doesn't seem to have any reason for wanting her dead, but is she hiding something?

Together, Bertie and Hugh must unravel the clues as they interview their suspects. As they do, their own friendship is rekindled. But is there something from their own past that needs to be uncovered? Why did Hugh want to meet up after all these years apart?

The story is set in and around The Palace Pier Theatre in Brighton, which no longer exists. This "lost" theatre has been lovingly recreated in the pages of this book.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review
: I do love Golden Age mysteries. This one, a modern author's take on one of the best tropes for a murder mystery set in 1933 I know of, satisfied me in almost all ways.

The play as the scene of a crime trope is one I genuinely love. All Star Cast, a Golden-Age mystery I read via the Internet Archive, uses the same plot with a few embellishments that, frankly, this book didn't need and doesn't miss. I was enchanted by Bertie, our PoV character, being so absolutely down-to-Earth and commonsensical...I think playwrights absolutely must be both those things or they simply can not do the complex and complicated job of telling a story while moving people around the stage without feeling clanky-creaky-affected. There's so much of that delight present here, even in the descriptions of the action.

What I also loved was Hugh's evident pleasure in Bertie's company. He's a senior policeman...he knows what's at stake in dropping as many hairpins as he does for Bertie to notice! But he still does it, and he still affords Bertie's insights and insider knowledge of the play (which he wrote) and the players (with whom he's acquainted) and theater's many strange, invisible-to-outsiders customs and crotchets that explain how the murder was accomplished.

I believe with all my heart that we'll see these two together in some fashion at a later date. (Especially after Hugh engineers that swim. He clearly wanted a look!)

Why the murder was accomplished, now, that was pure Golden Age stuff. I thought there was nothing left to surprise me in Mysteryland...but there certainly was. The motive for the murder was straight out of Ngaio Marsh! I loved it, because I was reading (by that time) as though I was in 1933. It's just delightful to get that level of buy-in out of an old, tired grouch like me. And to have a real Golden Age detective who is One of Us, a Friend of Dorothy's, a queer gent...appropriately discreet but unmistakably gay, as minor character Teddy proves in his bluff, blokey-jokey way.

I so delighted in this experience. The author's evident love for theater, and his perfectly achieved evocation of a theater in Brighton long gone, came clearly through. It felt as though I was not only in that vanished theater, but in 1933, and among actors exactly like the ones in the story. Murder at the Matinee can't come early enough in 2023 for me!

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


THE PLOTTERS
KIM UN-SU
(tr. Sora Kim-Russell)
Doubleday & Co.
$9.99 Kindle edition, available now

Rating: 4.5* of five

The Publisher Says: From the novelist dubbed "the Korean Henning Mankell" (The Guardian) comes a fantastical crime novel set in an alternate Seoul where assassination guilds compete for market dominance. Perfect for fans of Han Kang and Patrick deWitt.

Behind every assassination, there is an anonymous mastermind—a plotter—working in the shadows. Plotters quietly dictate the moves of the city's most dangerous criminals, but their existence is little more than legend. Just who are the plotters? And more important, what do they want?

Reseng is an assassin. Raised by a cantankerous killer named Old Raccoon in the crime headquarters "The Library," Reseng never questioned anything: where to go, who to kill, or why his home was filled with books that no one ever read. But one day, Reseng steps out of line on a job, toppling a set of carefully calibrated plans. And when he uncovers an extraordinary scheme set into motion by an eccentric trio of young women—a convenience store clerk, her wheelchair-bound sister, and a cross-eyed librarian—Reseng will have to decide if he will remain a pawn or finally take control of the plot.

Crackling with action and filled with unforgettable characters, The Plotters is a deeply entertaining thriller that soars with the soul, wit, and lyricism of real literary craft.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review
: Oh, you're gonna love this:
As if it wasn’t ironic enough that the country’s top assassination provider was brazenly running his business in a building owned by an international insurance company; the same assassination provider was also simultaneously managing a bodyguard firm and a security firm. But just as a vaccine company facing bankruptcy will ultimately survive not by making the world's greatest vaccine but, rather, the world's worst virus, so, too, did bodyguard and security firms need the world's most evil terrorists in order to prosper, not the greatest security experts. That was capitalism, Hanja understood how the world could curl around and bite its own tail like the uroboros serpent. And he knew how to translate that into business and extract the maximum revenue. There was no better business model than owning both the virus and the vaccine. With one hand you parceled out fear and instability, and with the other you guaranteed safety and peace. A business like that would never go under.

–and–

“People think villains like me are going to hell. But that’s not true. Villains are already in hell. Living every moment in darkness without so much as a single ray of light in your heart, that’s hell. Shivering in terror, wondering when you’ll become a target when the assassins will appear. True hell is living in a constant state of fear without even knowing that you’re in hell.”

Witty, trenchant, and true. I would go so far as to say tendentious. The wonder of meeting Reseng is that his existence is so extreme, committing murders for a living, and yet so extremely simple. Show up at this place at that time and do your job...kill. Like working at a meat-packing plant or a fish cannery. People aren't in any significant way more important than cattle or catfish. In this hypercapitalist alt-Seoul, there's little enough difference paid to any even notional difference between them, when it comes to one of the Plotters making a meticulous and scrupulously untraceable plan to off the person they're being paid to murder.

Make no mistake, these are murders, and they are violent. Author Kim does not stint on the violence. What makes it different from all those ghastly Stieg Larsson clones is that it's not sexual violence. There's a modicum of sex, and even a brief interlude where Reseng, having gotten himself in the crosshairs of nasty competing assassins because his boss (and sole parent figure since he was orphaned) is getting shoved out of the business, explores domesticity. It's...bizarre. To him as well, which is why it doesn't last.

The whole novel unfolds at the strangest pace. If you've watched Squid Game or Parasite, you'll see it here: the off-kilter way pacing is handled for us calibrated to US norms. It serves the plot in all of these cases, and it makes this story's universe really *feel* genuine, lived-in, and solid. I think that's a major plus compared to most of the violent thrillers I've read.

What caused me to give the read four stars in place of another half was, in fact, the mismatch between the violence of Reseng's profession, his philosophical musings about it (I chose one illustrating what I'm talking about above), and the cool remove of his actions and reactions. These things don't work together as well as it seems to me others believe they do. It's like watching a Godard film with a boy you want to bonk and then not getting any after you've invested unrecoverable hours trying to figure out what the hell is going on.

For all that, this here's a terrific entertaining read. Alienation, outrage, warped filial devotion, blood and gore...all present and accounted for. It's a weird trip and I'm glad I took it.

Friday, November 4, 2022

THE INISHOWEN MYSTERIES, fifth of the five to date starring Ben O'Keeffe: THE BODY FALLS


THE BODY FALLS
ANDREA CARTER
(Inishowen Mysteries #5)
Oceanview Publishing
$27.95 hardcover, available now

Rating: 4.5* of five

The Publisher Says: Bridges Down—Roads Impassable—Killer Trapped

April in Florida and Benedicta (Ben) O’Keeffe is enjoying balmy temperatures during the last few days of a six month stint with a U.S. law firm. A week later, she returns to Glendara, Inishowen, where a charity cycle event is taking place. The town is abuzz with excitement, but it starts to rain, causing the cyclists to postpone the start of their event and stay overnight in the town. The rain doesn’t stop—it becomes relentless, torrential.

In the middle of the night, Police Sergeant Tom Molloy is called out to Mamore Gap, where a body, dislodged from a high bank by the heavy rain, has fallen onto a passing vehicle. It is identified as Bob Jameson, a well-known charities boss and the organizer of the cycling event. Stunned, the local doctor finds evidence of a recent snakebite. Terrible weather persists and soon bridges are down and roads are impassable. Glendara is completely cut off and since there are no native snakes in Ireland, could there be a killer trapped in the community? With no help from the outside world, it’s left to Molloy—with Ben’s assistance—to find out who is responsible for Bob Jameson’s bizarre death.

The novels in the Inishowen Mystery Series stand on their own and can be read in any order.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review
: I don't entirely agree with the publisher that these books can be read in any order. I myownself suggest that you begin at #1 Death at Whitewater Church, and progress in an orderly fashion to this one, #5. But that is, of course, merely a recommendation.

I think, though, that without having seen Tom Molloy the Garda sergeant and Ben develop their feelings for and about each other, I'd've missed a major pleasure of the series mystery. Going back to earlier books, knowing what's happened in this book, would negatively impact my pleasure in the read. After Ben's return from Florida, which is totally unexplored in this book but where groundwork has been laid for future troubles to come Ben's way, she gets right back to trouble in her parents' home: The Usurper, as she mentally refers to him, has moved in and taken over the day-to-day running of their lives. They met in a group for grieving parents that all belong to. Ben, jet-lagged and knowing she's out of line to speak about the living arrangement of compos mentis adults, still feels...weird...about the situation.

However, Inishowen and six months' absence-worth of work to catch up on the disposition of ring a loud bell. To her own mild surprise, Ben is really looking forward to her homecoming...it's really home, she knows after leaving it. The locum, Marina, and her legal assistant are no doubt going to need to spill a lot of tea. Yay! Except for the filthy weather forecasted for the whole of Ireland that she must pilot her Mini (befouled by having been lent without her knowlege or consent to The Usurper) through, this is a great day.

Oh Ben. Sweet summer child.

Based on the factual Irish flooding and resultant disasters of 2017, there's really no let-up of either rain or trouble for Ben, Inishowen, Tom Molloy, ans a certain murdered party. (Whom I loathed from his first appearance. Though I found Author Carter's description of him perilously close to body-shaming.)

What mostly happens in this entry into the series is rain. Ungodly, Biblical-flood rain. Stuff falling over, people needing rescuing rain, and all of that's real. The author even points us, in her Acknowledgments, to national Irish papers doing the story in 2017. Everything that happens to the deadie happens because gawd let loose a strong stream of atmospheric water on Inishowen. How's that for a ready-made plot?!

What we get, in book five, is a reckoning of sorts between Ben and Garda Tom Molloy for their very tentative relationship's new course. I loved the way it led Tom, in extremis with the flooding, to resign himself to Ben's usual snooping...even saying at one point he needed the help given the tragic weather-disaster consequences.

As this book deals with someone being murdered whose murderer(s) I found delightful for their willingness to do it at all...cleaning the gene pool, I call it...that I was almost ready for an Orient Express solution. I didn't get one. Darn it. But instead there were more deths to Inishowen's people revealed. I am always glad that the author does this for us, makes the characters matter to us and still tells the tough stories that require resolution.

I'd say this entry was the best in the series. I feel more clear about Tom and Ben and their whatever. And the ending makes me think there's a lot of mileage in the couplehood they have set course for. In many ways they remind me of Mr. and Mrs. North, the Lockridges' sleuthing pair, in their earlier adventures. I hope that vibe continues.

Thursday, November 3, 2022

THE TWITTER PAGE: TWITTER: A Biography, love-letter to bygone days & TWITTER AND TEAR GAS: The Power and Fragility of Networked Protest, what we're losing even now


TWITTER AND TEAR GAS: The Power and Fragility of Networked Protest
ZEYNEP TUFEKCI

Yale University Press (non-affiliate Amazon link)
$11.54 Kindle edition, available now

Rating: 4* of five

The Publisher Says: From New York Times opinion columnist Zeynep Tufekci, a firsthand account and incisive analysis of the role of social media in modern protest

To understand a thwarted Turkish coup, an anti–Wall Street encampment, and a packed Tahrir Square, we must first comprehend the power and the weaknesses of using new technologies to mobilize large numbers of people. An incisive observer, writer, and participant in today’s social movements, Zeynep Tufekci explains in this accessible and compelling book the nuanced trajectories of modern protests—how they form, how they operate differently from past protests, and why they have difficulty persisting in their long-term quests for change.

Tufekci speaks from direct experience, combining on-the-ground interviews with insightful analysis. She describes how the internet helped the Zapatista uprisings in Mexico, the necessity of remote Twitter users to organize medical supplies during Arab Spring, the refusal to use bullhorns in the Occupy Movement that started in New York, and the empowering effect of tear gas in Istanbul’s Gezi Park. These details from life inside social movements complete a moving investigation of authority, technology, and culture—and offer essential insights into the future of governance.

I CHECKED THIS BOOK OUT FROM THE LIBRARY. USE THEM OFTEN, OUR PATRONAGE IS THEIR JOB SECURITY.

My Review
: What with Musky Twitter becoming a real thing and then "reassuring" advertisers that "Twitter cannot become a free-for-all hellscape" while then saying that "Fundamentally, Twitter aspires to be the most respected advertising platform in the world that strengthens your brand and grows your enterprise," all of which pretty much add up to something just like a hellscape to me, minus the "free" part.

What went right about this read for me as a reader was its blend of "I-was-there" anecdotal reports and a sociologist's academic assessment of what leads the riled-up masses to fail in achieving their aim. As they are not conflated, as in attributing to her eyewitness statements the weight and force of academic analysis, I found them mutually enriching to my read. I was equally convinced that the author was, in openly acknowledging her left-leaning bias and explaining why it informed her analysis, transparent in reaching her conclusions.

Since the advent of social media in the Aughties, we've undergone a startling tectonic shift in the public conversation about politics and current events. Loud voices (eg Alex Jones) predominate; their usually right-wing extremism (save the both-sides and what-about crap, it's more effort than I care to spend to debunk their fundamental wrongness politely) echoes and echoes while picking up force without ever gaining any meaning or truth. Alex Jones's lies about Sandy Hook are going to cost him nearly a billion bucks which he doesn't have, and is proof that Author Tufekci's central thesis is correct: Attention is the main currency of social-media movements, not information which was at the heart of previous propaganda drives. If Jones's grip on the attention of millions hadn't been so finely tuned and thus successful, the bogus information he was peddling would've vanished in its own ripples. Revolutionaries using social media to spread their word have succeeded insofar as they've grabbed attention and even inspired action based on it...but have failed to make consolidatable gains in opposition to their enemies because that step requires information to reach people ill-equipped to comprehend or act on it.

This last fact, evidenced by the failures of many current social-media-driven movements, are failures to create systems and get buy-in from the protestors. There are no "network internalities," a term I learned from reading the book that's basically the opposite of the well-known term "network externalities", derived from the easy and showy online "organizing" that barely outlasts the social media post. In olden days, when organizing was a rough and effortful slog of meeting after meeting after committee upon speech-giving bloviation, the fact that 500 people showed up to a protest said something very loud about how this message they organized around resonated with them. Now that the message is reduced to an attention-grabbing snippet to get your engagement to it in place of simply doomscrolling on, there's very little investment on the consumer's part.

Another signal failure on the reliance of protests on social media is the interruptibility of attention-based engagement as opposed to information-based buy-in. The model she uses for this is the Tea Party...an online scattering of loudly outraged racist scum (my term, not the author's) whose "movement" (in the same sense as "bowel" in my never-humble opinion) transcended the attention-based group's ephemerality by embracing older techniques of protest: accepting hierarchical thinking, coalescing their ideas into clearly stated goals, etc. They've been stunningly successful in fomenting their ignorant, evil, putrid "ideas" and getting mainstream buy-in for them. More's the pity. The strength they rely on for their success is pounding away at the attention-grabbing "messaging" while accepting the behind-the-scenes scaffolding of disciplined application of information-based knowledge.

It's a model for success against the effective countering of the attention-grabbing social media rebellion: Drown the attention out in a flood of irrelevant, often false, and designed to distract "information." It is a very effective technique, as current political tragedies have shown again and again. Records, as in "lists of factual things," are judged fake insofar as they disagree with the hearer's agenda, and thus require time and effort to deny, explain, or simply distract from in return. That's time not spent doing the real job. And that is he entire plan for success of the right-wing nightmare machine.

Academics aren't going to like this abbreviated treatment of the topics the author covers, or appreciate the absence in-book of notes and a bibliography. Lay readers aren't going to be thrilled that the author doesn't spoon-feed them conclusions that agree with their established prejudices. But if you invest in the author's central thesis, the revolution that can be televised is doomed to co-opting and failure, there is a lot to be learned from discovering why and why you should care. That's the point of the book. It makes its point very well indeed. And, as #Midterms2022 approach, it behooves us all as voters to learn what our manipulators want us *not* to see, to attend to.

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


TWITTER: A Biography
JEAN BURGESS and NANCY K. BAYM

NYU Press
$13.95 trade paper, available now

Rating: 4* of five

The Publisher Says: The sometimes surprising, often humorous story of the forces that came together to shape the central role Twitter now plays in contemporary politics and culture

Is Twitter a place for sociability and conversation, a platform for public broadcasting, or a network for discussion? Digital platforms have become influential in every sphere of communication, from the intimate and everyday to the public, professional, and political. Since the scrappy startup days of social media in the mid-2000s, not only has the worldwide importance of platforms grown exponentially, but also their cultures have shifted dramatically, in a variety of directions. These changes have brought new opportunities for progressive communities to thrive online, as well as widespread problems with commercial exploitation, disinformation, and hate speech.

Twitter's growth over the past decade, like that of much social media, has far surpassed its creators' vision. Twitter charts this trajectory in the format of a platform biography: a new, streamlined approach to understanding how platforms change over time. Through the often surprising, fast-moving story of Twitter, it illuminates the multiple forces—from politics and business to digital ideologies—that came together to shape the evolution of this revolutionary platform. Jean Burgess and Nancy K. Baym build a rich narrative of how Twitter has evolved as a technology, a company, and a culture, from its origins as a personal messaging service to its transformation into one of the most globally influential social media platforms, where history and culture is not only recorded but written in real time.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review
: The hashtag. The @. RTs and subtweets and "blue" (actually white) checkmarks. All of the detritus, or furnishings if one is feeling charitable, of social media are Twitter-invented or -popularized. It's a simple, basic idea, Twitter: Let people bloviate for a limited space (pictures added sometime in the 10s) about anything they want and let them find each other, build communities (and form lynch mobs), coordinate revolutions, all via the hashtag. TikTok was called Vine, and introduced by Twitter before their idiot management shuttered it. I got my Twitter account in 2007. Reading a tweet of mine is most likely why you're reading this review.

Now #MuskyTwitter is trending and this very concise book, only two-and-a-half years old, needs a second edition.

What I enjoyed most about the authors' treatment of the history of Twitter is that they were as focused as a good tweet-thread. They didn't succumb to bashing or whitewashing Twitter's many quirks. Aesthetically Twitter's changed itself, and the social-media world, the most. It's not like it's a design-heavy UI, right?

Wrong.

Twitter's look, and its effect on your engagement, is carefully calculated. It's part of a subtle message...stay, look, seek and find...that messages a deep sense of satisfaction with the activity itself, the results really are secondary to Twitter. So why is Twitter so awful at generating money from advertising? Ask Elon, he seems to know...but seriously, Twitter's main issue has always been about defining itself, when the authors contend (and I agree) that the three features in the first line of my review actually made Twitter a mutiple personality. There's a way to use each of those features to reinforce one's group identity...BookTwitter, HorrorTwitter, BlackTwitter...and thus make a broad-based ad-watching public pretty elusive. Creating ads for small, not-very-numerous communities isn't usually cost effective.

And here's Elon, steppin' into the buzz-saw. Heh.

What these Australian academics set out to do was set a protocol for biographizing (my ugly word, not theirs) technology. Take it innovation by innovation, look at the drivers of the innovations and the results from their adoption and/or morphing uses. They'll lead to larger conclusions about the platform, its users, and the social-media-verse we and they all exist within.

My idea of a well-presented technology book. Not too long, not loaded with tedious jargon, and not so basic as to cause me to wish it was just an owner's manual not an actual book. I liked the read, I liked the methods the authors used, and I enjoyed myself all the way through. (Except the endnotes, I didn't read those.)

Wednesday, November 2, 2022

BEWARE..."BE AWARE"...OF SOCIAL MEDIA'S EFFECTS ON YOU & OTHERS: THE TWITTERING MACHINE, leftist thinker's assessment & ESCAPING THE RABBIT HOLE, what to do about it,


ESCAPING THE RABBIT HOLE: How to Debunk Conspiracy Theories Using Facts, Logic, and Respect
MICK WEST

Skyhorse Publishing
$18.99 trade paper, available now

Rating: 4* of five

The Publisher Says: The Earth is flat, the World Trade Center collapse was a controlled demolition, planes are spraying poison to control the weather, and actors faked the Sandy Hook massacre….

All these claims are bunk: falsehoods, mistakes, and in some cases, outright lies. But many people passionately believe one or more of these conspiracy theories. They consume countless books and videos, join like-minded online communities, try to convert those around them, and even, on occasion, alienate their own friends and family. Why is this, and how can you help people, especially those closest to you, break free from the downward spiral of conspiracy thinking?

In Escaping the Rabbit Hole, author Mick West shares over a decade’s worth of knowledge and experience investigating and debunking false conspiracy theories through his forum, MetaBunk.org, and sets forth a practical guide to helping friends and loved ones recognize these theories for what they really are.

Perhaps counter-intuitively, the most successful approaches to helping individuals escape a rabbit hole aren’t comprised of simply explaining why they are wrong; rather, West’s tried-and-tested approach emphasizes clear communication based on mutual respect, honesty, openness, and patience.

West puts his debunking techniques and best practices to the test with four of the most popular false conspiracy theories today (Chemtrails, 9/11 Controlled Demolition, False Flags, and Flat Earth) — providing road maps to help you to understand your friend and help them escape the rabbit hole. These are accompanied by real-life case studies of individuals who, with help, were able to break free from conspiracism.

With sections on:
  • the wide spectrum of conspiracy theories
  • avoiding the “shill” label
  • psychological factors and other complications
  • (and concluding with) a look at the future of debunking

  • Mick West has put forth a conclusive, well-researched, practical reference on why people fall down the conspiracy theory rabbit hole and how you can help them escape.

    I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

    My Review
    : Okay, I thought as I read The Twittering Machine, I've got the stakes clear in my head and I know where I fall in relation to the problem of social media's misuses by conspiracists. Now what?

    The reason I love social media, in a nutshell, is: This book's existence would never have made it to my attention without social media, specifically bookish social media eg, LibraryThing, Goodreads, and Edelweiss+. I am clear enough on the issues created that I saw immediately how useful this book's message and techniques would be to me. This leads me to a confession: I am very much in need of help figuring out how to speak to conspiracists respectfully, or even just politely. My contempt and derision for and of them is part of what entrenches their adherence to these beliefs. How better to express one's rejection of being rejected than to double down?

    Help me Obi-Mick West, you're my only hope, I thought as I began this read. My prayers were answered with a "sure, no sweat there, Grasshopper." (Have I used enough ancient-history media references to make my age obvious? I got more if you want 'em.) Author West is clearly in the business of debunking for a considerable span (see his amazing site Metabunk.org). He's lauded by the publishers of Skeptic and Skeptical Inquirer magazines, as well as producers of The David Pakman Show, The Skeptic Zone, and even The Joe Rogan Experience. He is, in short, in command of his material.
    It’s also tempting to simply label conspiracy theories as either "mainstream" or "fringe." Journalist Paul Musgrave referenced this dichotomy when he wrote in the Washington Post: Less than two months into the administration, the danger is no longer that Trump will make conspiracy thinking mainstream. That has already come to pass. Musgrave obviously does not mean that shape-shifting lizard overlords have become mainstream. Nor does he mean that Flat Earth, Chemtrails, or even 9/ 11 Truth are mainstream. What he’s really talking about is a fairly small shift in a dividing line on the conspiracy spectrum. Most fringe conspiracy theories remain fringe, most mainstream theories remain mainstream. But, Musgrave argues, there’s been a shift that’s allowed the bottom part of the fringe to enter into the mainstream.

    Finding someone else's words to make your central argument for you requires deep involvement in and command of the landscape you're describing. And describing the landscape is the first part of the task of teaching others what you know. An equally urgent need is to show the potential future debunkers what the stakes are, simply, directly, and convincingly:
    These false conspiracy theories are a problem. They hurt individuals by affecting their life choices, in terms of money, health, and social interactions. They hurt society by distracting from the very real problems of corruption and decreasing citizens’ genuine participation in democracy.

    –and–

    Helping a friend break free from the spiral of conspiracism is not easy and it will take time. No matter how politely you do it you are still challenging some fundamental aspects of their identity. They will push back, and they may fight you. But it is an immensely valuable thing that you are doing for them. Freeing their minds from the burden of conspiracy theories and letting them see and participate in the world more as it really is. Do not give up. The stories in this book prove that people do get out with help.

    What he does in the text that follows is provide simple and easily absorbed ways to get your embroiled friend or loved one to engage with you on their chosen "alternative facts" so you can get past the initial resistance that is inevitable. Anyone who seeks out alternative facts is already feeling lost, or powerless, or just fed up. The rabbit holes they fall down are coping mechanisms and become, like any group identification, part of their identity and sense of self and purpose in the world.

    This is something literally all of us seek. Some choose religious affiliations to build social networks through; others politics; still others identity issues. All of us, without exception, build identities. It is here that Author West does something I very badly needed done: He states that conspiracists aren't stupid, as a rule, but simply lack a wide array of "relevant information sources." It can be fatal to anyone's objective thinking to limit the sources of information one consults...it reduces the opportunities to compare and contrast the sources' sources, so to speak. Do I trust Fox News? Not to tell me the truth; but I still engage with it, in a limited fashion, to learn what will be floating past my deck chair as the great liner United States sinks.

    Where I got to after reading this book was someplace I really wanted to get: Accepting that, while I am sure there are conspiracies out there in the world, there are no reasons to accept conspiracies as the one true explanation for the events of the day. I think that belief, here reinforced, is the solid rock to stand on when speaking to people who aren't moored in consensus reality. It's a lot harder for me personally to engage with the people involved deeply in some of the conspiracy theories politely. That being a personal issue, rooted in my own mishegas, I didn't expect Author West's book to help me address it as much as it did.
    Most people can escape the rabbit hole of conspiracy thinking because most people who get stuck down there are ordinary people like you and me. They are not, as a rule, any more or less crazy than the general population. People don't get sucked into conspiracy theories because they are mentally ill or deficient, they get sucked in because they watched some videos at a point in their lives when those videos resonated. They stay down there because they lack exposure to other information sources. They lack relevant facts, they lack context, and they lack perspectives on, and other ways of thinking about, the issues. These are all resources you can bring to them. The most effective way to bring that information to your friend is with honesty and with respect. Mocking and harsh criticism do not work because people push back when they feel threatened. Even if you feel their position is ludicrous, respectful disagreement works better than derision.

    Simple. Actionable. Applicable to me, on a personal level. Maybe it can give you the support you need in resisting the encroachment of this dangerously misguided thinking deeper into the Body Politic of a threatened democracy.

    ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


    THE TWITTERING MACHINE
    RICHARD SEYMOUR

    Verso Books
    $26.95 hardcover, available in the US and Canada only now

    Rating: 4* of five

    The Publisher Says: A brilliant probe into the political and psychological effects of our changing relationship with social media

    Former social media executives tell us that the system is an addiction-machine. We are users, waiting for our next hit as we like, comment and share. We write to the machine as individuals, but it responds by aggregating our fantasies, desires and frailties into data, and returning them to us as a commodity experience.

    The Twittering Machine is an unflinching view into the calamities of digital life: the circus of online trolling, flourishing alt-right subcultures, pervasive corporate surveillance, and the virtual data mines of Facebook and Google where we spend considerable portions of our free time. In this polemical tour de force, Richard Seymour shows how the digital world is changing the ways we speak, write, and think.

    Through journalism, psychoanalytic reflection and insights from users, developers, security experts and others, Seymour probes the human side of the machine, asking what we’re getting out of it, and what we’re getting into. Social media held out the promise that we could make our own history–to what extent did we choose the nightmare that it has become?

    I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

    My Review
    : The author, a trenchant leftist social and political analyst, refers in his choice of title for this book to artist Paul Klee's watercolor painting, "Twittering Machine," from 1922:
    Art critics have deeply divided opinions and interpretations of this small MoMA-owned piece of paper infused with artistic imagination, ink, watercolor paint, and gouache. Biomechanical pastoral, oppressive and unnerving enslavement of nature to the machine, triumphant use of machine for nature's purposes...it's not clear to anyone (except the Nazis who labeled it "degenerate art") what we should make of this cool-blue musically evocative strangeness.

    In many ways, Author Seymour couldn't have chosen a better image to hang his leftist social analysis of social media on. The facts of modern social life are such that we're enmeshed in the internet to a greater degree than even when he was working on this book, or even when the publisher brought it out in September 2020...the middle of the crisis times of COVID-19's ongoing plague. I literally can not interact with the bureaucracies that control my life without internet access. My assisted-living facility has always provided wi-fi access and a bank of desktop computers...recently they've upgraded our wi-fi to better serve an increasingly online population of elders. This is the best time to think about the issues surrounding social media's impact on the societal world we all, regardless of age or level of active participation, live in.
    If the social industry is an addiction machine, the addictive behaviour it is closest to is gambling: a rigged lottery. Every gambler trusts in a few abstract symbols—the dots on a dice, numerals, suits, red or black, the graphemes on a fruit machine—to tell them who they are. In most cases, the answer is brutal and swift: you are a loser and you are going home with nothing. The true gambler takes a perverse joy in anteing up, putting their whole being at stake. On social media, you scratch out a few words, a few symbols, and press ‘send’, rolling the dice. The internet will tell you who you are, and what your destiny is through arithmetic ‘likes’, ‘shares’ and ‘comments’.

    It is this weird truth that dictates our modern media landscape. It is a symptom and a cause, simultaneously. Gamblers don't gamble because gambling is available, they gamble because they must. Addicts aren't getting high, in whatever way they do so, because the means to do it exist; they do it because they must.
    The Twittering Machine may be a horror story, but it is one that involves all of us as users. We are part of the machine, and we find our satisfactions in it, however destructive they may be. And this horror story is only possible in a society that is busily producing horrors. We are only up for addiction to mood-altering devices because our emotions seem to need managing, if not bludgeoning by relentless stimulus. We are only happy to drop into the dead-zone trance because of whatever is disappointing in the world of the living. Twitter toxicity is only endurable because it seems less worse than the alternatives. "No addiction," as Francis Spufford has written, "is ever explained by examining the drug. The drug didn’t cause the need. A tour of a brewery won’t explain why somebody became an alcoholic."

    What this book does, and does well, is present the case that the social media landscape, while it requires social media to exist, doesn't exist in a vacuum but in an economic system that needs growth of use and therefore numbers of users to make its owners as powerful as they desire to be. The platforms offer us a digital space that enables connection and rewards separation from all but those we most want to be like.
    Yet, we are not Skinner's rats. Even Skinner's rats were not Skinner's rats: the patterns of addictive behavior displayed by rats in the Skinner Box were only displayed by rats in isolation, outside of their normal sociable habitat. For human beings, addictions have subjective meanings, as does depression. Marcus Gilroy-Ware's study of social media suggests that what we encounter in our feeds is hedonic stimulation, various moods and sources of arousal—from outrage porn to food porn to porn—which enable us to manage our emotions. In addition that, however, it's also true that we can become attached to the miseries of online life, a state of perpetual outrage and antagonism.

    What I enjoyed about this read was the sense that, in detaching his analysis from blaming Social Media™ and attaching it to the capitalist profit-motive driven mindset, he validated my sense that it's all, au fond, about greed...theirs for money and power, ours for meaning and purpose. The result is, as Elon Musk tweeted after his $44 billion acquisition of Twitter was completed last week, a situation in which a capitalist says that Twitter "...cannot become a free-for-all hellscape." I quibble with "become" in that sentence:
    ...if we get hooked on a machine that purports to tell us, among other things, how other people see us—or a version of ourselves, a delegated online image—that suggests something has already gone wrong in our relationships with others. The global rise in depression—currently the world's most widespread illness, having risen some 18 per cent since 2005—is worsened for many people by the social industry. There is a particularly strong correlation between depression and the use of Instagram among young people. But social industry platforms didn't invent depression; they exploited it. And to loosen their grip, one would have to explore what has gone wrong elsewhere.

    How this Brave New Twitter will cope with the simultaneous free-speech absolutism of Musk, the capitalist need to growgrowgrow, and the social need to reduce harm to the people who make up the ailing Body Politic will be a fascinating collision to watch. Armor yourselves against the smaller pieces of social-fabric shrapnel with the wise words of a man of principle, intellectual clarity, and a powerful communication style.

    I'll leave the last words to Author Seymour at his most openly anti-capitalist (thereby closest to my heart):
    The internet's history also shows us that when we rely on the private sector and its hallowed bromide of 'innovation,' quite often that will result in technical innovations that are designed for manipulation, surveillance and exploitation.

    The tax-evading, offshore wealth-hoarding, data-monopolizing, privacy-invading silicon giants benefit from the internet's 'free market' mythology, but the brief flourishing of Minitel shows is that other ways, other worlds, other platforms, are possible. The question is, given that there's no way to reverse history, how can we actualize these possibilities? What sort of power do we have? As users, it turns out, very little. We are not voters on the platforms; we are not even customers. We are the unpaid products of raw material. We could, if we were organized, withdraw our labor power, commit social media suicide: but then what other platforms do we have access to with anything like the same reach?

    Tuesday, November 1, 2022

    DEAD LETTERS FROM PARADISE, lesbian sleuth in 1960s North Carolina & MY POLICEMAN, well-matched book and film...you can find both at Amazon!


    DEAD LETTERS FROM PARADISE
    ANN McMAN

    Bywater Books
    $19.95 trade paper, available now

    Rating: 4.75* of five

    The Publisher Says: April 1960.

    Gunsmoke is the most popular show on TV. Elvis Presley tops the Billboard charts. A charismatic young senator named John F. Kennedy is running for president. And, in North Carolina, four young Black men sit down at a Woolworth’s lunch counter and demand service. Enter Esther Jane (EJ) Cloud, a forty-something spinster who manages the Dead Letter Office at the Winston-Salem post office. EJ leads a quiet life in her Old Salem ancestral home and spends her free time volunteering in the town’s 18th-century hortus medicus.

    One sunny Spring morning, EJ’s simple life is turned upside down when the town’s master gardener unceremoniously hands her a packet of handwritten letters that have all been addressed to a nonexistent person at the garden and expects EJ to “tend to them.” This simple act sets in motion a chain of events that will lead EJ on a life-altering quest to uncover the identity of the mysterious letter writer—and into a surprising head-on confrontation with the harsh realities of the racial injustice that is as deeply rooted in the life of her community as the ancient herbs cultivated in the Moravian garden.

    When EJ is forced to read the letters to look for clues about the anonymous sender, what she discovers are lyrical tales of a forbidden passion that threaten to unravel the simple contours of her unexamined life. EJ’s official quest soon morphs into a journey of self-discovery as she becomes more deeply enmeshed in the fate of the mysterious letter writer, “Dorothea.” Her surprising accomplice in solving the mystery of the letters becomes one, Harrie Hart: a savvy, street smart ten-year-old, wielding an eye patch and a limitless supply of aphorisms. Together, Harrie and EJ make seminal pilgrimages to the tiny town of Paradise to try and uncover the identity of the mercurial sender and, ultimately, learn a better way to navigate the changing world around them.

    I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

    My Review
    : I love Ann McMan's way of approaching a story. I understood I was reading about a closeted-even-from-herself lesbian instantly, from the moment EJ was introduced to me. I had a lesbian couple as "grandmothers" of a sort, best friends of my mother's for decades. They were Southern ladies, they were clearly a couple, and it...just didn't matter. They came to our house for Thanksgiving. They were constantly in our conversations about family, and had one name between them: "Sara-Lucy" since their names were Sara and Lucy; we just didn't need to say "and" because they were always a unit to all of us.

    EJ and her friends were the kind of people, then, that I grew up knowing and loving. I strongly suspect Author McMan had someone(s) similar to my belovèd Sara-Lucy in her young queer life. She loves EJ as much as the child Harrie, EJ's shadow-cum-sidekick, does. Fay Marian is my nominee for that treasured role...the Moravian Herb Garden is such a perfectly chosen project for a group of lesbians to choose as a social hub.

    What made the story itself, the dead letters that EJ receives to unite with their intended recipient or reunite with their sender (both unknown at the start), so beautifully chosen was the way Author McMan used these artifacts of thwarted love and strangled passion to bring EJ into a fuller understanding of Life as she *could* live it. She is living, no really she's just spending her one life unsatisfyingly, incompletely, almost entirely in the Dead Letter Office. As great a contrast as you can imagine is the child Harrie, so curious and open, so wise and still so innocent. She is a character I simply wanted to hug every time she came on the page.

    I'd've rated the book a full five stars had I not felt that the period-appropriate race relations issues been less integral to the story than it was used as a grace note within the story. The issue isn't meant to be foregrounded...so the smart money says don't use it. In the present moment, the in-between handling of it comes across more as a detraction from than a point in favor of the read.

    Still leads me straight (!) to Ann McMan's extensive backlist. I want more and I mean to have it. Thanks to my dear old reading buddy whose nudge pointed me in this direction. You're the best, Sister Woman.

    ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++


    MY POLICEMAN
    BETHAN ROBERTS

    Penguin Books
    $17.00 trade paper, if Mr. Styles's face from the film being on the book is an added bonus

    Rating: 3.75* of five

    The Publisher Says: Now a motion picture starring Harry Styles and Emma Corrin, an exquisitely told, tragic tale of thwarted love.

    It is in 1950's Brighton that Marion first catches sight of Tom. He teaches her to swim, gently guiding her through the water in the shadow of the city's famous pier and Marion is smitten—determined her love alone will be enough for them both. A few years later near the Brighton Museum, Patrick meets Tom. Patrick is besotted, and opens Tom's eyes to a glamorous, sophisticated new world of art, travel, and beauty. Tom is their policeman, and in this age it is safer for him to marry Marion and meet Patrick in secret. The two lovers must share him, until one of them breaks and three lives are destroyed.

    In this evocative portrait of midcentury England, Bethan Roberts reimagines the real life relationship the novelist E. M. Forster had with a policeman, Bob Buckingham, and his wife. My Policeman is a deeply heartfelt story of love's passionate endurance, and the devastation wrought by a repressive society.

    I CHECKED THIS BOOK OUT FROM THE LIBRARY. USE THEM OFTEN, THEY LIVE AND DIE ON OUR PATRONAGE.

    My Review
    : This is a fictionalized version of the actual lived life of EM Forster, his policeman lover Robert Buckingham, and his lover's wife May.

    This is also gay trauma porn, a film starring a straight(ish) actor in a gay(ish) role AGAIN, and an accurate presentation of the ways and means used by gay men in the past to muddle through this rough thing we call Life. I had a gay uncle in Buckingham's generation, so I've heard the stories firsthand.

    I'm not going to tiptoe around the fact that this book was written more than a decade ago, which means the cultural landscape was quite different. This true story, only lightly fictionalized, has lost none of its power to move someone whose desire is to be let in on the hard, terrible work of loving someone more than they love you back, and the horrible, disfiguring things that jealousy can lead a person to do. I was appalled by Marion's actions in the book, which were NOT the actions of May Buckingham. I truly understand why Author Roberts chose to make this shift, though. The story's drama would've been more literary fiction-lite without it. As it is, this read is much more like sudsy, beautiful Ethan Frome in its impact.

    I'm also not going to tiptoe around the fact that Mr. Styles, whose public presentation of self leads me to think this story's lineaments resonated on a deeply personal level with him, is still publicly straight and playing a role where the character's only assuming the mask of straightness where his heart and his cock are engaged elsewhere. Same old, same old...but let me say this now: He does a damned fine job of playing Tom, and he deserves credit for doing the job at all. We're sliding into another darker age for QUILTBAG people, it seems, after some modest gains were made. Mr. Styles's metrosexual-shading-into-heteroflexible persona is very risky, and he doesn't seem to shy away from it as hard as, say, Tom Hanks did after Philadelphia thirty years ago.

    The book will be overshadowed by the film for many reasons. Not the least of them is that the film has pretty people who enacted simulated sex for our collective titillation. (Something Mr. Styles does with, erm, style and verve.) That is not, to be blunt, a terrible loss. This book is nicely written, tells an involving story, but it disappeared for most of a decade without leaving a ripple...for a reason.
    Because when you're in love with someone for the first time, their name is enough. Just seeing my hand form Tom's name was enough. Almost.

    –and–

    In those days it was rare, wasn't it, Patrick, for Tom's voice to become what you might call serious; there was always a lot of up-and-down in it, a delicacy, almost a musicality (no doubt that's how you heard it), as thought you couldn't quite believe anything he said. Over the years, his voice lost some of its musicality, partly, I think, in reaction to what happened to you; but even now, occasionally, it's like there's a laugh behind his words, just waiting to sneak out.

    –and–

    I'd almost forgotten the joy of waking up and, before you've even opened your eyes, knowing by the shape of the mattress beneath you, by the warmth of the sheets, that he's still there.

    Nice lines, precise observations, a deft touch in siting them within the storyverse. Nothing at all wrong, or even clumsy, in any of it; take my word for it, were Bethan Roberts to have dropped a clanger I'd've gleefully snipped it out and plopped it here, dripping venom and blood, for your (oh okay, my) delectation. I'm a grouchy old curmudgeon who wanted to dislike this book, and couldn't. I also wanted to dislike Mr. Styles playing Tom, and couldn't. I'm in the nasty, frustrating position of needing to praise, however grudgingly, the film and the book, the actor and the characters, that I wanted to bash.

    The film, out on 4 November 2022 via Prime Video, is very much worth your time. The book is as well...buy it if the Kindle edition is on sale, or borrow it from your library if not. Reading the book first will not damage your appreciation for the film nor will seeing the film first make you wonder where the hell they dug that story out of the book from in the first place.

    I just wanted excellent, not very good, so I'm out of sorts. That is, however, my issue and not the book or its film's problem.