The Hobbit on The Rest is History

Earlier today The Rest is History debuted a new Friday feature, “book club” episodes in which the hosts will talk about favorite or otherwise worthwhile books. Dominic Sandbrook and producer Tabby got things off to a good start with a wonderful discussion of The Hobbit. Their insight into the book, Tolkien’s life, and the historical context—especially the First World War and the Somme—that informed his writing made for good listening, but hearing their personal histories with the book was a joy and their evident love for it infectious. Dominic thinks he was about six when he discovered The Hobbit; I was sixteen, as I’ve recently related. (Dominic is also exactly right that The Hobbit is one of those books where you always remember where and when you first read it.)

I enjoyed this discussion especially enthusiastically, as I just finished reading The Hobbit to my kids for the second time earlier this week, on the anniversary of Tolkien’s death in 1973. A couple of nice coincidences.

Or are they? Dominic quotes Gandalf’s wry and powerful final words in the book:

Surely you don’t disbelieve the prophecies, because you had a hand bringing them about yourself? You don’t really suppose, do you, that all your adventures and escapes were managed by mere luck, just for your sole benefit? You are a very fine person, Mr. Baggins, and I am very fond of you; but you are only quite a little fellow in a wide world after all!

This is, as Dominic suggests, a poignant reminder right at the end of the story of the breadth and depth of the world in which the story takes place, something palpable even to a young reader. But it’s also a hint of grace and providence in Middle-Earth. There are things afoot none of the characters can know much less comprehend, and they are more consequential than returning the King Under the Mountain to his throne or getting Mr Baggins home to his larders and spoons. Thanks to The Lord of the Rings we know some of what that is.

I was an adult reading The Hobbit for the nth time before I really grasped the import of Gandalf’s words. It was longer yet before I understood the humble wisdom—and accidental precision—of Bilbo’s reply: “Thank goodness!”

I also enjoyed Dominic and Tabby’s discussion of Smaug, who, in the novel, is more a silken Bond villain than the rather obvious, overdone villain in Peter Jackson’s movies, their noting the linguistic hint in the Sackville-Bagginses’ name that they’re striving and pretentious, and Dominic’s rightful critique of those who claim Tolkien’s moral vision is one of simplistic black-and-white. Tolkien believed in Original Sin and the Fall, after all, and had seen their results firsthand—not only in the trenches but in his own heart. Would that more modern novelists had that insight.

I’m a great fan of The Rest is History but I can’t recommend this episode enough. Do check it out on whatever podcasting platform you use. Their next read is The Handmaid’s Tale, which I’ll almost certainly skip out on, but I’m quite excited about this feature and loved this first installment.

I wrote about reading “Riddles in the Dark,” the best chapter in the book, to my kids early this summer, and reflected in more detail on my first reading of the book as a teenager for the fiftieth anniversary of Tolkien’s death two years ago this week. I’m also excited to say that, following some relatives’ recent trip to Switzerland, I have a German-language edition (Der Hobbit) on its way to me soon. A great way to brush up my German.

Judgment on Deltchev

Eric Ambler’s career as a novelist has two distinct phases. The first began in the mid-1930s with tense thrillers set in a Europe still coping with the effects of the First World War, not the least of which was the rise of dictatorships and authoritarian movements and the hulking influence of Soviet Russia. The second, in which Ambler resumed writing fiction after a break taken during the Second World War, began in the early 1950s and continued until his death.

Judgment on Deltchev is the first of this second phase, Ambler’s first novel since Journey into Fear eleven years before.

Published in 1951, Judgment on Deltchev takes place in the years immediately following the end of the Second World War. Foster, an English playwright, has been hired as a kind of stunt correspondent to attend the trial of “Papa” Deltchev in an unnamed Eastern European country. Prior to the war, Deltchev had been a mildly leftwing agrarian. During the war he had refused to collaborate with the Nazi occupiers. Following the war he attempted to prevent Soviet takeover and the installation of a Communist puppet government. Having failed, he is accused of conspiring with foreign powers against his own people.

The novel begins as Foster arrives. His contact is Georghi Pashik, a shabby, unkempt international press agent whom Foster immediately dislikes. Foster feels guilty, telling himself that he is only repulsed by Pashik’s smell. But Pashik is shifty, passive aggressive, and manipulative, and his air of forced geniality both irritates and conceals much. It is not the first time Foster will delude himself.

The trial is a transparent fraud—a show trial. Foster, alive to the need of the new Stalinist regime to demolish Deltchev with lies and agitprop in order to prevent him being seen as a martyr, observes the scripted denunciations for a few days. At first Foster is impressed by Deltchev’s resolution in the face of mistreatment—he has been denied his diabetes medication by his jailers—but he gradually stops attending. Something about the trial suggests something in the charges is true. That bothers him. Further, it slowly becomes clear to Foster that the real story is outside the courtroom.

Foster meets Deltchev’s family: an impressive, haughty wife and a beautiful daughter, both under constant military guard. The daughter asks him to deliver a private message to a friend. When Foster arrives at the address, he finds a corpse, and someone else who has been stalking him.

Who is the dead man? Why was he killed? What has Foster gotten himself into? Intrigue, betrayal, an assassination plot—against whom? by whom?—the last remainders of a pre-war military secret society bent on revenge, spies for the regime among the other journalists, the lurking, looming influence of the Soviets, the inescapable threat of imprisonment, torture, and deportation, Pashik’s deceptive behavior, and attempts on Foster’s own life further complicate his simple reporting assignment.

Judgment on Deltchev is a good book. Well paced, suspenseful, its plausibly drawn fictitious environment creates an oppressive atmosphere of paranoia that steadily builds, from the first chapter, through expert foreshadowing. It is striking that Ambler, after a decade away from novels, returned so immediately to form. That first phase of Ambler’s career described above, it must be said, produced the classics—Journey into Fear, Epitaph for a Spy, The Mask of Dimitrios. The second phase begun by Judgment on Deltchev never quite approaches those heights of tension and excitement. And yet, from this novel on, they have something those earlier novels did not: perspective.

In Ambler’s novels of the 1930s, Soviet agents sometimes appear as allies. Never quite straightforwardly good guys, they still help the protagonists and are presented sympathetically—unlike the Nazi and Fascist agents or the cosmopolitan gangsters who oppose them. These characters are conventional anti-Fascist elements of the time. But as for so many others, the Nazi-Soviet Pact and the partition of Poland clarified things for Ambler. Participation in the war and observation of Stalin’s brutal swallowing of Eastern Europe strengthened his convictions. Judgment on Deltchev reckons with the lies, envy, backstabbing, and tyranny imposed upon millions, ostensibly in their names, and the hollow legal theatre that consolidated these regimes.

The books following this one, the second-phase books, often have a more sweeping scope, suggesting the upheaval of entire regions—the wreck of post-war Germany and Greece in The Schirmer Inheritance and post-war Malaya and Indonesia in Passage of Arms, the Middle East of Palestinian terrorism in The Levanter—and taking place across longer, more intricate timelines. They also have an extra guardedness about them, seldom ending neatly, often with the protagonist’s name smeared as part of an agitprop campaign. The scale of the danger, somehow, has increased. This perspective, gained over Ambler’s decade away from his novels, enriches Judgment on Deltchev and even those later novels that quite don’t measure up to his greatest.

In Here Lies, Ambler reflects on his “happy return to writing thrillers” in this book. American reviews were mixed—readers there just wanted a rehash of The Mask of Dimitrios, apparently. His fellow Britons had a different reaction

In England, the letters I received about the book were all more or less abusive. I was a traitor in the class war struggle, a Titoist lackey and an American imperialist cat’s-paw. One message was a single piece of used toilet paper. The single piece was a delicate touch, I thought; it spoke of careful premeditation.

Ambler had struck a nerve. He was doing something right.

Judgment on Deltchev feels a lot like one of Ambler’s earlier thrillers—the everyman protagonist who gets in over his head in a complicated foreign place—but crossed with Darkness at Noon and a dash of Animal Farm in earnestness and import. This is not just a good thriller, it has a clear-eyed vision of a time and place about which too many still deceive themselves.

The Oceans and the Stars

A skilled mariner, gifted with leadership, cunning, and physical tenacity, longs to return home from a long and dangerous wartime voyage. Unaccountable powers hinder and undermine him and his stouthearted resistance brings down their wrath. They throw extra hazards and unreasonable anathemas in his way. Men die. He may never see home again. Meanwhile, the woman he left behind, a woman as smart and tough as him, is surrounded and menaced by men who see little in her but advancement for themselves. And every day they spend apart they grow older, that time together lost irrevocably.

One of the most remarkable things about Homer’s work and the Odyssey in particular is that no matter how familiar it becomes, it is always fresh. The Oceans and the Stars, the latest novel by Mark Helprin, clearly demonstrates that. Though not a retelling—Lord knows we don’t need any more of those—it draws inspiration from the Odyssey in new and exciting ways.

After a short prologue in which the Navy prepares a court martial against Captain Stephen Rensselaer on capital charges, The Oceans and the Stars flashes back to the moment that set him on course for this fate. Fifty-two years old, overdue for promotion to admiral and retirement, Rensselaer has been appointed to a cushy advisory job under the Secretary of the Navy. A SEAL during Operation Desert Storm and commander of a patrol coastal or PC, the smallest class of ship in the US Navy, Rensselaer learns that the unnamed president plans to scrap the PCs simply because they’re small and, in an Oval Office meeting to which his boss has brought him as an expert advisor, speaks his mind. The president has him transferred to New Orleans to oversee the construction of the final commissioned PC. It’s not a demotion, but it’s meant as an insult. Rensselaer takes the job seriously.

It’s in New Orleans that he meets Katy Farrar, a tax lawyer whose husband left her and whose children sided with him. Cut adrift and lonely, she and Rensselaer meet on a streetcar and fall in love. Both intelligent, good at what they do, but abandoned and railroaded into career dead-ends with not enough years left to start over, they are ideally matched. Rensselaer plans to complete this final, cutting-edge PC—which he has named USS Athena—turn it over to the Navy, cut his losses, and retire. Then war breaks out.

Interestingly, as The Oceans and the Stars was published two years ago, the war pits the United States against Iran. With the Persian Gulf and Indian Ocean aflame, Rensselaer finds himself with a war command. He takes aboard supplies, ammunition, and a half-squad of SEALs and steams out of Norfolk. He has just enough time before he ships out to ask Katy to marry him.

The bulk of the novel concerns Rensselaer and the Athena’s combat cruise, which I don’t want to spoil by summarizing here. Pitted against an Iranian battleship equipped with new Russian technology, a band of ISIS pirates operating out of Somalia, hazardous seas, inhospitable terrain along the coasts, and a chain of command reaching all the way up to the president who booted Rensselaer from the Pentagon, Rensselaer, the Athena, and her crew are sorely tested. And, as that prologue reminds us, there looms on the horizon a court martial—final judgment.

I led off with the Odyssey and though Helprin models the story on Homer, it is not a slavish retelling or adaptation. This makes his actual use of the themes and rhythms of Homer as well as specific episodes not only feel organic to this modern story but much, much more clever. One example from early in the book: as the ship passes through the Straits of Gibraltar, so many men crowd the port rail to ogle the load of topless women aboard a British millionaire’s yacht that the Athena rocks underfoot. Rensselaer has to call them back to themselves and remember their duties as American sailors. Their unseriousness and lust is a threat not only to good order but to the entire ship—the sirens, transferred effortlessly to our world.

Helprin, a veteran of the IDF, renders the voyages, shipboard life, and military culture realistically. And as in any good war novel, he prepares both his characters and readers so carefully for combat that the action offers a breathtaking release of tension. Athena’s confrontations with her enemies, whether the more powerful Iranian vessel or the more ruthless ISIS pirates and the hostages they take aboard a cruise ship, are intensely suspenseful and both horrifying and exciting once they spill over into combat. I’ve seldom been as absorbed in a character’s situation as I was in Rensselaer’s confrontation with ISIS, whose tactics are accurately and disturbingly portrayed.

Though The Oceans and the Stars is a good war story and treats its military setting and technological aspects seriously, with well-explained detail that doesn’t bog the story down, it is also character-driven in a way that similar novels often aren’t. Rensselaer and Katy (her first name is Penelope, by the way) are the most fully formed characters, but supporting characters like Holworthy, the disgruntled Texan commander of Athena’s SEALs, who nurses a childhood wound that drives his service in the Navy, or Movius, Rensselaer’s Jewish XO, who falls in love with a girl while in port at Haifa on the way to the Indian Ocean, are excellent supporting characters. And looming above and at the edges of the story is the president, a capricious autocrat behind much of the misery Rensselaer endures—and overcomes.

There is politics in this novel, but of a refreshing kind. The president is an almost perfect blend of the worst qualities of the last several, and even his political party is not mentioned. The words “Republican” and “Democrat” are used once apiece, by my count, and in no way affect the plot. Rensselaer’s voyage takes place during an election cycle, and just as the lofty machinations of the gods change things for Odysseus, the election matters in unexpected ways for Rensselaer.

What matters to Rensselaer is his duty as a sailor, as an officer of the US Navy, and his love for Katy. He is clear about this. (If The Oceans and the Stars has any fault, it is a tendency toward speechifying in the characters—Rensselaer offhandedly lectures his crew on several occasions—but this is a vestige, I think, of that classical imprint on the story.) As with the nonpartisan politics, it was refreshing to read a story in which courage, duty, and love of country were straightforwardly and unironically spoken of an acted upon. Helprin doesn’t explicitly draw a contrast between Rensselaer and his crew and the gods in Washington, but it’s there, and it’s razor sharp.

While I enjoyed The Oceans and the Stars for its sailing, strategizing, and combat, it most moved me in its love story. I just turned forty-one, perhaps too young to be feeling this way, but Rensselaer and Katy’s predicament—alone, adrift, failed, and unable even to look forward to children—filled me with a powerful wistfulness I still find hard to describe. This is the nostalgia of Homer’s original—nostalgia being the pain of longing to go home. Like Homer, Helprin makes us feel it achingly. And like Homer, he brings his characters redemption in surprising and beautifully satisfying ways.

I’ve heard a lot about Mark Helprin over the years but this is the first of his novels that I’ve read. I will read others. Suspenseful, exciting, realistically and disturbingly violent without getting lost in the horror, The Oceans and the Stars is also powerfully moving—one of the most vivid and engaging novels I’ve read so far this year.

Contemptuous adaptation

Earlier this month I noted the “fraught” relationship between novels and their film adaptations as exemplified by Elmore Leonard’s struggles to get good movies made from his books—a story that eats up a considerable part of his new biography (which I hope to review in full soon). A lot of Leonard’s struggles were down to the usual Hollywood problems that bedevil novel adaptations: bad casting, indifferent directors, hack screenwriting, producers who don’t understand the material, and budget.

But what about film adaptations of novels that, while they may or may not have these problems, are made with contempt toward their source material? And what if the author, unlike Leonard in the 70s and 80s, is dead?

Agatha Christie biographer Laura Thompson recently addressed this in a multipart essay on what she thinks are the worst Christie film and TV adaptations. The competition is fierce. Between the flashy but pandering Kenneth Branagh Poirot movies and a string of wannabe prestige BBC adaptations, the last few decades have given us a slew of films that treat Christie’s stories as mere raw material to be chopped up and rearranged at will, the better to load down with fashionable social and political messaging. Read through Thompson’s posts to see just how bad some of these can get.

When Thompson reaches the penultimate of her ten worst, the 2016 adaptation The Witness for the Prosecution (which doesn’t even get Christie’s title right), she notes as a long aside:

What I dislike about these twenty-first century adaptations . . . is how much they seem to dislike the reason that they were commissioned in the first place: Agatha Christie.

They want, they need us to know that they despise her conservatism, her class, her structured restraint, her respectability, her reverence for the facade (almost everybody in these adaptations is openly frightful, which means that the tension between seeming and being is entirely lost: a deep distortion). There is a violent urge to expose, to denigrate, to remove human dignity. Everything looks greasy, grimy, filmy; food glistens repulsively; sex is slathered in deviancy; blood of dirty blackish-red drawls across the screen.

Most art today is politicized, and this is the politicizing of Agatha Christie. Her world is a privileged one, and for this she must be judged. Her characters belong, in the main, to about the only class of person who can be attacked with impunity, and there is no holding back. . . . The actual target of this mockery is Agatha, her Golden Age aspect, depicted as resoundingly hollow alongside the ‘reality’ of these adaptations. Of course she was not real, as such; but when it came to people she was never untrue, as these adaptations are.

This is sharp, not only as an account of what these adaptations get wrong and how, but of what they reveal about the filmmakers.

Sooner or later I’m going to get an essay on the recent spate of “retellings” of famous novels from the villain’s or a secondary character’s point of view. What these novels, especially those that seek to undermine the original, like Wicked or James, or those trying to force a currently correct opinion into an old story—usually feminism, for whatever reason—like Julia or Circe, have in common with film adaptations that approach their source material with open contempt is a fundamentally parasitical relationship with the original. Branagh’s Poirot, which is more insipid than insidious, or the ideological BBC adaptations Thompson more severely dissects, rely on Christie for prestige and name recognition and then abuse her work. The result is artistically diminished, “untrue” both to the source material and to good art. Their contempt has led them to make something contemptible.

But when this approach proves profitable, as it often does when the author has the kind of long-term popularity that Christie still does, the filmmakers do it again. And again. See also Fleming, Ian and Tolkien, JRR.

I realized a few years ago that, for the first time in my life, I live in a period in which I dread the announcement that a book I love is being made into a film. This is why. If it is not treated as mere “content” for the system—the hungry volcano god of that earlier post on Leonard’s Hollywood struggles—it will be hammered into the correct ideological shape by hacks before being turned loose, diminished and untrue.

Thompson is the author of Agatha Christie: A Mysterious Life. You can read all three parts of her Christie film adaptation breakdown here (a top 11 best), here, and here. The modern slicing and dicing instinct hasn’t stopped a film adaptations of Christie’s work, of course; her books themselves have suffered as well, as I noted here two years ago.

Short, fun, and good

We’ve been traveling for Independence Day but I wanted to put something short together before the weekend. A few recent items that have been on my mind:

• Last month my friend Joel Miller shared “A Brief Argument for Short Books” at his Miller’s Book Review Substack.

• Shortly before that, YouTuber Man Carrying Thing (aka Jake) posted a short video essay on the purported lack of reading among adult men and what may or may not lie behind it.

• Last week, responding to some of the same discourse, Jared Henderson shared a video about “How to Start Reading Again,” with Jake of Man Carrying Thing as a guest.

• Earlier today, Henderson followed that up with his “boring” solution to “the male reading crisis” on his Substack.

All good food for thought, and with an important commonality: the importance of short books. Per Henderson’s Substack essay, an easy either to get back into or to renew one’s love for reading is to “prioritize short and fun books at first.”

My one quibble: I’d strike “at first.” Short, fun books are good at any time of one’s reading life. The following is a list of my own recommendations. All are books I’ve read and enjoyed and would stick up for in a fight, and all are 1) short, 2) fun, and 3) have good literary qualities. I have considered no other factors in selecting them, so if you have some criterion or criteria for a list that you value above 1-3 above, write your own list. The more book recommendations the merrier!

I’ve sorted them into broad categories but, in making these recommendations, I’d also encourage you not to limit yourself to any one category. Again—I’d vouch for all of these.

Familiarity breeds contempt

These are the books that you read—or were supposed to read—at some point in high school. I’m listing these here because despite being on a lot of school reading lists, they’re actually classics and are still being read for a good reason.

• Animal Farm, by George Orwell

• Fahrenheit 451, by Ray Bradbury

• The Red Badge of Courage, by Stephen Crane

• Lord of the Flies, by William Golding

Thrillers and spy novels

Arranged in chronological order.

• The Thirty-Nine Steps, by John Buchan—A man framed for murder by agents unknown must flee both his enemies and the authorities. One of the books most responsible for the shape of the modern thriller and still a lightning-fast read. Long blog review here.

• Rogue Male, by Geoffrey Household—A hunter arrested and tortured by the (unnamed) Gestapo for an attempt on the (unnamed) dictator of a central European German-speaking country must escape his pursuers, who chase him all the way back to England.

• Journey into Fear and Epitaph for a Spy, by Eric Ambler—Two excellent spy thrillers from just before the outbreak of World War II. In both, an ordinary man is caught in the crossfire of international espionage and must contend with his enemies as well as his own ignorance of spycraft in order to survive.

• Casino Royale, by Ian Fleming—Forget the stereotype of movie Bond. The original Bond novel is short, brutal, briskly paced, and brilliantly written. Whether you go on to the rest of Fleming’s original series or not, Casino Royale is worth your time.

• The Spy Who Came in From the Cold, by John le Carré—A British agent plays a long con on East German intelligence. A Cold War thriller in a deliberately different vein from any of the novels listed above, with heavy emphasis on the intricacies of spying and deception.

Swashbucklers old and new

• The Prisoner of Zenda, by Anthony Hope—An English tourist swaps places with the king of a small European kingdom when he gets falling-down drunk on the day of his coronation. Then the king’s scheming brother kidnaps the real king, forcing the bluff to continue. Spawned a whole subgenre of lesser imitators but a rollicking old-fashioned adventure itself.

• Treasure Island, by Robert Louis Stevenson—Another one that’s a classic for a reason. Even if you know the story, it’s hard not to feel a boyish yearning for adventure awaken while reading or re-reading it.

• Salute to Adventurers, by John Buchan—A young Scot embarks on a series of wilderness adventures involving pirates, Indians, and apocalyptic religious extremists in colonial Virginia. Long blog review here.

• Captain Blood, by Raphael Sabatini—An English doctor falsely accused of treason escapes imprisonment and wages a war of piracy against his enemies. Less well-known now than Treasure Island, but one of the canonical pirate tales.

• On Stranger Tides, by Tim Powers—The great modern pirate story, combining vividly imagined real-world piracy with magic. An exciting, engrossing read from the first chapter.

Mystery and crime

• The Hound of the Baskervilles, by Sir Arthur Conan Doyle—Sherlock Holmes and Watson wander into a gothic ghost story. Good mystery, great atmosphere, and sharply and concisely written.

• Death Comes as the End, by Agatha Christie—I’ve enjoyed every Christie novel I’ve read, but the vividly realized ancient Egyptian setting in this one makes it unusual and especially memorable.

• The Moonshine War and Mr Majestyk, by Elmore Leonard—Two good early crime novels from Leonard, one set in Prohibition-era Kentucky and the other in early 1970s California. In both, ordinary men must resist overwhelming odds to do what they think is right. Short, tight, and engaging.

• The Friends of Eddie Coyle, by George V Higgins—Boston crooks scheme, run guns, rob banks, and betray each other to the authorities. A brilliant short crime novel told almost entirely through dialogue.

• The Highwayman, by Craig Johnson—Is a long-dead Indian police officer sending distress calls in an area that is otherwise without radio reception? A short supernatural entry in the Longmire mystery series.

Sci-fi (and adjacent territory)

• The War of the Worlds and The Time Machine, by HG Wells—Again, classics for a reason. Both brilliantly imagined, well paced, thought-provoking, and very short.

• The Scarlet Plague, by Jack London—An apocalyptic story of an epidemic that wipes out most of mankind as well as the story of one man left in the ruins who must start over. A great surprise from an author I’d previously associated with dog stories.

• The Day of the Triffids and The Kraken Wakes, by John Wyndham—Two great postwar sci-fi novels. In one, killer plants escape and wreak havoc after the majority of mankind is blinded, and in the other, alien invaders wage war against mankind from beneath the ocean. Both brilliant, suspenseful, and surprising reads. Long blog review of The Kraken Wakes here.

• The Road, by Cormac McCarthy—Father and son cross a post-apocalyptic wasteland. Again, don’t let its popularity and the Oprah endorsement lull you into contempt. This is a genuinely great and powerfully moving novel.

Westerns

• Massacre at Goliad, by Elmer Kelton—Human drama and action in the Texian Revolution.

• Last Stand at Saber River and Valdez is Coming, by Elmore Leonard—Two of Leonard’s best Westerns. As in the crime novels recommended above, both feature principled men seeking restitution against stronger and less scrupulous enemies and monstrous injustice.

• True Grit, by Charles Portis—Whether you’ve seen one or both film adaptations, Portis’s original novel is still better. A masterpiece of tone and voice with a compelling story whether you’re reading it for the first or the fifth time.

• No Country for Old Men, by Cormac McCarthy—Another brilliant novel brilliantly adapted for the screen, but still better than the movie. Not a bad place to start with McCarthy if you find The Road’s post-apocalyptic bleakness daunting.

Other (I dare not say “literary”)

• Shiloh, by Shelby Foote—A great short Civil War novel told from multiple points of view over two days. A great fictional account of real events, beautifully written and rich in detail.

• The Great Divorce, by CS Lewis—The souls of the dead take a field trip to the edge of heaven. Simple, straightforward, but wonderfully rich and powerful. One of my favorites of Lewis’s books and one you can easily read in an afternoon.

• Rita Hayworth and Shawshank Redemption, by Stephen King—My estimation of King has steadily fallen for the last decade, but this novella remains a small masterpiece and one of the handful of books on this list that I read in one sitting, without stopping. Still one of my favorite reading experiences. I reread it recently and it holds up.

• Eaters of the Dead, by Michael Crichton—Beowulf retold from an outsider’s point of view. A great adventure, a wry spoof of academia, a shocking horror story, and a lot of fun if you also know Beowulf. Long blog review here.

• Grendel, by John Gardner—Though “Beowulf retold from the monster’s point of view” might sound like a familiar, overdone premise in our age of Wicked and Maleficent and Cruella, Gardner’s novel differs from those in presenting Grendel as sympathetic but still evil and Beowulf as still heroic. A great read with hidden depths.

• The Loved One and Black Mischief, by Evelyn Waugh—The darkest of dark comedies from a sharp-eyed master of stinging humor. I laughed so hard I cried in both books.

Again, these are just the ones that came easily to mind, and I’m sure I could supply a list twice or three times as long. Whether you’re one of the people described above, someone who wants to become a reader again, or you’re just looking for something to refresh your reading life here in the middle of the year, I hope you’ll find something good in this list.

Spring reading 2025

It’s been a hard semester, but through it all I’ve had some astonishingly good reading. With over thirty books read I feel like my reading has finally bounced back from the birth of the twins almost two years ago. I had a hard time narrowing this list down, but below you’ll find a handful of favorite novels, history and general non-fiction, and kids’ books, as well as a few honorable mentions in the two main categories and the books I revisited this semester.

For the purposes of this post, my “spring” ended Monday the 19th, the first day of summer classes here at my school. As usual, audiobook “reads” are marked with an asterisk.

Favorite fiction

A Month in the Country, by JL Carr—A veteran of the Western Front, physically and spiritually broken, is commissioned to restore a defaced medieval mural in a small church in the English countryside. A short, seemingly simple, but rich, beautifully written, and moving story. One I plan to reread soon, as even while reading it I was aware that I wasn’t picking up all it had to offer.

The Anubis Gates, by Tim Powers—Brendan Doyle is an undistinguished scholar of 19th-century British literature and an expert on the obscure Romantic poet William Ashbless. When an eccentric businessman contacts Doyle with the opportunity to lead a group of millionaire tourists to 1810 London to attend a lecture by Samuel Taylor Coleridge, Doyle is skeptical but accepts. To his astonishment, the businessman’s time travel works—but Doyle is stranded in London when the party returns. Reduced to begging, he encounters Jacky, a girl disguising herself as a man in order to avenge her murdered brother; Horrabin, a terrifying street-performing clown who leads an army of beggars from an underground hideout; Dr Romany, a magician with ties to the gods of ancient Egypt; and Dog-Face Joe, a werewolf with the ability to swap bodies as the one he occupies becomes more and more obviously a monster. As Doyle simply tries to survive and find a way back to the present—with the help, he hopes, of Ashbless, whom he knows from his research will be in London soon—all of these characters try to use him, and even the businessman who got Doyle into this mess turns out to have hidden designs for Doyle, for Dog-Face Joe, and for the capabilities he has developed. This is the best kind of time-travel story, with minimal explanation of how the technology actually works and a great emphasis on a realistically rendered past for the characters to get lost in. The horror elements are, as a friend put it, a “fever dream,” a totally involving and mysterious adventure, and the intricately constructed plot resolves with one of Powers’s most satisfying conclusions. One of the most purely absorbing and enjoyable reads I’ve had in a while.

Gabriel’s Moon, by William Boyd—A short but complex and well plotted spy novel concerning a journalist, having gotten a rare interview with the president of a revolutionary government in the decolonizing Africa of the early 1960s, being slowly pulled into the world of espionage and deception. Shades of Buchan and Ambler with a more powerful sense of uncertainty and paranoia than is usual in either. Full review on the blog here.

Bomber, by Len Deighton—The story of a single day and a single fictitious air raid by the RAF on Germany in the middle of World War II. Deighton moves between the bomber crews, ground personnel, German radar operators and night fighter crews, and the civilians and military authorities of the small German town that the bombers, through technical malfunction and bad luck, accidentally target. Brilliantly executed, gripping from beginning to end, with powerful and moving irony throughout. With The Anubis Gates, one of the best novels I’ve read in a long time.

Lucky Jim, by Kingsley Amis—The Jim of the title is Jim Dixon, a lecturer in history at a small English university. Jim is not very enthusiastic about his job but needs to pass the review chaired by his department head, the vague, inscrutable Professor Welch, in order to have his probationary position made permanent. In his increasingly desperate attempts to ingratiate himself with Welch he gets drunk and embarrasses himself at a party hosted by the Welches, antagonizes Bertrand, Welch’s bohemian artist son, and must contend with a manipulative sometime girlfriend, irrationally hostile flatmates, an earnest student who knows more than he does, and his own growing attraction to Bertrand’s girlfriend, the angelically beautiful Christine. Hilarious and cringe-inducing, Lucky Jim’s vision of hapless academia is often all too recognizable, and Jim himself vies with Ignatius J Reilly as the worst-case-scenario version of myself. Another one I intend to revisit soon.

The Friends of Eddie Coyle, by George V Higgins—A short, snappy crime thriller about low-level Boston thugs selling guns and an aging con trying to play the cops and other crooks off each other to his own advantage. Any plot summary will make the novel sound more familiar and predictable than it is. Higgins’s dialogue is excellent and his storytelling reads like an even more stripped down version of Elmore Leonard. A great surprise, and I’m going to seek out more of Higgins’s work.

Runners up:

• Call for the Dead and A Murder of Quality, by John Le Carré—Two short, brisk, sharply observed detective stories that also happened to introduce George Smiley, one of literature’s greatest spy characters, to the world. Read before revisiting The Spy Who Came in From the Cold for the first time since grad school.

• Baron Bagge, by Alexander Lernet-Holenia—A moving, dreamlike novella about an Austrian cavalryman’s brushes with love and death during World War I. Full review for Substack forthcoming.

• Eight Hours from England, by Anthony Quayle—An involving fictional account of one of World War II’s many frustrating side-shows by a man in a thick of it. Full review on the blog here.

Special mention

Back in January I read Uppsala Books’ newly republished edition of Waltharius, a medieval Latin epic translated by Brian Murdoch. The story is set in the mid-5th century and concerns Walther of Aquitaine, Attila the Hun (briefly), and other semi-historical figures familiar from centuries of subsequent legend and poetry. I greatly enjoyed it, and wrote about it in some detail here.

Favorite non-fiction

Van Gogh Has a Broken Heart, by Russ Ramsey—The followup to my favorite non-fiction read last year, Rembrandt is in the Wind, this volume is not quite as good as that book but was still a thoroughly involving, moving, and thought-provoking look at art and faith with the added dimensions of pain and suffering as a theme. I hope to revisit both of Ramsey’s books sometime soon.

Ian Fleming: The Complete Man, by Nicholas Shakespeare—A massive account of the life of James Bond’s creator. Shakespeare has not only read every source, he has spoken to every possible living connection to Fleming and incorporates all of it into the story. At first the level of detail is overwhelming but once Fleming reaches adulthood and steps into his crucial role in British intelligence during World War II the book settles into a confident stride and breezes through hundreds of pages. The result is an exhaustively detailed picture of Fleming, his world, and his work. Bond doesn’t come along until at least two-thirds of the way through, a good reminder of how much life Fleming was drawing from by the time he created this character. It is also powerfully sad. One gets a sense of Fleming as both a first-rate bounder and a damaged little boy who lost a sterling father and lived his life under the thumb of a ghoulish, manipulative mother—and then married a woman just like her, who mocked his books with her highbrow friends during all-night salons while Fleming tried to catch up on sleep. Far from “failing upwards” because he was posh, as I’ve seen some online critics of Fleming assert, Shakespeare shows that Fleming had both natural talent and a powerful work ethic alongside serious personal flaws. Charm and connections may have gotten him far but can’t account for his success—as reporter, intelligence officer, and finally novelist. This is probably far more Fleming than casual readers will want to spend time with, but a very good biography and a worthwhile read.

Edgar Allan Poe: His Life and Legacy, by Jeffrey Meyers—A comprehensive, readable, and fair biography of Poe that pays good attention to his life, character, work, and reputation. A few years ago I read short biographies of Poe by Peter Ackroyd and Paul Collins as well as thematic studies of his life and work—Poe and science, Poe and the American city. I’d recommend Meyers’s longer biography to anyone wanting a more thorough treatment. His examination of the confusing and controversial parts of Poe’s life is especially judicious, and his account of the posthumous smearing of Poe’s reputation and the long process of rehabilitation since is very good.

Bad Therapy: Why the Kids Aren’t Growing Up, by Abigail Shrier—Why do so many kids from affluent families have vaguely-defined anxiety? Why do so many in sheltered suburbs suffer from trauma? Why are so many taking psychoactive meds? Why are so many seeing therapists? And, most importantly, why is none of it helping? Shrier’s basic thesis is that modern American parents, operating from fundamentally flawed premises about harm, have panicked and committed whole generations to regimes of psychiatric “help” that actually leave them emotionally stunted and make them more anxious, passive, morbidly self-absorbed, and less resilient. Shrier couples this with a critique of the child psych industry and the dangerous theories its practitioners often field-test through their patients. A tough but necessary read. Should pair well with The Anxious Generation, by Jonathan Haidt, which my wife read about the time I was reading this and which I mean to read sometime soon.

The Magic of Silence: Caspar David Friedrich’s Journey Through Time, by Florian Illies, trans. Tony Crawford—A wide-ranging thematic account of the life and art of the great German Romantic painter as well as a poignant, often bitterly ironic look at his work’s afterlife—forgotten, rediscovered, repurposed, occasionally stolen, and much of it destroyed. Full review on the blog here.

Runners up:

• Remaking the World: How 1776 Created the Post-Christian West, by Andrew Wilson—An interesting look at the political events, social trends, and intellectual currents in a single year that contributed to our present WEIRDER world. I found some chapters weak and the overall point muddled, but the majority of the book is excellent.

• Lawless Republic: The Rise of Cicero and the Decline of Rome, by Josiah Osgood—A good overview of Cicero’s legal career that also attempts to chart the breakdown of law and order in the late Republic. The former is better than the latter, which is when the author strains for relevance or lessons in this story.

• UFO: The Inside Story of the US Government’s Search for Alien Life Here—and Out There, by Garret M Graff—An enjoyable if necessarily incomplete survey of the evolution of the UFO phenomenon since World War II. Full review on the blog here.

Rereads

• The Spy Who Came in From the Cold, by John Le Carré

• Heart of Darkness, by Joseph Conrad

• Starship Troopers, by Robert Heinlein

• On the Marble Cliffs, by Ernst Jünger*

• The Book of Three, by Lloyd Alexander

• The Black Cauldron, by Lloyd Alexander

Kids’ books

• Macbeth: A Graphic Novel, adapted by Gareth Hinds from William Shakespeare

• The Castle of Llyr, by Lloyd Alexander

• Taran Wanderer, by Lloyd Alexander

• Troubled Waters, by Sophie de Mullenheim

• James and the Giant Peach, by Roald Dahl

Looking ahead

I’m still reading a few books I had started before my cutoff date and I have several more promising reads lined up, including more John Le Carré and Len Deighton and several books for John Buchan June. Stay tuned next month for those. In the meantime, I hope as always that this list leads you to something good to read, and that y’all have a pleasant and restful summer. Lord knows we need it.

Thanks for reading!

The Great Books Podcast, RIP

A serious bummer this week: National Review is discontinuing both of its podcasts hosted by John J Miller, namely The Bookmonger and The Great Books.

The former is a long-running short format show—usually no more than ten minutes—featuring interviews with current authors about new releases. I subscribed but didn’t listen to every episode, dipping in when an interesting title or a favorite writer came along, and I found out about a number of good books this way. The latest and final episode, titled “Farewell,” dropped a few days ago.

The latter, however, The Great Books, was a favorite. I subscribed as soon as National Review announced it and I enjoyed and appreciated it for years. It got me through many a long commute through the South Carolina countryside. I have fond memories of misty early morning hayfields whizzing by as Eleanor Bourg Nicholson discussed Dracula, and of driving home some other day, that same landscape now bright and hot in the late afternoon, to the sound of Bethel McGrew praising Watership Down.

Or perhaps it was Robin Lane Fox discussing the Iliad, or Matthew Continetti talking about The Bonfire of the Vanities, or Barry Strauss on Josephus’s Jewish War, or Holly Ordway on The Hobbit, or Brad Birzer on all three volumes of Lord of the Rings, or Nicholson again on Tim Powers’s Declare, or Christopher Scalia on Scoop, or Cat Baab-Muguira discussing Deliverance or quite rightly bringing The Narrative of Arthur Gordon Pym of Nantucket to more attention, or Michael Ward talking about The Lion, the Witch, and the Wardrobe and That Hideous Strength—and on and on.

The show ranged incredibly widely and Miller got great guests, who spoke eloquently about what made these books—everything from Gilgamesh to Casino Royale—great, and made the case for continuing to love and enjoy them.

There was nothing else quite like it in tone, approach, range, earnestness, and simple joy. Through it I revisited old favorites and discovered some great new books, both classics I hadn’t read (or heard of) as well as books by the guests Miller brought on. A Bloody Habit and Poe for Your Problems are two I’ve mentioned here.

I got into podcasts through The Christian Humanist Podcast, a three-man show that ran for over a decade before fizzing out a couple of years ago. Every episode featured sharp, brilliant, thought-provoking discussion, and David, Michial, and Nathan made it fun. It set my standard of comparison long ago. Miller’s Great Books is one of the few other shows that has come close in quality and enjoyment. With its passing, it feels like the true end of an age. At least for me.

Miller stated in his farewell to The Great Books that he may revive the show on his own. I hope so. In the meantime, the 371-episode archive is still on National Review (albeit paywalled). Hopefully it will remain there.

Miller also announced that he can be reached through his website, which includes his contact information. I plan to write a thank you note, something I don’t typically do. If you’ve enjoyed his show in the past, let me encourage you to do the same.

Listening is not reading

Last week on Substack the perennial argument over audiobooks flared up again: does listening to an audiobook count as reading, and is having listened to a book the same as having read it?

I mentioned the pedant in me in my recent post about The Last of the Mohicans. He is never far from the surface but must be kept in check with regard to colonial New York bridge architecture and whatnot. But on this topic I’m happy to let him off the chain.

No, listening is not the same as reading, and if you’ve listened to an audiobook you haven’t read the book.

This opinion probably provoked a kneejerk reaction in at least some of y’all. These arguments get passionate quickly. But here’s my pedantic take on the whole thing: they shouldn’t. Such passion is misplaced for two interrelated reasons.

The first is the basic semantic fact that listening and reading are different words describing different things. Saying “I read War and Peace last month” when I listened to it in my car is simply untrue. This seems pedantic but it’s an important distinction; we have different verbs for these things for a reason.

The second reason has to do with the reality of reading and listening in and of themselves. These are not the same activity. You are doing different things and different things are happening to you. You can get scientific and neurological about it—as my wife, who has a degree in literacy, can and does, having recently led a professional development based on Proust and the Squid at her school—but common sense proves this, too. I both assign readings to my students and lecture. If there were no difference I could assign only readings or only lectures.

Again, this is both a semantic distinction and an immovable truth, the most important fact in the debate. Everything else is epiphenomenal. And yet if you point out that reading and listening are not the same thing, fans of audiobooks will infer from that distinction a snobbish judgment of inferiority or outright condemnation. But that inference—not to mention the defensiveness that arises from it—does not follow.

So why does this debate keep coming up? I think two factors are at play:

First, the valorization of reading. This is the “Fight evil, read books” school of reading, in which reading is treated as virtuous in itself. What used to be the specialist skill of clerks and chroniclers is now a badge of honor and mark of moral rectitude. This is pure self-congratulatory sentimentalism and should be dismissed as such. Reading is important—you’ll find no dispute on that point on this blog—but it does not make anyone good and, in a society of democratized mass education, it doesn’t even make you special.

Second—and I think the real culprit behind the rage—is the Dominion of Content. Our culture is in the grip of the erroneous assumption that all stories, media, and information are undifferentiated and interchangeable. Note how often the word consume comes up in these arguments. This is a giveaway. Failing to differentiate between reading a story yourself and having it read to you reduces writers’ work to free-floating, gnostic content that can be delivered any old way so long as it gives you some kind of picture in your head. In this view, writers don’t write books, they “produce” “content” at one end of a supply chain and at the other the “content” is simply “consumed.”

Combine content culture with a culture that makes proud little warriors out of people who happen to know how to read and you get a popular incentive to consume books without distinguishing how one has consumed them.

Conversely, put reading in its right place as an important but value-neutral skill (so that readers won’t lord it over audiobook listeners) and stop treating art as mere content to be consumed (so that audiobook listeners distinguish what they’re doing from reading) and the difference between reading and listening ceases to be pointlessly inflammatory.

Which is what I’d hope for. There’s nothing wrong with audiobooks. There’s no reason to be defensive about listening to a book and no reason to bridle at what should be a boring factual distinction. I prefer and always will prefer reading—and from a physical book, not a screen—but I have trained myself to follow and enjoy audiobooks, too. I listen to books that are hard to find and to books I’ve read before but want to enjoy in a new way. I have relatives who listen to books to pass the time on morning walks or while working a long nighttime shift in a patrol car. These are all legitimate and enjoyable—but they’re not reading.

To end on a positive note, everyone litigating this on Substack over the last several days made exactly one point I agree with wholeheartedly: listening to a book is better than just about any other activity you could be filling your time with at present. That’s why I’m always thrilled to recommend audiobooks to those relatives and friends I mentioned, why I’m glad Audible exists, and why I’m mad that AI is trying to conquer audiobooks, too.

On Richard Adams’s Traveller

Wednesday was the 160th anniversary of Lee’s surrender at Appomattox Courthouse. Yesterday was the anniversary of Lee’s General Order No. 9, his farewell to his army. To commemorate these events, one of the Civil War history Instagram accounts that I follow shared Soldier’s Tribute, a painting of Lee’s farewell to his troops by the incomparable Don Troiani. 

The painting shows Lee, mounted, surrounded by his exhausted men who reach out to him, as they so often did, for succor. Lee turns to his right to shake the hands of his soldiers; in his left he loosely holds Traveller’s reins. If Lee is still, already statuesque, Traveller, his head pulled slightly back, shows subtle movement, either slowly edging through the gathering crowd or coming finally to rest in the face of it. If Lee is calm and resigned, Traveller’s eyes show, if not anxiety, puzzlement.

Seeing Traveller in that painting, especially with the subtle motion and emotion with which Troiani always packs his work, brought Richard Adams’s novel Traveller to mind again. It’s an unusual book, even for the author of Watership Down, and in it Adams does something remarkable.

The novel is narrated by Traveller, in the first person, in thick phonetically-rendered dialect. It can be hard to understand at first, and the danger of such narration is that it will come across as silly. But you get used to it, and the “accent” of Traveller’s speech is never used to mock him. Traveller has a distinctive voice, and Adams, an Englishman, captures the tone and style of Southern yarn-spinning with remarkable accuracy.

That’s one area in which such a book could have misstopped but didn’t. There’s also a running gag of sorts in that Traveller, a simple animal unquestioningly loyal to his master, always interprets every event in the most optimistic way possible. At first it’s ha-ha funny and we chuckle in amused sympathy, but gradually, as the novel nears its end, this use of irony creates a profound sense of pathos. Traveller ends the novel thinking he and Lee won, that Lee is leaving Appomattox not downcast and defeated but relieved at having forced “the blue men” into submission, and instead of a punchline it’s powerfully moving.

I don't know of any other novel quite like it. Dramatic irony is so often used for reasons other than pity.

It also achieves its most powerful effects if you know the Civil War and the Eastern Theatre and its colorful cast of characters—well-known generals like Jackson, Longstreet, Hill (AP and DH), and Stuart as well as more obscure figures like Prussian cavalryman Heros von Borcke—and even their horses well. Jackson’s horse Little Sorrel, in particular, a pensive horse full of dark forebodings, is an especially powerful presence. I have to wonder what someone ignorant of all that would make of it. The animal characters are so well-drawn and memorable and their skewed understandings of the human world so well conveyed that I imagine even someone with only passing knowledge of the Civil War would get it, but I can’t be sure.

Regardless, Traveller is criminally underappreciated. Its concept sounds like a cute gimmick and I’m sure a lot of people have written it off as kitsch or a mere curiosity as a result. But as I’ve written here before, it’s artfully done, a marvelous, inventive angle on a familiar story. And the goal of retelling a familiar story, as I often tell me students when approaching a subject they might actually already know about, should be to make it strange again. Check it out.

You can view Soldier’s Tribute with some extensive explanatory notes at Don Troiani’s Facebook page here. The dust jacket art of my first-edition hardback of Traveller is Summer, one of four memorial murals by Charles Hoffbauer at the Virginia Museum of History and Culture in Richmond. And if you’re ever in Lexington, VA, visit Traveller’s grave right outside the crypt of Lee Chapel, where his master is entombed.

Hoopla’s AI problems

Hoopla is a handy multimedia library app. If your local library participates, as ours does, you can sign up for free access to ebooks, audiobooks, movies, and music with a certain limited number of downloads per month. I’ve used it for audiobooks for several years now. It’s got a good selection of Alistair MacLean and other good commute listens, and is especially good for books that are hard to find, like Souls in the Twilight, a handful of short stories by Sir Roger Scruton that I read in 2020. Last year for John Buchan June I couldn’t get ahold of a copy of Salute to Adventurers, and Hoopla stepped into that gap with a good audiobook version.

Recently, with another John Buchan June in mind, I checked to see if Hoopla had any new Buchan. Its inventory changes fairly regularly and you can get good surprises. I certainly got a surprise when I saw this:

What? I thought. And then: Ugh. That’s obviously AI-generated cover art. What’s up with Hannay’s uniform? Are those buttons or badges? What’s wrong with those airplanes? AI can give you a Jamie Dornan lookalike as General Richard Hannay if you ask for it but it’s guaranteed to mess that stuff up.

This made me curious. The listed publisher of this audiobook is Interactive Media. No narrator is named on the image above—not exactly a red flag, but not typical for good audiobooks—but Hoopla listed one James Harrington as narrator. I clicked on the narrator to see what else he’s done and got over 250 results: all from Interactive Media, all added to Hoopla in the last year, all public domain books, and all with covers like this:

Who, exactly, are these people? Where are we and when does this take place? Is that supposed to be Father Brown in the middle? Who’s the gent in the background wearing half of two sets of clothes? Look at the visible portions of the red car and try to piece together its outline. Is that a Richard Scarry vehicle? Why is the roof pointing a different direction from the rear fender? Where’s the hood? Did it hit the blonde girl? Is that why she looks cross-eyed?

Or how about this American classic:

Laughable. Again, AI is not going to get uniforms right. Most living breathing flesh-and-blood people can’t. These Union soldiers appear to have a mixture of Mexican War, modern police, and military academy cadet uniforms, and yellow rank insignia mean cavalry, by the way, not infantry. Don’t even get me started on that cannon. Or perhaps I should say those cannon, as the AI seems to have fused three into one with a steampunk’s quota of rivets. Don’t be nearby when they try to fire the trench mortar round in the breech of that cannon out of the small-caliber field gun barrel. Maybe that’s why all the infantry are running?

Enough of that. The point is that if you get into Interactive Media’s or James Harrington’s listings on Hoopla, you can scroll forever and never stop seeing stuff like this:

Again, “James Harrington” has over 250 listings on Hoopla, and he is not Interactive Media’s only narrator. But I put his name in quotation marks because I can’t determine that he actually exists.

Downloading his version of The Thirty-Nine Steps made me almost certain it is AI-generated audio. “Harrington” reads in a flat American accent that comes across as fairly natural for about a minute. After that it sounds distinctly robotic. There is no indication of understanding what “he” is “reading,” no change of pace or volume, and no modulation of tone or inflection to suggest mood or a change of speaker within the story. Idioms trip up his delivery—or rather, don’t trip it up. When Richard Hannay says, in the first chapter, “I woke next morning to hear my man, Paddock, making the deuce of a row at the smoking-room door,” “Harrington” doesn’t indicate that he understands what “my man” means and pronounces “row” like “row-row-row your boat.”

Perhaps a real narrator could make these mistakes, but I doubt it. And if a real narrator made them, I doubt he’d be asked to record 250 of Project Gutenberg’s greatest hits in the span of a year.

It’s pretty clear that Hoopla has taken on a load of slop.

In searching for answers, including information about the supposed “James Harrington” who “narrated” these “audiobooks,” I discovered that this is not Hoopla’s first problem with AI-generated material. Earlier this year Hoopla was called out for hosting AI-generated ebooks and had to make special efforts to “cull” them from their listings.

This led me to wonder what Hoopla’s vetting process is. My books are at our local library but not available on Hoopla in any form. Based on that Lit Hub piece, it seems Hoopla depends on librarians to do the vetting themselves. How can the people at even a well-staffed, well-funded library contend with machines that produce hundreds of low-quality audiobooks at a time? To quote Lit Hub:

What worries me is the scale of bad actors’ new tech-fueled abilities to flood the world with this garbage, which will only bloat and overwhelm already strained systems. Library shelves will never exclusively be filled with AI, but what if the firehouse is so overwhelming that it affects the ability of libraries to function properly? Not to mention the reputational damage to the institution if borrowers can no longer trust a library’s collection, or a librarian’s ability to connect them with information or entertainment that they want.

And while the author of that piece suggests that AI art is “a fad we can wait out,” he’s writing of AI-generated text, which is, to a newsworthy degree, not good: “This tech has not proved that it’s capable of making anything good or interesting: the writing is nonsense and the art looks terrible.” AI-generated audiobooks are a downstream problem but closely related in terms of poor quality and the ethical and philosophical problems of outsourcing art to robots.

But what’s this? I’ve been thinking about Hoopla’s glut of AI slop all week and today I learn that Amazon is experimenting with AI audiobook technology, too. From my inbox:

Whomever Interactive Media and “James Harrington” are, they don’t have the reach or ability to shape and control markets that Amazon does. I hope Hoopla will move against AI slop in audio form the way it did against AI text, but even if they do, Amazon’s rollout of AI audiobooks means this is far from over. And far from “solving itself,” the problem might be prolonged by this explosion, because even if people should care about the quality of the narration in an audiobook, they often don’t.

A final note, and a hint of what’s at stake: I’m not actually a great fan of listening to books. My mind wanders. But I’ve trained myself to pay attention to and enjoy audiobooks if only to make my commute bearable—especially during semesters when I teach on three campuses, which Alistair MacLean, Ian Fleming, and others have helped me get through—and as a result I’ve come to appreciate the art of good audiobook narration.

A few gold standards for me: Derek Perkins’s performance of The Everlasting Man, Bill Nighy’s performance of Moonraker, Norman Dietz’s performance of The Night the Bear Ate Goombaw, the multi-narrator audiobook of Shelby Foote’s Shiloh (hard to find now), and Barrett Whitener’s performance of A Confederacy of Dunces. Check any of these out, and enjoy. No AI bot could do what these narrators did.

A Bloody Habit, Brother Wolf, and Wake of Malice

I’m excited to have a review of Eleanor Bourg Nicholson’s three historical horror novels—A Bloody Habit, Brother Wolf, and Wake of Malice—published online at Catholic World Report this weekend. These books concern Fr Thomas Edmund Gilroy, OP, a Dominican vampire hunter, and the various scrapes he gets into with vampires, werewolves, and, most recently, leprechauns—and worse. A sample from my review:

Those who enjoy Gothic atmosphere—gaslit streets, full moons, windswept moorlands, big dark houses, old families with terrible secrets—will find something to love in all three novels. Nicholson creates and maintains palpably tense and moody settings, and the mysteries at the heart of each story unfold with maximum dread and suspense. That the stories take place in painstakingly realized historical periods provides yet another pleasure.

But the stories prove especially powerful because of the well-drawn, lifelike, and likable characters with which Nicholson has peopled them. Father Thomas Edmund, the only character to recur in all three books, is the best example, but each has a strong cast, all of whom have their own goals and worldviews, all of which clash and compete. This is compelling in all three novels, not only because pitting rival philosophies against each other works so well in horror fiction but because Nicholson has the rare gift of being able to make goodness attractive.

I’ve mentioned Eleanor’s novels here on the blog several times before, including here and here, and A Bloody Habit was my favorite fictional read of the year in 2019. They’re a lot of fun and counterbalance their unromanticized depiction of sin and evil with an appealing and theologically sound vision of the good. Give my review a read and check these fine novels books out!

Whither 007, again?

“Always makes me feel a little melancholy—grand old warship being ignominiously hauled away for scrap.”

— Q in Skyfall

Last week Amazon announced “a new joint venture to house the James Bond intellectual property rights” with MGM and Barbara Broccoli and Michael Wilson, who had previously controlled the Bond film series. Lest that opening statement come across as too vague and businessy, the next sentence clarifies that Amazon “will gain creative control of the James Bond franchise.”

This news has been pretty roundly greeted with doomsaying. Amazon, after all, has previously dropped a billion to scrabble up rights to some of Tolkien’s work, resulting in “The Rings of Power.” Projects like this as well as Amazon’s general ethos fueled justifiable distrust on the part of Wilson and Broccoli, who briefly made the news a couple months ago, following a meeting with an Amazon exec who called Bond “content,” for describing Amazon leadership as “f—ing idiots.” But the “impasse” between Broccoli and Wilson and Amazon is at an end, something that cost Amazon a billion dollars. The heirs of Cubby Broccoli’s six-decade film series have been bought out, ousted. Wilson has stated clearly that he’s retiring while Broccoli has gestured toward working on “other projects.”

Some “joint venture.”

I’m pretty sure I’m in the doomsayers’ camp. Though every internet comment section on this story is full of people saying “What about ‘Reacher’?!” it should be indisputable that Amazon has a poor track record with literary adaptations and a well-deserved reputation for milking “IP” dry for “content.” That Deadline article offers the clearest reporting on this story when it describes Amazon spending that billion “to ensure that they could fully steer and exploit” Bond. And that’s not even to get into the woke Hollywood stuff that will inevitably intrude.

Indeed, it already has. Broccoli and Wilson might have guided the film series for decades but Ian Fleming’s estate still controls the books—and I use the word control deliberately. It was the estate’s official statement on the Amazon takeover that finally got me feeling something about all of this. After writing that the estate is “enormously excited about the next phase of the James Bond story on film under Amazon’s creative leadership,” whatever that mythical creature is, the statement praises the Broccoli family, who “have always respected the legacy of Ian Fleming and his words and his original depiction of Agent 007.”

This is pretty rich coming from the estate that has commissioned new books like On His Majesty’s Secret Service and Double or Nothing, which are not only tediously politically pandering but artistically weak, and that—most galling of all—authorized censorship of Fleming’s originals and moved to make sure only the bowdlerized versions are available. Fleming’s words—precisely what the estate praises Broccoli and Wilson for protecting.

Thine own mouth condemneth thee, and not I.

I have no particular loyalty to Broccoli and Wilson and have written in annoyance about them before, but to dedicate decades to the maintenance of a film project begun by their father is unique in a business governed by algorithm, merchandizing, profit margins, and the vicissitudes of political expediency. We shall not see their like again.

If you’re interested in some gossip about all of this, here’s a piece at the Daily Mail that claims to have scuttlebutt provided by an Amazon insider. For a more sober consideration of what all this means, pro and con, than what you’ll pick up from screechy YouTubers, I recommend this piece at IGN. And for an underrated former Bond’s opinion, let me conclude with a bit of Timothy Dalton’s reaction:

The movies have taken different courses over the years, but there is something very good about the original and I hope Amazon latch onto that and give us the kind of film that’s brought so much excitement and fun to so many people. . . . Anyway, good luck to them.