Theo of Golden

An elderly Portuguese man arrives in a picturesque Georgia college town. He is cultured, courteous, friendly but meditative, and clearly independently wealthy. Taken with the pencil portraits hanging in a coffee shop along the downtown thoroughfare, he buys them up in batches, finds the subjects one by one—janitors, accountants, musicians, a homeless woman—and gifts them to them, soliciting their life stories and changing a few lives along the way. And he has secrets, several of them.

The old man is Theo, the town, closely based on Columbus, is Golden, and his “bestowals” of the portraits to the people of the city are the story of Theo of Golden, the runaway word-of-mouth bestseller of the last year.

Theo of Golden the novel has, like some other famous books, become entangled with its publication history. Its author, Allen Levi, a musician and former judge from Georgia, self-published the book several years ago. Its reputation grew slowly thanks to the praise from readers who loved it and exponentially increasing word-of-mouth sales. I first heard of it last year at GJ Ford, our favorite local bookstore in St Simons Island, where the owner urged my wife to read it—and this was before it had been picked up by a traditional publisher. By the last time I checked a few weeks ago, it had sold millions of copies. Millions. This is one of the great self-publishing success stories, and I’m genuinely glad for Levi.

And I’m also glad to say it’s enjoyable. Theo is a well-drawn character and the story’s hook, the “bestowals” of local artist Asher Glissen’s portraits, is intriguing. Levi evokes the thriving New South town, with its shaded riverwalk, tree-lined main street, and seasonal rhythms built around tourism and college semesters with precision and affection. The story, with its emphasis on art, loss, family, faith, and redemption, aims to uplift and inspire.

That surely accounts for the book’s success. In a field crowded with trauma and grievance and general self-absorption, a book about living for others and bringing beauty into darkness has met a need the traditional publishers didn’t even know was there.

As soon as I finished reading it to my wife last week I set the book aside and, even through the drowsiness our bedtime reading is supposed to ease us into, we mulled over what we thought of it for probably twenty minutes. I’m thrilled for Levi’s success, did not mind reading it, and recognize why people love it, but it’s good, not great. Theo of Golden—enjoyable, uplifting, gentle to a fault—is fine. What my wife and I were trying to figure out is exactly why that is.

Whatever criticisms I have come from liking the book and seeing how it could have been better, not hating it. But even before finishing the book I saw a few savage negative reviews, perhaps the beginning of the kind of backlash all such successes provoke. I want to start with those, because I found the most negative reviews the most wrongheaded and oblivious to what keeps Theo of Golden from greatness.

First, Theo of Golden is not terribly written. I was prepared for that, self-publishing being what it is, but Levi’s straightforward, mostly unadorned style is perfectly clear and readable and better than plenty of traditionally published books I’ve read. There are none of the usual tells for amateur fiction: no bad strings of adverbs, clunky overreliance on participle phrases, embarrassing dialogue tags, or spatially incomprehensible descriptions of settings. Even the rare passages that strain themselves reaching toward lyricism fail not out of tastelessness but in overreach. He’s not Evelyn Waugh, but no one was asking him to be.

Then there’s hyperbole. Theo of Golden is not—cannot be—the worst book anyone has read in twenty years. (This writer also thinks there’s only one black character in Theo of Golden. I’m not sure why that would be a mark against it in the first place, but while Levi isn’t explicit about most of the characters’ races there are at least five black characters, including two of the core group that grows up around Theo. Pay attention, even to books you hate.)

Then there are matters of taste. I’ve seen reviews calling it predictable, its final revelations about Theo and his mission obvious. I didn’t find it so, though my wife guessed Theo’s identity about a quarter of the way through. Others objected to the novel’s Christian themes, but that is not an artistic critique and changing or omitting those themes would have gutted the book.

I hate to see a book criticized for bad reasons—or even praised for the wrong reasons—so I decided to review Theo of Golden out of a desire to defend it. But I also wanted to sort out exactly what I think doesn’t work in the book. Potential spoilers ahead.

The fairest criticisms I’ve seen are that Theo of Golden’s characters are too thin and the whole book is too sentimental. These two problems are linked, but one is more serious than the other.

I want to point out that not all of the characters are thin or flat. A number of the major characters who become Theo’s friends are well-realized, the best—or at least my favorite—being Tony, the bitter old Vietnam vet who owns the downtown bookstore. A wry skeptic, his talks with Theo deepen realistically from banter to heart-to-heart vulnerability, and he follows a subtle but believable arc prompted by their friendship. A late chapter in which Theo and Tony share a bottle of port may be the best in the book.

Other characters are less rounded, but that’s normal. Novels concentrate on a central set of major characters with side characters of diminishing importance and complexity. In all his cast, Levi only gives us one bad character: Pearce, Asher Glissen’s younger brother and the father of a young professional who receives one of Theo’s first gifts. Pearce is a caricature of a selfish businessman—loud, rude, constantly glued to his phone. He stands out among Levi’s cast because the others, if not complex, are believable and recognizable types.

No, Theo of Golden’s most serious fault is its sentimentalism. I don’t mind the sentimental myself, Lord knows, but sentimentalism weakens this novel in two interrelated ways.

First, by trying too hard to tug at the reader’s heartstrings. Another of Theo’s early bestowals goes to Kendrick. See if you can feel the point at which his situation starts to feel manipulative: Kendrick is a janitor at the local university and a young single father, his wife having been killed in a car accident that also injured their daughter, a faultless angel who is only ever sweet and who may be permanently disabled if she cannot get a necessary surgery soon. In case that’s not enough, we learn later that the car accident was caused by an illegal immigrant, and Kendrick, who must testify at the man’s sentencing, asks Theo for advice. It turns out the immigrant was only in Georgia illegally because his daughter in the US was in the hospital with cancer. Kendrick sees himself in the man and asks the judge for leniency.

Or consider Ellen, the middle aged homeless woman Theo befriends. She has a non-specific mental problem, sleeps under a bridge, and obsesses over her bicycle, which she refuses to let out of her sight, even in church. She is also a bookworm and—almost unconsciously—peppers her conversation with quotations and literary namedrops. Theo learns that, decades before, she had given birth in South Carolina and had her baby taken away by the state. You can probably guess what the end of her arc is.

Both of these situations present a lot of dramatic potential, only some of which is followed through on. In Kendrick’s case, the sentimentalism extends not only to himself but to the illegal immigrant who killed his wife. Of course Kendrick will forgive him. This is supposed to be a moment of grace, but Levi makes the man so sympathetic and pitiful that it becomes easy for Kendrick to forgive him. Imagine if, instead of an illegal immigrant with a cancer-stricken daughter, a local white trash boy high on meth had caused the accident. If grace means anything, it means forgiving the undeserving, but that’s not the situation Theo of Golden invites us into.

Similarly, Ellen is only ever a lovable eccentric. Her bicycle and her quotations and her sudden lurches in conversational topic are the severest symptoms of her illness. Levi gives her none of the off-putting, difficult, even dangerous qualities of real homeless and mentally ill people; she is simply there to be funny and affecting and to jerk tears with her backstory.

On a number of occasions I called this “overegging the pudding” or “laying it on too thick,” and this is nowhere more obvious than in the novel’s Calvary moment. (Again, spoiler warning.) Theo, awake with insomnia after a triumphant concert by the young cellist he has taken under his wing, hears Ellen being attacked outside by drunk college students. They steal her kooky hat and try to throw her bicycle in the fountain where Theo has carried out his bestowals. The cellist comes to the rescue, but the college boys beat him, smash his cello, and break his hand. Theo, distraught, trying to get their attention from the balcony of his apartment, falls to his death.

It is both moving and simply too much. Just as Kendrick’s situation would be more compelling if it were harder for him to forgive—a scenario we’d all be more likely to encounter—Ellen’s victimization would be more moving if she had proven harder to love, if Theo and everyone else had had to struggle more to bring her into their lives, and if Simone the cellist weren’t so carefully, icily calculated a victim, too.

That’s my biggest problem with Theo of Golden. I’ve dwelt on these subtle but fundamental flaws, but it is a good read and worthy of its success. I do not begrudge anyone their enjoyment of it the way I would a book by Dan Brown or the latest scummy romantasy, and I’ll certainly read the next book Levi writes. This is a smooth and easy read, vividly imagined, peopled with mostly believable and recognizable characters, emotionally involving, and, as Nadya Williams argues here, beautifully dramatizes the way mere mortals can help each other grow in saintliness simply by loving God and each other. But, as I wrote above, it’s gentle to a fault, and if it were to challenge a bit more than it endears, it would make its point much more powerfully.

Summer reading 2026

The last few weeks have been maddeningly hot and busy, so the descriptions in the fully assembled reading list below may be a bit more laconic than usual, but I had a very good summer of reading and am excited to share the best of it. I hope y’all will find something good here to read this fall or winter.

For the purposes of this post, “summer” begins with my summer in-service in early May and ends today, Labor Day. As usual, audiobook “reads” are marked with an asterisk.

Favorite fiction

The Inklings Detective Agency, by John R Kelly—The Inklings, an informal club of Christian literary scholars at Oxford including, most famously, CS Lewis, JRR Tolkien, and Owen Barfield but with many other, less appreciated members like Hugo Dyson, Nevill Coghill, Adam Fox, and Warren “Warnie” Lewis, are approached by a famous benefactor, a man long thought dead who asks them to solve a series of murders. A fun gothic mystery studded with literary stars like Dorothy Sayers and, in a cameo, GK Chesterton, the story is satisfying and the way Kelly evokes the world and personalities of the Inklings is wonderful. Full review on the blog here.

Watcher in the Shadows, by Geoffrey Household—An obscure zoologist living in rural England finds himself the target of an obsessive but careful murderer. Both have secrets. A gripping and surprising thriller, one of my favorites yet from Household. Full review here.

The Director, by Daniel Kehlmann, trans. Ross Benjamin—A fictionalized portrait of the great German film director GW Pabst who, after coming up in the early days of silent film and pioneering modern film editing, made acclaimed Weimar-era movies. When the novel begins, Pabst is working in Hollywood, misunderstood and frustrated. He ends up back in Germany just in time for the Second World War to begin, trapping him geographically. He also finds himself trapped artistically, convinced, through a combination of coaxing, flattery, and intimidation, to produce films under the Nazi aegis. Pabst, an anti-Nazi, tells himself is he not making propaganda for the regime, but his artistic singlemindedness rather than his ideology gradually compromises him. A brisk but rich novel with an incredibly dramatic climax—Pabst desperately shooting and cutting a movie in Prague as the Soviets take the city—and a complicated picture of a complicated situation. Likely my favorite novel this summer and one I had hoped to write a full review of here but, alas, I could not make time.

Bad Actors, by Mick Herron—Another solid entry in the Slough House series, with some nicely interwoven plots and good teamwork from a surprising pair of characters. The original protagonist, River Cartwright, is offstage for the entirety of this one but apparently returns in the most recent installment, which came out in paperback last month. Looking forward to it.

At Home in Mitford, by Jan Karon—Portraits and incidents in the life of an aging smalltown priest. Not the kind of book I’d have ever picked up on my own, but when we finished our previous bedtime reading my wife asked me to read this: and it was wonderful. Fun, funny, peopled with charming and recognizable characters and set in a sharply observed Southern mountain town, it was also not infrequently moving. And in keeping with its main character’s vocation, the occasional meditations on Scripture and the faith were always surprisingly well-timed for me.

I, Ripper, by Stephen Hunter—A meticulously researched picture of late Victorian London and the events of the Whitechapel Murders, fused with an ably plotted and surprising thriller. Grim but engrossing. Full review on the blog here.

A Farewell to Arms, by Ernest Hemingway—A powerful novel, full of irony and pathos and regret, and a classic of modern literature. I hated A Farewell to Arms when I read it in high school but, over time, decided that I might have missed something. I finally revisited it this summer and found that, yes, the problem was me—namely seventeen-year old me. A reflection on revisiting the book after a quarter-century here.

Special mentions

Galahad and the Grail, by Malcolm Guite, illustrated by Stephen Crotts—A birthday gift from my wife, who correctly intuited that it was right up my alley. This is the first (but chronologically third) volume in Merlin’s Isle, a four-book cycle of ballads based on King Arthur by Malcolm Guite. The story, which fuses and expands upon several medieval versions of the Grail quest, is epic-length but told in ballad stanzas that can be read silently or aloud to great effect, and the illustrations are magnificent. Guite follows more of the later Arthur traditions in reducing the role of Sir Perceval, in whose story the Grail first appeared, but the end result is still great. Beautiful through and through. Looking forward to the second book (chronologically the first), The Coming of Arthur, which is due out this fall and my wife preordered as part of my birthday.

The Odyssey, by Homer, a graphic novel adaptation by Gareth Hinds—Marvelous artwork and a respectful approach to Homer’s story distinguish Hinds’s adaptation from many other retellings. Even as a comic book, Homer’s power shows clearly.

Vita Nuova, by Dante, trans. Joseph Luzzi—A solid, readable new translation of Dante’s first book, beautifully designed and printed by Liveright. For whatever reason, despite loving the Comedy and reading and rereading it many times, I’ve always struggled with La Vita Nuova. I had no problem this time.

Favorite non-fiction

The Medium is the Massage: An Inventory of Effects, by Marshall McLuhan, designed by Quentin Fiore—Brisk, enjoyable, insightful, and prescient. McLuhan, extrapolating from his understanding of the mode of communication mattering more than what is communicated and from the history of such modes leading up to his time (1967), more or less predicts the re-barbarization of culture, the collapse of linear thinking and communication under the influence of interconnected information like the internet, and even self-publishing accessible to everyone. An important work that, given its loop-the-loop structure and sometimes jarring mid-century collage style (which, to be honest, hasn’t dated well), demands a reread soon.

American Patriarch: The Life of George Washington, by HW Brands—A solid new biography making extensive use of primary source quotations. Perhaps too much—there were a few times I wished Brands would simply summarize and comment upon events. But getting the words of the participants themselves is always valuable, and Brands’s approach to his subjects is largely descriptive, allowing the reader to see the people of Washington’s world as they saw and talked about themselves—a charitable and all too rare approach. The one thing that has most consistently challenged my Tory attitude toward the Revolution is Washington’s personal character, which Brands allows to shine. I find I admire Washington most before his presidency, when he allowed the baleful influence of Hamilton to warp the entire forward trajectory of the country. Brands’s brief conclusion, in which he sums Washington up as a man of a lost age who, through his peculiar strength of character and old-world virtues, ushered in a new world, is surprising but certainly right. Washington, for better or worse, helped create a country that would eventually prove unable to create men like him.

Man-Eaters of Kumaon, by Jim Corbett*—My favorite non-fiction of the summer. Corbett, a big game hunter and conservationist who lived most of his life in British India, retells the stories of man-eating tigers and leopards and what it took to stop them. Moving, dramatic, and exciting. Full review on the blog here.

Chaucer, by Peter Ackroyd*—One of a series of short biographies by Ackroyd (another is his Poe: A Life Cut Short, which is excellent), Chaucer offers a good portrait of the poet’s life and work. Ackroyd pays particular attention to Chaucer’s connections to London (including the detail, which I somehow didn’t know, that Wat Tyler’s rebels entered London through the gate above which Chaucer and his family were living in 1381) and the strengths and influence of his work. I listened to this on a long drive and would very much like to revisit it in print soon.

Thomas More: A Very Short Introduction, by Peter Marshall—A readable succinct overview of More’s life and work—as lawyer, philosopher, writer, and politician. Marshall is especially helpful on Utopia, a book whose meaning and seriousness I’ve never been able to settle on, and the more controversial episodes of More’s career. And as much as I love A Man for All Seasons, Marshall also quite rightly pushes back on Robert Bolt’s admirable but foreshortened version of More, aiming to present more of the man rather than the seasons. With Cicero: A Very Short Introduction, which I read back at the beginning of the year, that’s two excellent little books on principled but doomed lawyers this year.

Athens and Sparta: The Rivalry that Shaped Ancient Greece, by Adrian Goldsworthy—A sort of prequel to Goldsworthy’s Philip and Alexander, this book begins in the Mycenaean Era, tracing the development Athens and Sparta both as poleis with distinct cultures and institutions and as rivals in prestige and military power. Goldsworthy notes that most of what we know about Sparta comes from outsiders and is correspondingly careful in his analysis and judgments but without chucking all of the evidence as fiction the way some postmodern classicists do. The chapters on Athenian politics, the Persian Wars, and especially the two stages of the Peloponnesian War—which Goldsworthy, contra Thucydides, presents as the result of a two-way contest in status and prestige, all Greeks being keen to be seen as excellent—are clear, vivid, and appropriately dramatic. I especially appreciated Goldsworthy’s emphasis on contingency and the role of culture—nothing in this book was inevitable, and what finally drove Athens and Sparta into a destructive cycle of warring was not actually how different they were from each other but what they had in common.

Tame Your Thoughts: Three Tools to Transform Your Mind and Renew Your Life, by Max Lucado*—A simple book about worry, intrusive thoughts, and other problems. Lucado’s emphasis on rebutting untruth with truth and recognizing how the worrier gets caught up in false narratives of his own creation is especially helpful. The second half’s thematic chapters offer more more focused guidance on specific problems.

Nemesis: Medieval England’s Greatest Enemy, by Catherine Hanley—A biography of Philip II Augustus, King of France for forty-three years, as seen through his decades of conflict with four Plantagenet kings of England—Henry II, Richard the Lionheart, John, and Henry III. The focus is primarily political and strategic, though Hanley does a good job of bringing personality and culture into her pictures of all the major players. An extremely helpful book; though I have been long familiar with most of this story I had always learned and studied it from the Plantagenet perspective, and Hanley’s portrait of Philip as both a cunning and politically adept manipulator—a well-established image—and a king willing to master the hard work of siegecraft and take the field with the army was a revelation.

John Buchan June

With this fifth John Buchan June, I’ve finally exhausted the supply of Buchan novels and dipped a little further into his body of biography. A solid set of more obscure works. John Buchan June will return next year, but in what form I’m not yet sure. In the meantime, all reviews are linked below:

• Augustus (1937)

• The Half-Hearted (1900)

• The Magic Walking Stick (1932)

• A Lodge in the Wilderness (1906)

• The Thirty-Nine Steps (1915)

• The Long Traverse (1941)

• Sir Quixote of the Moors (1895)

It’s hard to name overall favorites with such an eclectic batch. The Half-Hearted represents some good early Buchan adventuring and Buchan’s two children’s novels, The Magic Walking Stick and the unfinished, posthumously published The Long Traverse, were both imaginative and fun. Probably the best book—considered as a book—was Augustus, an excellent and insightful biography that’s still worthwhile almost ninety years later, but I think I enjoyed The Magic Walking Stick most. Check out the reviews above!

Favorite kids’ books

The Wind in the Willows, by Kenneth Grahame—I read this aloud to the kids before bed over several weeks. I may have read excerpts in high school Lit but, if so, I didn’t remember a thing. The hype is real. The Wind in the Willows is a pure delight: beautifully written, strange and surprising, and funny throughout. I hesitated to class this under “kids’ books” but if there’s a children’s literature canon this would certainly be an important part of it, and rightly so. Brief reflection on how Grahame uses his fun, well-realized characters to introduce what in a lesser book might be called a plot contrivance here.

The Cow in the Dark at Night, by Jess Hannigan—An oblivious cow decides to stay awake all night to see what all the fuss is about and meets some interesting “night people” on her adventure. I can’t give anything else away—go into this book as cold as you can. It’s a hoot. A fun read-aloud for both adults and kids; I read this first to my wife after I picked it up at the library, then to our two older boys, and finally to our daughter, and all of them laughed out loud more than once.

Rereads

• La Vita Nuova, by Dante, trans. Joseph Luzzi

• A Farewell to Arms, by Ernest Hemingway

• Vincent Can’t Sleep: Van Gogh Paints the Night Sky, by Barb Rosenstock, illustrated by Mary GrandPré—Brief personal reflection on what this book has meant to me after a terrible bout of insomnia earlier this year here.

• The Thirty-Nine Steps, by John Buchan—Reread for the first time since the first John Buchan June for an interview on The Wade Show with Wade, available here.

• Fahrenheit 451, by Ray Bradbury—Short reflection on the book’s most accurate and realistic “prediction” here.

Looking ahead

Having reread a couple books from high school—one I hated, one I loved—to see how they’ve held up, I’m doing the same with The Guns of Navarone, the basis of one of my favorite movies but a novel I found disappointing twenty-five years ago. After deliberately trying to read some of the good history I’ve had on standby near the end of the summer I plan to read more this fall, and hope to take a crack at a second Chestertober after a year without. And of course I will read fiction. I plan to leaven the last couple years’ steady diet of spy novels and classic thrillers with some bookish novels—literature about literature.

I have big plans. I hope y’all will be here for it. In the meantime, thanks as always for reading!

Fahrenheit 451’s most accurate prediction

Having just read a book I hated in high school and found it, as an adult, a masterpiece, I decided to revisit a book I loved in high school but certainly haven’t read in more than twenty years: Fahrenheit 451. To be brief, it holds up.

Not to be brief, it is a commonplace of literary conversation to pit rival dystopias against each other. The two most frequent combatants are Orwell’s Nineteen Eighty-Four and Huxley’s Brave New World. Questions of literary quality aside, people debate which of the two better predicted the present. Leaving aside as well that “the present” is a moving target and neither author really intended to predict anything, Orwell is usually praised for imagining the modern surveillance state and its dog-eat-dog culture of denunciation and ideological purity and Huxley for his vision of a technocratic, efficiency-obsessed state that placates the masses with entertainment, psychoactive drugs, and hedonism and—in starkest contrast to Orwell—for depicting the oppression of his dystopia as self-imposed, even embraced.

I happen to agree that Huxley’s insight into the willingness of the masses to be oppressed as long as they can enjoy themselves marks Brave New World as more likely than Nineteen Eighty-Four, if not a better novel. But I think even Huxley misses a piece of the dystopian picture that Bradbury nails in Fahrenheit 451.

First, note that Fahrenheit 451, per Bradbury himself, is “not about censorship” but “the moronic influence of popular culture through local TV news and the proliferation of giant screens.”

Bradbury’s book aligns with Orwell’s in the mobilization of the masses as part of a program of surveillance—the scene in which a news program orders everyone in a neighborhood to look outside at the same time in an attempt to catch Montag and the people robotically obey is chilling, one of the most memorable in the novel—and with Huxley’s in the self-imposed nature of that surveillance. Rather than monitor everyone, all the time, the unseen, unnamed authorities who dispatch the firemen rely on informers. Why would people go along with that, especially as enthusiastically as the informants in the novel do?

Because they don’t want to be bothered, upset, or offended. Bradbury makes this point several times. Literature goes away because it’s too challenging, people are too likely to read things that upset them, and when they drift instead to easy, bland, mass-produced visual entertainment the government doesn’t even have to ban books, the people simply stop reading them—all except a few weirdos whom it is easy to crush as dangers to placid minds of the compliant.

But the most accurate, realistic detail of the entire Fahrenheit 451 scenario is not the surveillance or the ease with which the public can be offended or even how easily they can be manipulated, but just how embarrassingly tawdry the people’s entertainment is. Huxley imagines a world in which people have given up freedom—even the freedom to make their own families—for drugs and orgies. Bradbury correctly intuits that people will sell their freedom much more cheaply. The people of Fahrenheit 451 want interactive daytime TV, nonstop music piped directly into their ears, constant affirmation, and the biggest, brightest, most immersive screens possible. Then they sit there, existing.

If you want an eerily accurate prediction from one of these books, the zoned-out, enervated, and completely empty minds of Mildred and her friends—who even, based on the question “Did you see that Clara Dove five-minute romance last night?” enjoy short-form video content!—should meet all requirements.

Montag’s wife Mildred is pathetic not because she is unfree and infuriating not because she rats Montag out, but because she has bargained away her soul for a mess of pottage. Less than that, actually—pottage would at least be nourishing.

Toad ex machina

For the last couple months I’ve been slowly reading The Wind in the Willows to the kids before bedtime. Last night we finished the penultimate chapter, in which Toad, having escaped from prison and reached Rat’s riverbank hole after a madcap cross-country chase in disguise, learns that Toad Hall has been taken over by the stoats and weasels who live in the woods. They’re living off the fat of Toad’s patrimony and wrecking his house, and, what is more, have guards posted and regular patrols around the perimeter of the property.

Rat and Badger rule out a direct attack. The stoats on guard duty will warn the weasels, who will be ready and waiting—provided Toad and company ever get past the guards. Despite Rat’s passion for weaponry of all kinds, they’re outnumbered and outgunned by opponents who have no scruples. How will they ever get in and reclaim Toad Hall?

Then we read this exchange and revelation:

“Then it’s all over,” sobbed the Toad, crying into the sofa cushions. “I shall go and enlist for a soldier, and never see my dear Toad Hall any more!”

“Come, cheer up, Toady!” said the Badger. “There are more ways of getting back a place than taking it by storm. I haven’t said my last word yet. Now I’m going to tell you a great secret.”

Toad sat up slowly and dried his eyes. Secrets had an immense attraction for him, because he never could keep one, and he enjoyed the sort of unhallowed thrill he experienced when he went and told another animal, after having faithfully promised not to.

“There—is—an—underground—passage,” said the Badger, impressively, “that leads from the river-bank, quite near here, right up into the middle of Toad Hall.”

“O, nonsense! Badger,” said Toad, rather airily. “You’ve been listening to some of the yarns they spin in the public-houses about here. I know every inch of Toad Hall, inside and out. Nothing of the sort, I do assure you!”

“My young friend,” said the Badger, with great severity, “your father, who was a worthy animal—a lot worthier than some others I know—was a particular friend of mine, and told me a great deal he wouldn’t have dreamt of telling you. He discovered that passage—he didn’t make it, of course; that was done hundreds of years before he ever came to live there—and he repaired it and cleaned it out, because he thought it might come in useful some day, in case of trouble or danger; and he showed it to me. ‘Don’t let my son know about it,’ he said. ‘He’s a good boy, but very light and volatile in character, and simply cannot hold his tongue. If he’s ever in a real fix, and it would be of use to him, you may tell him about the secret passage; but not before.’”

Now for an odd comparison:

One of the great weaknesses of Ready Player One is that every time narrator Wade Watts meets some hitherto unprecedented challenge, something that should pose a problem and complicate his quest, he waves dismissively to the reader and lets us know he actually mastered whatever skill is required to complete it—playing an obscure arcade game, watching every episode of some trash 80s sitcom multiple times, memorizing every line of Monty Python and the Holy Grail—ages ago. No biggie. Very convenient.

Wade has a stash of knowledge and skills he only mentions once it becomes relevant. Ordinarily something like this should be set up or at least mentioned beforehand, as in a fair-play mystery. (Contrast this with the best Harry Potter novel, The Prisoner of Azkaban, in which Rowling performs dazzling sleight-of-plot with all but a few key elements plainly visible from the beginning.) What Ready Player One does is not exactly deus ex machina, but it feels both contrived and lazy and it’s all too common in bad fiction.

Badger’s revelation in Wind in the Willows, on the other hand, which similarly introduces a solution to a thorny problem just as it seems impossible, works. It works because the way the information is revealed is rooted in the characters. We know Toad all too well by this chapter—of course if there were a secret passage no one would tell him. And we know Badger both through his actions and his reputation among the other animals—of course if there were a secret passage he would be the best person to trust with the secret. It feels natural and therefore credible not because the secret passage was set up beforehand, but because of what we have seen of the characters all the way through.

The other animals looked hard at Toad to see how he would take it. Toad was inclined to be sulky at first; but he brightened up immediately, like the good fellow he was.

“Well, well,” he said; “perhaps I am a bit of a talker. A popular fellow such as I am—my friends get round me—we chaff, we sparkle, we tell witty stories—and somehow my tongue gets wagging. I have the gift of conversation. I’ve been told I ought to have a salon, whatever that may be. Never mind. Go on, Badger. How’s this passage of yours going to help us?”

That Kenneth Grahame is able to get some laughs—again, rooted in character—out of this plot point is just the icing on the cake.

A weird, unique, brilliant, funny, and fun little novel, and so much better written and plotted than a lot of fiction today. (This climactic section is also quite consciously modeled on the Odyssey, something even my kids picked up on. Perhaps material for a future post.) I’m glad I’m finally reading it and hope to finish it tonight.

“Disproving” Lord of the Flies

I’m not sure how many people would say William Golding’s Lord of the Flies is one of their “favorite” novels, but its persistence on school reading lists and its resulting popular familiarity has given it a lot of influence. It has also attracted criticism, especially from those who, in our sentimental age, find it too “depressing” or “pessimistic.” The deeper critics will sometimes invoke a Rousseauian image of man as “basically good” and condemn Golding for his refusal to acknowledge this. I don’t have much to say in response to this; whether you believe in original sin or not, if you can’t see the potential in yourself to succumb to Lord of the Flies-like pressures, Golding’s book is the medicine you need.

A popular recent line of critique I’ve seen—especially on social media—is that a real-life incident from shortly after the book’s publication “disproves” or shows it to be unrealistic. In 1965, six Tongan schoolboys ran away from their boarding school in a stolen boat and, after being stranded on a desert island, lived fifteen months. They cooperated in finding food and shelter, established orderly routines, and, when finally discovered by a passing Australian fisherman, were in good health and high spirits.

I first recall seeing this argument around the time this Guardian piece came out in May 2020 (rough timing for someone flogging a “hopeful” history of mankind), but it comes up in cycles on Substack. It is usually presented as decisive, a gotcha for Golding and all the doomers who like his novel or at least found it compelling food for thought.

This is a weak argument and a poor comparison. The situation of the Tongan castaways is only superficially similar to Golding’s scenario—basically the only parallels are the school-age boys on an uninhabited Pacific island. The scale and circumstances are fundamentally different.

Consider: in the real-life incident, six teenage boys from similar backgrounds who were already friends planned and voluntarily ran away from their school. They brought preexisting community and shared goals to the island with them. Both collaboration and negotiation occurred at the level of intimate friendship.

In Lord of the Flies, dozens of boys, only some of whom actually know each other, are thrown together by happenstance when their plane is brought down in an apparent nuclear war. Their ages vary much more, they come from different backgrounds—the class and regional difference evinced by Piggy’s pronunciation of asthma is a significant repeated joke—and the only bonds they share are either created deliberately after the crash, as in the friendship of Ralph and Piggy or the entire community itself, or small preexisting cliques, like Jack and his crew of choirboys. Loyalty to these groups has to be subordinated to the whole, competing interests debated and judged, and peace maintained between strangers and enemies.

Golding is quite clearly concerned with the artificiality of society, which, to rise above the level of a mere organic group of friends, must combine and coordinate multiple such groups. The island setting is both a spoof of Victorian Robinsonades, novels in which decent chaps effortlessly remake civilization on remote islands, and a jab at the Enlightenment “state of nature” idea that undergirded them—and modern optimistic critics of the novel.

There may be legitimate lines of criticism to explore regarding Lord of the Flies—although not regarding its craft or magnificent science-fiction atmosphere—or the philosophical assumptions and worldview Golding expresses in it, but this isn’t one. The real-life Tongan boys’ adventure, as fascinating and dramatic as it is, bears more similarity to Huckleberry Finn than Lord of the Flies.

Sandbrook and Syrett sing Buchan’s praises

I’ve greatly enjoyed The Rest is History’s spinoff show, The Book Club, and the fun but in-depth discussions of its hosts, Dominic Sandbrook and Tabby Syrett, ever since it launched with a great discussion of The Hobbit. I wrote about that here. I haven’t caught every episode, skipping some, like The Secret History, to avoid even the possibility of spoilers for books I hope to read soon, but the quality of their conversation has not diminished in the ten months since it began.

A few weeks ago they mentioned that The Thirty-Nine Steps was coming up in their schedule. This caught my attention for obvious reasons. I was excited to hear their discussion, but also a bit hesitant. Three years ago Sandbrook’s narrative of interwar Britain, in which he had used Buchan as a byword for anti-Semitic conspiracism, had provoked what has been a consistently popular post, “Was John Buchan an anti-Semite?”

I have no idea if anyone at The Rest is History has ever seen that post but thousands of other people with the same question have found it through Google. I also had it firsthand from a connection in the UK that someone with much more authority in the subject than I had talked to Sandbrook about the anti-Semitism accusation in person. Would this old slander come up on The Book Club? How would they address it? Would they clear Buchan’s name?

Yes. The episode dropped last night, and I’m thrilled to say it’s one of their best. Dominic and Tabby’s conversation about The Thirty-Nine Steps is wonderful and fair, noting its narrative strengths, especially its breathless pacing and beautiful nature writing, and its innovative model, emulated by everything from James Bond to Jason Bourne—one of the examples of the “high-tech pursuit” I used in my recent discussion of the same with Wade Stotts. They justifiably point out its few minor flaws, such as the rushed, last-page climactic action. (I well remember rereading the final paragraphs the first time I read it, trying to divine precisely what had happened.)

As usual, Dominic and Tabby also do a great job putting the book in its historical context, explaining what The Thirty-Nine Steps has in common with the detective story and invasion literature as well as the ways it diverged from these and what has kept it popular, exciting, and influential when ever since.

But their discussion of Buchan the man is also stellar, paying proper tribute to one of the rare genuinely good men among popular authors. It’s a great quick overview of his life up to the First World War, his amazingly varied career, his views on writing, war, and the Empire, and his personal virtues, not least his fairmindedness and generosity.

Crucially, Dominic acknowledges twice that he was wrong about Buchan and corrects the record on Buchan’s supposed anti-Semitism. He points out that Scudder, the ill-fated journalist whose death kicks off The Thirty-Nine Steps’ chase, turns out to be wrong about his Jewish conspiracy, that this was a great narrative trick Buchan pulls on the reader, as well as the fact that Buchan himself was a Zionist and friend to Jews at a time it wasn’t advantageous to be. (The more things change…)

As my wife pointed out, it’s refreshing to hear of someone correcting themselves and owning up to it. I’ve always liked Sandbrook anyway but this speaks especially well of him.

A great episode on a great book. Tabby mentioned her love of Witch Wood, another of my favorite Buchan novels. Maybe we’ll get an episode on that somewhere down the road. I’d love to hear that. In the meantime, definitely check out The Book Club—I’ve embedded this week’s episode in its YouTube format above—as well as the new Book Club Notes newsletter they announced at the end of the episode.

I, Ripper

The scene of the crime in Jack the Ripper’s five “canonical” murders

I’ll begin this review with a caution—Stephen Hunter’s I, Ripper is thrilling entertainment but not for the faint of heart. Hunter himself noted, at a booksigning at the time of the book’s release in 2015, that he was concerned about the novel’s violence when he submitted the first chapters to his editor. Her response: “Why don’t you move the violence to the front and really start the book off with a bang?”

He did, and it does. Be warned.

Jack the Ripper killed five women—that we are certain of—in the fall of 1888. All of the victims were occasional or professional prostitutes and most of them were alcoholics who spent the money they earned from their johns—thruppence at a time—on gin and, occasionally, one night in a rented bed in a dosshouse. Whitechapel teemed with such as well as recent immigrants from Ireland, Scandinavia, and Eastern Europe—the latter of which included lots of Jews, political radicals, and Jewish political radicals, all on the run from Tsarist persecution—and a constantly changing mob of sailors and industrial workers. The district’s dense network of shops and rowhouses and unlighted maze of small streets and alleys hummed with activity even during the night, as workers walked to or from late shifts at slaughterhouses and factories and the docks and upper class types went slumming in the pubs or, perhaps, looking for a “judy.”

From the first page, in which Jack, as yet unnamed but in his own voice—a found diary—cuts the throat of his first victim, Hunter evokes the jungly tumult and grime of this world brilliantly. I, Ripper’s authentic atmosphere is one of its greatest strengths.

Another is its structure. Telling the story in alternating chapters of Jack’s diary and a 1912 memoir by Jeb, an Irish reporter working under a penname for the Star, a London tabloid, Hunter pits the two against each other as initially unwitting foes. Jack, roaming Whitechapel and brutalizing the lone prostitutes, is driven by some unexplained mission. Jeb, ambitious and cold by his own admission, breaks crucial news about the first murders and starts to make a name for himself.

Jack, not insane but monstrous, is mysterious only in the sense that we hope to learn who he is and why he is doing this. Jeb is a more complicated creature. He realizes he is taking advantage of Jack’s crimes—and his mutilated victims—to build up his own reputation as a writer but genuinely believes in reporting the facts and castigates himself when lured into helping fake the letter that coins the killer’s name. A fellow reporter on the Star, an American, routinely speculates in print and fixates on anti-Semitic theories early on in the crime spree. Jeb worries that his reporting may cause vigilantism or—if his colleague has his way—pogroms.

Just as he develops qualms about his work, Jeb meets Professor Dare. A linguist and an advocate of what might later be called psychological conditioning, Dare offers to share his theory about Jack with Jeb—the killer is dyslexic, and has experience in the remote reaches of Afghanistan, where the women of the tribes disembowel prisoners in exactly the manner Jack does. Find a man matching this description—they decide to call it a “profile”—and they find Jack.

Added to his ambition and his unquiet desire to report accurately and responsibly, Jeb takes on detective work. This will place him on a path to a final collision with Jack the Ripper himself.

I don’t think I can reveal more without giving away too much. I, Ripper’s fictional plot, elegantly interlaced in the imagined diary of Jack and the memoir of Jeb—who turns out to be a real person with a famous name that I don’t want to give away—is solidly constructed and resolves in several good twists, some with surprisingly literary implications. It is one of this grim, gory book’s great enjoyments.

But only one. Another is Hunter’s imagining of the rumbustious world of London journalism. The former movie critic for the Washington Post, his Star newsroom and its combination of jocularity and callousness feels utterly real. A standout chapter is that in which Jeb, goaded into it by his editor and a colleague, forges the first and most famous Jack the Ripper letter. The calculated poetry of the letter and the group effort to get it notoriety is entertaining, convincing—the “Dear Boss” letter has been suspected of fakery since it appeared, but I had never considered its artistic and linguistic character before—and revealing.

“Newspapers,” Jack muses about halfway through. “What’s the point of existing if you’re always going to get everything so wrong?”

That’s the fictional side of I, Ripper. Another pleasure of the book is Hunter’s attention to the actual facts of the Jack the Ripper case. I’ve mentioned his vivid recreation of the grungy, bestial world of Whitechapel—which is not quite on the same level of depravity as a James Ellroy novel but might still leave you wanting to take a shower—but the crimes, the crime scenes, the victims, and many of the other real people involved are painstakingly imagined without the stiff, lifeless effect of some similarly detailed historical novels. The historical figures have personality, living and breathing as convincingly as the fictional characters.

This is especially important in the case of the victims. Hunter doesn’t soft-pedal their lifestyles or recast them as somehow noble, and yet, though staggering drunk, winkingly offering mortal sin to the passerby, or both at the same time, they feel like real people and worthy of sympathy. Their encounters with Jack evoke dread and pity and his treatment of them as objects, mere matter to be parted and manipulated for his own ends, seems more monstrous as a result.

Hunter committed himself to changing as few known historical details as possible, working around the truth rather than altering it for his fiction. In an afterword, he notes four minute details he tweaked, only two of which actually relate directly to Jack’s actions. An impressive achievement. And if you know the case well, he includes enough detail to pinpoint where his fictional story is weaving into the truth. For example, as Jack approaches Elizabeth Stride, the Swedish-born third victim, he passes a man wearing a deerstalker cap. This was a real man seen in conversation with Stride by the penultimate witness to see her alive, a police constable. This places Jack’s assault in time and in relation to other witnesses like Israel Schwartz, who, based on Hunter’s fictional reconstruction of events, did not actually see Jack.

Real life informs the fiction, which convincingly creates an alternative explanation for the known facts. This is a tricky bit of business for a novelist to pull off, and Hunter does it effortlessly—and, for the reader who doesn’t know their Jack the Ripper lore, invisibly and unobtrusively. His fictional solution, rooted as it is in the facts, offers enjoyable resolution to a real life mystery.

If I have any complaints whatsoever about I, Ripper they are minor: a handful of anachronisms (Belloc’s famous line about the Maxim gun, from 1898, is paraphrased by Jack ten years too early) and some tonal convergence of Jack’s diary and Jeb’s memoir that led me to suspect, briefly, that Jeb would turn out to be Jack (he doesn’t; Hunter is much better than that). I suspected the ultimate culprit early—it’s a whodunnit, or maybe who’s-doing-it, after all—but Hunter successfully obscures, misleads, and distracts so that the final reveal was still satisfying.

Finally—an odd complaint—I, Ripper is simply too good. I don’t think I can recommend it to just anyone. This is a gripping, disturbing thriller and a masterpiece of historical fiction, and Hunter’s success in conveying Jack’s horror is what makes it difficult to recommend. But if you’re interested in the case, enjoy a well-constructed crime and suspense novel, and think you can handle a few months in Whitechapel and the company of one of the worst people who ever lived, you should definitely check it out.

Watcher in the Shadows

As I noted when reviewing Geoffrey Household’s A Rough Shoot back in the early spring, Household knew how to open a thriller. In Watcher in the Shadows, another Cold War-era shocker, he sends a postman to Charles Dennim’s front door on page one and blows him in half on page two. The novel barely slows down from there.

Dennim lives a quiet life in a rural English village. He’s an expert zoologist specializing in squirrels and shares the house—now missing most of its windows—with his widowed aunt. What presumably only he, a friend in British intelligence, and the unknown person who sent him a mailbomb know is that he is actually Charles von Dennim, scion of an aristocratic Austrian family and, during the Second World War, a double agent working undercover as part of the SS staff at Buchenwald concentration camp.

Now, ten years on from the war and in his early forties, Dennim prefers not to think about all this. He carries on his research into small mammals and enjoys his leisurely outdoor pursuits, including hunting and horseback riding with Aunt Georgina, an accomplished riding instructor. The abortive mail bomb gives him pause. Perhaps it was meant for someone else, though none of his neighbors strike him as the likely targets of assassination. But a few days later he receives a postcard—a photo of Buchenwald with a X marked over one building, the officers’ mess.

His past is known to someone, somewhere, albeit not in full. Dennim had successfully fed intelligence to the British during his time at Buchenwald and arranged the escapes of several important female political prisoners. He risked his life and his sanity—the moral damage done not only to his mind but to his sense of honor by the secrecy of his role comes up several times—in order to undermine the Nazis, though the nature of his work means neither he nor the British government can acknowledge it.

Dennim investigates and finds that several other men associated with Buchenwald—two officers and a truck driver—had recently been murdered in mysterious circumstances. One was tortured for days, hinting that the killings are motivated by something highly personal. Dennim, not least because he is not guilty of the crimes his enemy apparently seeks to avenge, determines not to be next.

This leads into the bulk of the novel, a series of removes from place to place in the English countryside as Dennim tries to lure the killer into a trap. Thinking of himself as a goat staked out for a hidden tiger, Dennim learns quickly that his enemy is smart, observant, and supremely cautious. A misstep on his own part might send the assassin into hiding for months, long enough to drive Dennim mad or render him complacent, an easy target. He must proceed carefully if he wants to force a confrontation.

Along the way Dennim finds allies in unlikely places—a retired admiral, a pub landlord, a sharply observant working class laborer—as well as, for the first time in his life as a bachelor spy-cum-zoologist, love. Benita, the admiral’s daughter, is no merely obligatory love interest but proves especially important, as by the time Dennim confronts his enemy one-on-one at a remote Cotswolds barn, he has much more at stake in his life than when the hunt began.

Watcher in the Shadows has many of the hallmarks and strengths of the other Household novels I’ve read so far: strong, lean prose, energetic pacing, continuously building tension and suspense, and beautifully realized outdoor settings. But a number of other factors set it apart and make it unusually rich and thought-provoking.

The first is Dennim’s romance with Benita. Household, as I’ve noted about Buchan before him and Ambler, his close contemporary, is not an author one would normally associate with a romantic subplot, but like both he can evoke newly kindled love simply and poignantly, in ways that both enrich the characters and matter to the plot.

The next is the depth of Dennim’s prior experiences undercover. Without giving too much away, Dennim’s secret is known to more people than himself, his enemy, and his few contacts in British Intelligence, and his postwar history is more complicated than his simple career studying squirrels may at first suggest. Buchenwald and secrecy damaged him, and coming to understand this both reveals hidden depths in other characters and plays an important role in learning how to defeat his enemy.

The last is the enemy himself. Again, I want to avoid spoiling the book, but the man trying to kill Dennim has a surprising connection to Buchenwald and to Dennim—that is, to the von Dennim family, now reduced to a widowed aunt and a bachelor squirrel expert but once a powerful noble dynasty. This connection and the mostly vanished world it evokes leads Dennim and his enemy backward in time, past genocide and the amorality of the nation state to the chivalric code of honor shared by those of noble blood. It is blood, in fact, that helps save Dennim’s life at the end.

Plenty of spy novels acknowledge or ruminate on the damage done by the secrecy, deceit, and pragmatism of espionage, but few offer an alternative, much less an alternative rooted in the past. By the end of Watcher in the Shadows, honor and honesty have given two irreconcilable enemies common ground in which to resolve their differences. Dennim’s duel with the enemy moves from the metaphorical—chess, cat and mouse, tiger and goat—to the literal. Their long fight at the barn is a sustained masterpiece of suspense and, thanks to the contrast between old world honor and modern technocratic nihilism running through the book, a challenging moral contest.

I read Watcher in the Shadows for the thrills and suspense and Household, true to form, didn’t disappoint. But the novel reaches a moral and cultural depth I found surprising—and inspiring. This is as good a thriller as any Buchan, Ambler, or Ian Fleming produced, and is well worth reading.

Sir Quixote of the Moors

The first John Buchan June ended with Buchan’s final novel and one of his masterpieces, Sick Heart River. In a pleasing bit of symmetry, this fifth John Buchan June concludes with his first published book—and the last novel I hadn’t read since beginning this event: 1895’s historical novella Sir Quixote of the Moors.

Ten chapters and barely eighty pages long, Sir Quixote of the Moors is a brisk historical romp designed to pose the hero an unsolvable dilemma. I usually avoid major spoilers in these posts, but since this is a brief story aimed inexorably at its climactic chapter, I will reveal the ending. Avoid spoilers if you choose. But it’s a good story and good stories are spoiler-proof, and I’ve tried to leave out some of the details that make reading it rich and enjoyable.

Set in the Scottish Borders in the 1680s, Sir Quixote is a story of “The Killing Time,” when the Scots Covenanters were subject to pursuit and slaughter by forces loyal to King Charles II. The narrator is an outsider: Jean de Rohaine, a French Catholic nobleman who has come to Scotland on the invitation of an old Scottish schoolmate, who had promised military adventure. After days of carousing, Jean departs with his host on their first assignment, which turns out to be burning Covenanter farms and killing women, children, and old people. Jean, his sense of chivalric honor outraged, leaves his host on the spot.

He has acted on principle but his choice proves foolishly imprudent—a dynamic that will return. He doesn’t know his way back to the port where he entered Scotland and gets hopelessly lost on the moors. He is betrayed by an innkeeper working as an informant for the authorities and only the honorable conduct of one of his pursuers allows him to escape. Lost, hungry, on the run, and exhausted by the wind, cold, and rain, he throws himself on the doorstep of the next house he comes to.

This proves providential. Jean has cast up at the manse of an aged minister of the persecuted Covenanter church, who lives there with his daughter Anne and her fiancé, a laird named Henry Semple. They care generously for him in his distress but no sooner has he begun to recover than the minister and Henry are forced to flee into the wilderness. They leave Jean to protect the house and Anne, trusting in the sense of honor that first brought him to them.

Jean is as good as his word, driving off a party of government thugs hunting for Henry in one scene and attempting, through his charm and skill in the courtly arts of music and dancing, to help Anne pass the time while she awaits Henry’s safe return. The latter has an unintended effect, though. In trying to help Anne cope with Henry’s absence, he wins her over, and he feels himself falling in love with her as well.

When Henry reappears, starving and crazed, on the run again after his hiding spot has been betrayed and with news that Anne’s father is nearing death, Jean reaches a crisis. He cannot honorably act on his feelings for Anne, and remaining with her will only deepen the affection and attraction growing between them. But leaving her orphaned, her likely future a marriage to a madman—if Henry even survives—seems to be a failure in his duty to take care of her. Memories of his own lost love arise to accuse him, and in the final pages he makes his terrible decision. He flees.

There is more to it than that, but that’s the main arc of the story. In her introduction to the edition I read, Buchan scholar Kate Macdonald interprets Sir Quixote as a story about religious extremism. I think that’s a necessary element of the setting but not Buchan’s point. Jean’s dilemma pits his passion against his honor, the opportunities his situation opens to him against his constancy and good faith, his feelings for Anne against promises made to the one she, in turn, had promised herself to.

If this story were told today—and it has been, over and over—it could only end, with utter, tired predictability, one way. Buchan does something more interesting, but without comforting platitudes. Jean’s honor runs deeper than slogans, and when he makes the hard and unsatisfying choice Buchan does not ignore or conceal the pain of his decision: “‘But honour is more than life or love,’ I said, as I set my teeth with stern purpose.” And, in the next paragraph: “though all my soul was steeled into resolution, there was no ray of hope in my heart—nothing but a dead, bleak outlook, a land of moors and rain, an empty purse and an aimless journey.”

Virtue may be its own reward, yes, but that reward is not gotten lightly. Buchan makes the reader feel it. This, as with so much else in Buchan’s work, was surprising and refreshing.

Sir Quixote of the Moors is clearly an early work. The twenty-year old Buchan’s style has not yet balanced the sturdy clarity, archaism, and dialect he so skillfully intermingled later, and the characterization is—unsurprisingly in a book of less than eighty pages—thin. The characters are believable but not deep. But Sir Quixote also foreshadows much of the mature Buchan’s strengths as a writer: fast pacing that doesn’t feel rushed, smoothly incorporated historical detail, the palpable “moral atmosphere” praised by Sir John Keegan, and, most especially, beautifully and vividly described settings. The Borders locations familiar from so many of his other novels have never felt colder, more miserably rainy, or less forgiving.

This is an enjoyable romp and a piece of juvenilia most writers could be proud of—or at least not embarrassed by. But Buchan himself consistently denigrated it, beginning with the pre-publication proofs, which he found unsatisfying to read. Thirty years later he attempted, unsuccessfully, to prevent its being republished. Part of his attitude toward Sir Quixote may be the result of lessons learned. No good author looks back at early work without seeing tics and habits one is grateful to have grown out of. Buchan similarly dismissed his next book, his first full-length novel, John Burnet of Barns.

But another, more intriguing dimension of Buchan’s attitude toward this book may be the path it took to publication. Buchan, a young author (an “intimidatingly precocious” one, per Macdonald), had his title changed by the publisher. Originally called Sir Quixote, they added of the Moors and the cumbersome subtitle Being some Account of an Episode in the Life of the Sieur de Rohaine. Buchan also complained of the poor binding.

That’s bad enough, but then the American edition—which may have been pirated, though the details are still murky 130 years later—added two sentences to the final page. In this extra paragraph, Jean reverses himself and heads back for Anne.

This addition, apparently meant to give the book a happy ending, must have come from an illiterate editor because it completely undoes Jean’s story and misunderstands Buchan’s purpose behind it. At least one biographer has suggested that Buchan may have been asked to provide the extra lines, but it’s impossible to imagine Buchan accepting this change. With all this in mind his later attitude toward the book is suggestive.

The book’s background is interesting, and it also reveals a young author with enough tenacity to weather a bad first experience in publishing and keep going, but Sir Quixote of the Moors is still worth reading for its own sake. Simple, short, not especially deep but emotionally involving, and with many of the virtues of its author’s later work, it is more than a curiosity. It’s a fun and moving short story and, knowing as we do what treasures its author would gift us over the next forty-five years, an invitation and a preview. Sir Quixote is a worthy final read in this five-year journey.

* * * * *

Thanks again for another great John Buchan June. It’s both fun and a little melancholy to read the last unread Buchan novel after five years. As I said recently in a podcast interview about this project, if I had planned to read and write about all of them I never could have done it. But this has been a wonderful five years and, with all of the novels read and a handful of the non-fiction, I need to decide how to continue.

Likely I will read Buchan’s major biographies. As I mentioned at the beginning of the month, I had intended to read Oliver Cromwell but daily life impinged and I didn’t have time. That may be a good place to start for next year. I may also revisit the small handful of books I found underwhelming—Mr Standfast, The Courts of the Morning, The House of the Four Winds—and give them another shot.

But be assured, John Buchan June will return. Thanks for joining me. Your readership, notes, and e-mails have meant a great deal. I hope y’all have a good July and can enjoy at least one of the books I read this year!

The Long Traverse

This year’s John Buchan June enters the homestretch with another curiosity. When I wrote about The Magic Walking Stick two weeks I go I was careful to note that it was Buchan’s only children’s book published during his lifetime. That’s because, at his untimely death in February 1940, in addition to having just completed his memoir Memory Hold-the-Door and his final novel, Sick Heart River, he was working on a new children’s book: The Long Traverse.

The young hero of this novel, Donald, is the son of a Canadian mining engineer. When the story begins, he has just left school on holiday and is excited to reach his family’s cabin in the forests of Quebec. His parents have given him permission to go a week early to prepare for their stay, which means a week of riding, hunting, fishing, playing in the woods and streams with his friends Simone and Aristide, local Indian children, and hearing stories from their uncle, Father Laflamme.

Donald is especially excited because he hates school. He resents his Latin lessons and finds history confusing and boring. He prefers the outdoors or, failing that, the movies.

When Father Laflamme learns about Donald’s lack of interest—especially his indifference to history—he discusses it with the family’s beloved Indian hunting and fishing guide, Negog. Descended from the priestly caste of the Cree, Negog thinks Donald should be open to learning from his ancestors and knows a secret method for commanding attention and teaching the stories of the past.

Every evening, after the day’s adventures, Negog ensures that Donald is near a body of water. As the sun sets, the fish rest, and the waters still to a mirror the cloudless golden sky, Donald experiences La Longue Traverse—visions of past events.

Day by day Donald meets the heroes of early Canadian history. He sees Jacques Cartier on his expedition to explore the St Lawrence River, Adam Dollard and his companions holding out against the Iroquois at the Battle of the Long Sault, voyageur Jean Cadieux and his last-stand against Indian attack, forgotten trappers, explorers, missionary priests, prospectors and miners, and ordinary people. My two favorite chapters concerned—unsurprisingly—the Norse exploration of the Canadian coast, in which Donald witness the long, hard expeditions of the fictitious Hallward, and a chapter set in the plains far from European settlement, where an Indian tribe, faced with enemies newly armed with the horse, trade for a yet deadlier weapon: the gun.

In The Long Traverse, Buchan combines the magic of his earlier children’s book with the story-made-of-stories setup of The Path of the King. Each story is engaging and exciting, and in the frame story that structures them Donald slowly learns more—and takes more and more pride and ownership—of his and his country’s past. Though he forgets the visions as soon as they end, the stories stay with him. In flash-forwards, his parents are astonished by the things he knows.

The subject matter is the stuff of adventure, but the true star of the book is the Canadian landscape. As with the best of his adventure fiction, Buchan conjures vivid settings and realistically describes them. The forested hills and lakes of Quebec are the most frequent locations, but the canyons and whitewater rapids of the Canadian Rockies, the endless plains, and the frozen coasts of Arctic islands also feature. Buchan describes all of this beautifully but does not leave out the unpleasant: heat, avalanche, dangerous rapids, and clouds of biting black flies. (The cover of the first edition, above, shows Donald sheltering by a lakeside fire built by Negog to keep the flies at bay.) The wildness and scale of the country, the hardships of daily life, and the hazards of travel—on foot, by horse, by canoe, by longship—demanded heroism of the people who lived there, and Buchan makes both feel real.

The Long Traverse ends suddenly after the story of a missionary priest’s eerie encounter with the Toonit, a population of relict prehistoric people not unlike the Picts of Buchan’s early short story “No-Man’s-Land.” Buchan was almost finished with the book when he died, and though the individual stories are wonderfully absorbing and readable—I read the book in two days—Donald’s story is left unresolved. A note by Buchan’s widow, Lady Tweedsmuir, explains the original conception and purpose of the book and a little of what Buchan left in outline at his death.

During his time as Governor-General of Canada Buchan came to love the country, not only its vast and varied landscapes but the peoples who lived there. (This comes across quite clearly in this 1937 New Years’ greeting.) He found its history fascinating, full of romance and figures worthy of emulation, and Canadian schools’ methods of teaching that history abominable. The textbooks, as he saw it, were more likely to kill than to encourage interest in the past. One sympathizes.

Donald is Buchan’s imaginary typical Canadian schoolboy, full of talent and potential but lacking direction and already let down by the schools. Negog and Father Laflamme sense that Donald is vulnerable, that, on the verge of manhood, his character is at a crucial moment in its growth, and that the cities and movies strive against the rootedness in the past that Donald and all of us need. Negog, as a Cree a figure of the past and as a Christian Canadian a figure of the present, puts him directly in touch with that past. Understanding one’s history, Buchan forcefully shows, is not only a duty but an important step in moral formation.

It is also interesting and fun. The stories Donald sees in The Long Traverse are all exciting, and Buchan envisioned them as a way to awaken the imaginations of young students. Thus awakened, they would be open to instruction. (It certainly worked on me; I learned a lot either reading or reading about the subjects of these stories.) He rightly understood that telling interesting stories about the people of past beats any state-approved textbook. The imagination must come first—a lesson still worth learning and remembering.