Fire in the Hole by Elmore Leonard

The best of Raylan, and much more
This collection of short stories by Elmore Leonard was first published in 2002 under the title When the Women Come Out to Dance. Due to the success of the TV series Justified, it has been re-released under the title Fire in the Hole, as it includes the story of that name on which the TV show is based. “Fire in the Hole” is the only one of the nine stories in this collection to feature Deputy U.S. Marshal Raylan Givens, but it is the one of the longest stories in the book and clearly the best. Raylan was previously featured in Leonard’s novels Pronto and Riding the Rap. The former is much better than the latter, but “Fire in the Hole” tops them both. Raylan, who has served the U.S. Marshal Service in Miami for several years, is sent back to Harlan County, Kentucky, where he was born and raised, to take part in a task force aiming to take down Raylan’s former friend Boyd Crowder, a white supremacist who robs banks and blows up churches. This is an excellent ensemble piece populated with all manner of intriguing redneck, good ol’ boy, and latter-day cowboy lawman characters who exchange generous helpings of Leonard’s delightfully scripted hillbilly repartee. It is a riveting ride, alternately comical and suspenseful. The story will be familiar to those who watch Justified, as the first few episodes of season one were quite faithful to Leonard’s original narrative. Reading Leonard’s incarnation of the story is a joy and a revelation.

Miami-based Marshal Karen Cisco has also had her own TV show and movie (Out of Sight). She’s featured here in the story “Karen Makes Out,” in which she finally finds a man she thinks she can fall in love with, only to discover soon after that he’s a suspect in a series of bank robberies. I’m sure there are other recurring characters from Leonard’s works who appear in this collection, but I don’t know enough about his career to tell you which ones. He shows an incredibly wide range in these stories, covering the crime and western genres and beyond. Besides “Fire in the Hole,” the collection features another novella-length work, “Tenkiller.” When his fiancee dies, a former bull rider turned Hollywood stunt man makes a trip to his hometown of Okmulgee, Oklahoma, to check on his family’s pecan farm. Upon arrival he finds his house occupied by a family of criminal lowlife tenants who are up to no good and don’t want to leave. The book features two very strong stories in the western category. “Hurrah for Capt. Early” stars a black Spanish-American War veteran who receives a less than warm welcome from some small town racist cowhands. In “The Tonto Woman,” horse thief Ruben Vega stumbles upon a beautiful white woman living alone in the desert. When he discovers that she has Indian tattoos upon her face, he becomes greatly intrigued by her and decides to look into her mysterious past.

There are a couple of weaker entries. “Hanging Out at the Buena Vista,” chronicling the first date of two octogenarians in a retirement home, is a little too cutesy for its own good. “Sparks,” about an arson investigation, is not particularly exciting. These shorter pieces do little to drag down the collection as a whole, however, and the rest of the stories are captivatingly entertaining. Leonard really has a knack for creating fascinating, likeable characters, and his talent for penning snappy dialogue is unparalleled among contemporary crime writers. Despite the fact that my favorite Stetson-wearing U.S. Marshal is only featured in one story, I enjoyed this book more than either of the two prior volumes in the Raylan Givens series.

Stories in this collection:

Sparks

Hanging Out at the Buena Vista

Chickasaw Charlie Hoke

When the Women Come Out to Dance

Fire in the Hole

Karen Makes Out

Hurrah for Capt. Early

The Tonto Woman

Tenkiller

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The House of the Seven Gables by Nathaniel Hawthorne

To make a short story long . . . 
Describe. Describe. Describe. When in doubt, heap on the adjective clauses. That’s the strategy Nathaniel Hawthorne employs in the writing of his novel The House of the Seven Gables, originally published in 1851.

The opening chapter promises a multi-generational drama with Gothic undertones, like an American Wuthering Heights. Unfortunately, the novel doesn’t deliver on that promise. Instead of penning an epic that spans centuries, Hawthorne chooses to focus on minutiae. He revels in the minute description of the titular house—every piece of its furniture, every plant in its garden, every crack in its woodwork. He is equally adept at depicting humanity, in both its exterior appearance and interior psychology. The result, however, is a book populated by vividly drawn characters that don’t do much of anything.

The house in question belongs to the Pyncheons, a once prominent, aristocratic New England family whose glory has faded and whose membership has dwindled. Judge Jaffrey Pyncheon, the family’s most notable and prosperous surviving constituent, is the absentee landlord of the place. His cousin, the elderly Hepzibah Pyncheon, inhabits the house. She is joined by Phoebe, her beautiful young niece from the country; Holgrave, a photographer who rents one of the gables; and Hepzibah’s aged and feeble brother Clifford Pyncheon, who has just been released from prison after a decades-long sentence for murder. Though the story revolves around crimes, both past and present, Hawthorne avoids talking about said crimes as much as possible, instead concentrating on the lives of the four people in the house—their habits, their eccentricities, and their relationships with one another. Hawthorne concentrates so intently on every breath and movement that it takes half a chapter just for a character to walk across a room. The atmosphere is so thick you could cut it with a knife, but it leaves little room for activity. When things finally start happening in chapter 16 (out of 20!), it's too little, too late. Despite the macabre events taking place, the pace is still so slow it could put even James Fenimore Cooper to sleep.

The House of the Seven Gables is a book better quoted than read. You can pluck almost any paragraph from this novel and hold it up as an exemplar of English language prose, beautifully poetic in its descriptive elegance. But the sum total of all these perfect passages is one tedious, disappointing book. There were moments in some of the better chapters when the writing reminded me a bit of Balzac, yet Hawthorne could have learned a thing or two from his French contemporary. Balzac excelled at both atmosphere and action, and could juggle the two expertly. Perhaps that’s why his books still feel as fresh, insightful, and entertaining as the day they were written, while Hawthorne’s novel seems just as musty and cobwebbed as the house it so intricately depicts.
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John Toland: Ireland’s Forgotten Philosopher, Scholar . . . and Heretic by J.N. Duggan

A concise introduction to the Irish Voltaire
This brief book amounts to little more than an extensive article, read in about a half hour’s time, but the price of the Kindle file is appropriate for the content. It is not a complete biography of John Toland, but a concise summary of his philosophical career. The text is well written and the author gives a good sense of the personality of the man. Toland was notorious for his championing of reason over religion. He was the first person ever to be referred to as a “freethinker,” and Toland himself coined the term “pantheism” to describe the philosophy of Spinoza, of whom he was a disciple. A contemporary of such philosophical luminaries as Berkeley, Leibniz, and Locke, Toland never enjoyed the renown or respect they received, largely because his works were too controversial for his time. The picture Duggan paints here is of a man who not only welcomed such controversy but enthusiastically pursued it.

Toland was Irish, the author is Irish, and the purpose of this book is largely to bring attention to Toland’s Irishness. As such, some of the material may seem a bit unnecessary to the American reader, such as minute details about the history of Catholicism in Ireland. Overall, however, it’s an enlightening piece of writing and worth the time spent. Its value is increased by a comprehensive bibliography of Toland’s works. Anyone looking to learn more about this lesser-known figure of the Enlightenment should consider this a useful addition to their Kindle library.
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The Debacle by Emile Zola

One of the greatest war novels of all time
In The Debacle, as in all of his greatest works, Emile Zola achieves the wide-ranging scope of a sweeping, romantic epic without romanticizing the details of his settings or the emotions of his characters. As a result, we get an in-depth examination of the effects of war, on both national and personal levels. Zola thoroughly outlines the movements of troops and supplies, the political intrigue happening within the French government, and the diplomatic relations between nations, yet he never loses sight of the individual.

The narrative focuses on the friendship between Jean Macquart and Maurice Levasseur, two French soldiers from contrasting backgrounds who are brought together by the war. Jean Macquart, who previously starred in Zola’s novel The Earth (La Terre), is an experienced soldier and a sturdy, dependable, salt-of-the-earth kind of guy. Maurice is a novice in the military, was raised in a privileged background, and has an emotional, introspective, and fragile nature. In addition to these two players, Zola presents myriad perspectives on the war. The multitudinous cast includes an emperor and a king; generals, grunts, and officers in between; farmers, shopkeepers, industrialists, doctors, and their wives. The combatants in this war range from highly-skilled military men to peasants with guns thrust into their hands, from the privileged elite to penniless beggars. The chaos of war ensnares them all in a series of events beyond their control or understanding, pushing them to the climactic tragedy of the Battle of Sedan.

Throughout the book, Zola condemns the futility of war in general, and the ineptitude of the French commanders in particular. The book is not totally pessimistic, however, as he does include some romantic concessions to the glory of patriotism, the strength of friendship, and the heroism that can arise when ordinary men are thrust into extraordinary circumstances. This is one of Zola’s greatest works, and I would recommend it to anyone, especially those who enjoy classic literature or historical fiction. It is both intellectually challenging and emotionally moving. I would caution the reader that it does help to have some knowledge of French geography and happenings in French history around the time of the Franco-Prussian War.
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The Strength of the Strong by Jack London

An OK collection with one pleasant surprise
The Strength of the Strong is a collection of short stories, most of which are good but not great. These were written about the middle of London’s career, after his Klondike period and before his South Pacific period, when there was quite a bit of variety in his work, so these stories take place in diverse settings. Many of them deal with political issues, and display London’s devotion to Socialism. Probably the best-known story and one of the better written in the collection is the piece for which the book is named. It’s an allegorical tale set in caveman times, in which London explains the class struggle from a Socialist perspective, with various characters standing as symbols for government, industry, labor, religion, etc. Three stories, “The Unparalleled Invasion”, “The Enemy of All the World”, and “The Dream of Debs”, are “What if?” histories of political events that take place in the near future (London’s future, our past). For the most part they are imaginative in their speculations, but not particularly engaging in character or plot. “The Dream of Debs” is the best of the three. It’s about a general strike that reeks havoc on San Francisco. “The Unparalleled Invasion” tells the story of China’s rise as a superpower and how the West deals with it. Unfortunately it’s marred by a racist attitude toward the Chinese and a glorification of genocide. “South of the Slot” is an unexceptional tale of class struggle in San Francisco. “The Sea-Farmer” is a sailor’s tale, above average but once again not remarkable.

The real surprise in this collection was the final selection, “Samuel”, which tells the story of Margaret Henan of Island McGill, Ireland, and her four sons named Samuel who died untimely deaths. London shows a surprisingly touching sensitivity to human emotion in this story. It’s also quite suspenseful, not because of any action or adventure in the plot, but rather just the skillful way in which London reveals piece by piece the mystery of this old woman’s past, heightening the reader’s interest until the very last page. In terms of the style and skill of the writing, this story seems years ahead of much of London’s work; it could have been written by William Faulkner. As a whole this collection, though nothing earth-shattering, will prove enjoyable to London fans. Those new or indifferent to London’s charms should just read “Samuel”.

Stories in this collection

The Strength of the Strong 

South of the Slot 

The Unparalleled Invasion 

The Enemy of All the World 

The Dream of Debs 

The Sea-Farmer 

Samuel 

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Sarrasine by Honoré de Balzac

Love is blind, and absolute love blinds absolutely
Balzac’s Sarrasine could be considered either a long short story or a short novella. The entire piece can be read in an hour and a half. Nevertheless, as usual Balzac packs his pages with delightful entertainment and provocative insight. An unnamed narrator attends a sumptuous soirée at the salon of the Lanty family. This wealthy family is new to Parisian high society, and much speculation abounds as to the source of their fortune. A mysterious, strikingly ancient figure ambulates his way amongst the partygoers like a walking corpse. Balzac spends about a quarter of the book describing this bizarre creature. To the guests, he is a source of fascination and revulsion. They whisper discreetly to each other, debating the identity of this spectre and his relationship to the family. But only our narrator knows the real story, and as he confides it to his female companion, we are also let in on the secret. A tale is told of the sculptor Sarrasine who, while studying his craft in Italy, becomes obsessed with the beautiful opera singer La Zambinella. . . .

As is true with all of Balzac’s works, the less said about the plot the better. He is a writer who thrives on surprise, and the best course of action in reading his work is to wander in with little prior knowledge and no expectations. Balzac’s style of writing is like a cross between a naturalist novel and a mythological fable. On the one hand, he is a keen observer of nature and society, brilliantly describing the world of his story and the characters who inhabit it. On the other hand, his characters are largely allegorical, and the events that take place are often larger than life. He’s far more concerned with making a philosophical point than he is with creating any semblance of realism. Though firmly grounded in historical verisimilitude, Sarrasine seems more removed from reality, more of a fairy tale, than much of Balzac’s work. It often feels like there’s a bit of a wall between the reader and the action, as if you’re watching an opera on a stage rather than moving amongst the characters of a novel. Had the book been a little longer, and the reader given more time to become emotionally involved with these characters—to see them more as human beings who love each other and less like merely symbols for an obsessive lover and his coquettish quarry—it would have delivered more emotional impact. The book would also have benefited from more time spent on the flashback and less on the party scene that bookends it. These are minor criticisms, however, which amount to the difference between a masterpiece and a very good book. Sarrasine may not be a masterpiece, but it’s a prime showcase for Balzac’s masterful storytelling skills. Perhaps I liked it so much it left me wanting more.
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Pan Michael by Henryk Sienkiewicz

A stunning conclusion to a monumental trilogy
Pan Michael is the third volume in what is simply known as “The Trilogy,” a series of three historical war epics by Polish Nobel Prize winner Henryk Sienkiewicz. Published in 1888, this book completes the saga that began in With Fire and Sword and continued in The Deluge. Originally titled Pan Wolodyjowski, it has also been published in English under the title Fire in the Steppe. The title character, Michael Volodyovski, was a supporting character in the first two books; here he finally gets a starring role. (This review is based on the English translation by Jeremiah Curtin, so I am using his spellings of proper names.) The story takes place from 1668 to 1673, during a war between the Polish-Lithuanian Commonwealth and the Ottoman Empire.

This final volume of Sienkiewicz’s spectacular trilogy differs from the first two installments in that, for most of the book, warfare takes a back seat to romance. Like the two previous books, Pan Michael is an epic adventure of love threatened by war, so the first order of business is to find a love interest for Michael. At the end of The Deluge, he was engaged to Anusia Borzobogati, but, perhaps because Sienkiewicz didn’t feel she was a sympathetic enough character, she dies of a mysterious illness in chapter one. Stricken by grief, love is the last thing on Michael’s mind, but the indomitable Pan Zagloba makes it his personal mission to find a new bride for his old friend. The first twenty chapters of Pan Michael constitute a sort of self-contained romance novel worthy of Balzac or Anthony Trollope. Michael, the “little knight” renowned as the finest swordsman in all the Commonwealth, doesn’t see any combat until about halfway through the book, but once he unsheathes his sword sparks fly and blood flows. The final quarter of the book is devoted to the epic warfare this trilogy is famous for, and the battles are as intense, brutal, and powerful as anything Sienkiewicz has written.

The books in The Trilogy take place in roughly the same time period as Alexandre Dumas’s Three Musketeers novels, and they share much of the same atmosphere of swashbuckling adventure and brotherly camaraderie. Sienkiewicz’s books, however, are much more realistic in their portrayal of military life, more accurate in their depiction of historical events, and more solemnly respectful of life and death. There is a gravitas to the Polish trilogy that is missing from the Musketeers books. While his books are still fun to read, Sienkiewicz deals much more seriously with universal themes like love, honor, duty, and vengeance. At times Pan Michael is reminiscent of Homer’s Iliad. Religion is a constant presence in this novel, not in a preachy way, but as an accurate representation of the importance of Catholicism in Polish culture, particularly during this time period. Though the motivations of the Turks are handled with far more brevity, Sienkiewicz shows equal respect to the religious piety of his Muslim characters. While both sides refer to each other as “dogs,” “infidels,” or “non-believers,” Sienkiewicz demonstrates how both forces are motivated by their conception of God, and those soldiers of either side who remain faithful to their ideals are worthy of honor and reverence.

The best volume in Sienkiewicz’s trilogy is The Deluge, but Pan Michael takes a close second. These books constitute a truly monumental achievement. Together they offer months of exciting reading and about a semester’s worth of education in Eastern European history. For anyone who loves historical literature and epic adventure, Sienkiewicz’s trilogy is an essential read.
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