The Abysmal Brute by Jack London

Not your average boxing story
The Abysmal Brute is a boxing novel by Jack London, originally published in 1913. Over the course of his career, London wrote a handful of very good boxing stories. His gritty, naturalistic writing style is well-suited to the sport, and he always finds a clever way to approach the ring from an unexpected angle, never settling for the typically formulaic, underdog-overcomes-adversity-to-win-the-championship story line.

Young Pat Glendon, the protagonist of The Abysmal Brute, is anything but an underdog. As London describes him, he may very well be the greatest boxer who ever lived. The son of a former champ, Young Pat is a proverbial “babe in the woods” who is brought out of the wilderness to embark on a big-city prizefighting career. This young Hercules of the forest has been blessed with a remarkable physical strength and prodigious natural talents that have been polished to brilliance under the tutelage of his father. A sensitive young man more disposed toward reading poetry than pugilism, Pat shows little enthusiasm for his new vocation. Stubener, the lucky man chosen to manage this ultimate fighter, finds himself charged with the difficult task of finding challenging opponents, while shielding the young man’s innocent eyes from the corruption and graft which pervades the entire system of fight promotion.

In addition to possessing an obviously profound knowledge of his subject, London exhibits a true love for boxing. His enthusiasm is infectious, even to the reader who otherwise cares little for the sport. The detailed, naturalistic descriptions of boxing matches, the people who fight them, and the combat strategy involved really creates the feeling of being in the ring with the contenders. The vivid realism is somewhat counteracted by the fact that London makes his hero into such a superman that his perfection defies believability. On the other hand, with a little updating this book could easily be turned into a Hollywood movie (where defying believability is commonplace).

When compared to London’s other boxing stories, The Abysmal Brute is on a par with London’s other boxing novel, The Game, but not as compelling as his excellent short stories “A Piece of Steak” and “The Mexican,” which are far more dark and serious in tone. Though there’s a sprinkling of London’s pet philosophical themes throughout the story—evolution, nature vs. nurture, the individual vs. the system, rebellion against injustice—overall this novel has a relatively light-hearted feel. The Abysmal Brute is a brief and entertaining read with enough unexpected turns in its plot to qualify it as a pleasant surprise.

The paperback edition from Bison books features an introductory essay by Michael Oriard that puts the book into historical context and gives the reader a good picture of the boxing world of a hundred years ago. Oriard also addresses the issue of whether or not London was a racist, and the role of race in boxing at the turn of the century.
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A Canadian Art Movement: The Story of the Group of Seven by F. B. Housser

Lacking in detail and insight
I’ve read a lot of books on the Canadian painters The Group of Seven, but mostly of the coffee table variety. Hoping for some more detailed biographical information on these artists, I turned to this book, which is often cited as a source in the bibliographies of said coffee table books. First published in 1926, when most of the artists in the movement were still alive and active, this biography of the Group was written by F. B. Housser, an art collector, friend of the artists, and, judging by his writing, their biggest booster. Unfortunately, despite its over 200 pages of length, there’s not a great deal of useful information here above and beyond what you find summarized in the brief introductory essays of heavily illustrated volumes.

This book contains no illustrations, which is just fine for a biography. The problem is, due to the lack of pictures, Housser feels the need to fill many pages—entire chapters, in fact—with descriptions of paintings. While this was a common practice in early 20th century art criticism, today’s reader can just type the title of a painting into Google and see what it looks like. There’s little need or desire to read page after page of “orange trees in the foreground, purple mountains in back,” etc. Housser also quotes long excerpts from exhibition reviews, most of them derogatory towards the group. This may be of interest to historians, but not particularly useful to those who are simply admirers of the painters and their work. It’s odd how little biographical information seems to be available on the members of the Group, even basic facts like who was married and who had kids are absent from this account. Most of the biographical information contained here consists of travel itineraries—who went on which painting trips to what geographical locations and when. There are excerpts from letters written by the painters, mostly praising the scenery of the locations they visited. Perhaps the most disappointing aspect of the book is that it really only discusses five artists: Tom Thomson, Lawren Harris, A.Y. Jackson, Arthur Lismer, and J.E.H. MacDonald. There might be one page each on Franklin Carmichael and F. H. Varley; the other artists associated with the Group are barely mentioned, if at all.

Housser repeatedly hammers home the point that these artists were breaking with the traditions of Europe, creating their own uniquely Canadian form of expression. The clear light of the Canadian North, he claims, could not be reproduced by the traditional methods of the Barbizon school, and demanded a new style of painting. He also stresses that these artists were uneducated in academic methods, then contradicts himself when he tells of their trips to Europe to study painting. Housser continually tries to create the illusion that the Group of Seven sprung up in a vacuum, with little ties to the past. It comes across as a disingenuous assertion. Those who truly enjoy the Group of Seven’s work may find a few nuggets of inspiration and enlightenment within this inadequate account of their lives and careers, but it’s too dull and uninformed to hold the attention of most readers. If there is a really good detailed biography of the Group of Seven out there, I haven’t found it yet.
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Doctor Pascal by Emile Zola

More than just an epilogue
Doctor Pascal is the final book in Zola’s twenty-novel Rougon-Macquart series. While it serves the purpose of an epilogue, it is also an impressive novel in its own right, and stands alone as a great work of literature. Pascal Rougon is a semi-retired physician who devotes most of his time to the study of evolution. An important asset in his research is the cabinet of files he keeps on his own diverse and dysfunctional family, the Rougons and Macquarts. Through detailed descriptions of these family dossiers, Zola reviews the events of the previous nineteen novels. In doing so, he provides us with a “Where are they now?” synopsis of the characters, and thoroughly explains the theories of heredity that underlie the series.

Evolutionary discourse only comprises a portion of the book, however, as most of the novel is devoted to the relationship between Pascal and his young niece Clotilde. In Pascal, Zola creates a very autobiographical character, and allows us glimpses into his private life. Zola fancied himself a scientist, and his novels his experiments. At the time Zola wrote this book he was falling in love with a young mistress of his own. Throughout the book, Pascal, approaching old age, looks back on his life and contemplates its purpose. Zola uses Pascal as a mouthpiece to ponder aloud philosophical issues, like the conflict between knowledge and faith. Can the two coexist, or must one vanquish the other in order for mankind to truly progress? He debates the definition of a life well-spent: Is it better to devote one’s time on this earth to work, or to the enjoyment of simpler pleasures like love and family? While many men seek immortality through offspring, Pascal has spent his whole life striving for an intellectual legacy of scientific achievement. As he feels the end of his life drawing nearer, he, like Zola, wonders if he has made the right choice.

I would not put this work in the same class as Zola’s four or five masterpieces, but it’s in the better half of the Rougon-Macquart saga. Those who have enjoyed some of Zola’s better-known novels will find much to enjoy in this one as well.
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The Black Count: Glory, Revolution, Betrayal, and the Real Count of Monte Cristo by Tom Reiss

A real-life adventure as captivating as any literary epic
Tom Reiss’s 2012 book, The Black Count, is the biography of an extraordinary, larger-than-life character in the history of France. Thomas-Alexander Davy de la Pailleterie, more commonly known by the name Alex Dumas, is best remembered today as the father of Alexandre Dumas, author of The Three Musketeers, The Count of Monte Cristo, and dozens of other classic literary adventures. The elder Dumas’s life was a compelling adventure in itself, even rivaling the exciting novels of his illustrious son. Born the child of a French nobleman and a black slave on a plantation in what is now Haiti, Alex Dumas went on to achieve success and glory in the French military, rising to prominence during the Revolution and becoming the highest ranking black man in European military history. General Dumas accompanied Napoleon Bonaparte on the 1798 French campaign to Egypt, fighting alongside the future Emperor and at times butting heads with him. Later events in Dumas’s life would prove that getting on Napoleon’s bad side was not a wise choice.

Reiss emphasizes that the French Revolution was a remarkable time in the history of race relations. Fueled by the liberal values spawned by the Enlightenment, as expressed in the Revolutionary credo of “Liberté, Egalité, Fraternité!”, an unprecedented equality among men of all races was established in France. Seventy years before America’s Emancipation Proclamation, in a world where slavery was a common fact of life, the French not only freed their slaves but also created a society where men of color had the opportunity to reap the benefits of their abilities on an equal footing with whites. Later, when Napoleon established himself as dictator of France, he threw out many of the Revolution’s enlightened racial policies, and successful men of color like Dumas were left feeling betrayed and robbed of their due merits. It’s a bit ironic that a book which praises racial equality focuses so much on race. General Dumas’s life was incredibly interesting and exciting, regardless of his race, yet his story is so inextricably entwined with the racial policies of his lifetime that it’s all but inevitable to view him as an exemplar of triumph over prejudice and discrimination.

Dumasophiles expecting non-stop swashbuckling may be disappointed to find themselves reading chapters devoted to the sugar industry or slavery legislation. At times the biographical narrative thread seems a bit thin and overwhelmed by its historical context. But what context! Reiss is a genius at summarizing the complex events and philosophical ideas of the French Revolution. Never has this labyrinthine period of history been so pithily encapsulated. French history enthusiasts will love the book, but even those with little prior knowledge of the subject will be ably guided by Reiss through the twists and turns of the era.

Reiss repeatedly draws parallels between the life of Alex Dumas and the novels of his son Alexandre, but he doesn’t belabor the point. This is by no means a work of literary criticism. One need not have read The Count of Monte Cristo in order to understand or enjoy this book (though you should read it, because it’s a fantastic novel). This is purely a biography of a fascinating man and a history of a fascinating time. The Black Count is an immensely entertaining read for any history buff or adventure junkie. It’s only major fault is that it’s so good it leaves you wanting more.
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The Hidden Masterpiece by Honoré de Balzac

A cautionary tale of artistic obsession

Paris, 1612. A young aspiring painter nervously climbs the stairs to the studio of the master painter Porbus, in hopes that the great artist will take him on as an apprentice. When he arrives at the top of the staircase, however, he finds his idol already has company in the form of a mysterious old man. This aged personage turns out to be the master’s master, that is, the artist who taught Porbus all he knows about painting. The young novice is revealed to be Nicholas Poussin, who in Balzac’s time was one of the most celebrated painters in French history. Poussin, upon seeing the old man’s work, is amazed at the sublime talent of this aged master, who surpasses even the remarkable skill of Porbus. The old man, Maitre Frenhofer, has one great unfinished canvas secreted away in the back of his atelier. This piece of work is the great love of his life, and he refuses to share it with anyone. Poussin, filled with awe and admiration for this exceptional painter and overcome by an irresistible curiosity, decides he must see this painting at all costs.

The Hidden Masterpiece, also known as The Unknown Masterpiece, could be considered a long short story or a short novella. First published in 1831, it falls under the category of Philosophical Studies in Balzac’s body of work, the Comédie Humaine. In this tale Balzac explores the relationship between artists and their muses, the burden of genius, and the dangers of obsession. Frenhofer is an Icarus figure. He dares to rival the gods in his ability to create nature from nothing but palette and brush. He strives to materialize the ideal woman upon his canvas, just as Pygmalion sculpted Galatea from ivory. Poussin is the upstart whose ambition knows no bounds. He would sell his soul to the devil to decipher the old man’s secrets. To these men, art is the one invaluable necessity of existence; all else pales by comparison.

Balzac proves himself to be an expert writer on the subject of art, and his enthusiasm for the craft of painting is infectious. He does a beautiful job of recreating the atmosphere of the Renaissance painters’ studios and the arcane magic of creation practiced by Porbus and Frenhofer. The two masters engage in fascinating dialogues on such subjects as the proper method of modelling lifelike human flesh so as to create the mechanical illusion of three-dimensional depth while maintaining the living, breathing poetry of life itself. Given all the care and attention paid to setting up the scenario, the shocking climax of the story feels a bit rushed, and the ending too abrupt. Nevertheless, art lovers everywhere will take pleasure in this cautionary fable of the perils of creative obsession.
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The Cruise of the Dazzler by Jack London

For the sailor at heart, young or old
Young Joe Bronson just can’t seem to focus on his studies. Constantly distracted by opportunities for bicycling, ball playing, kite flying, and occasional fist fighting, he prefers the spirit of adventure and the freedom of the outdoors to being cooped up in a classroom poring over dusty old books. His apathy towards his studies inevitably brings about a clash with his father, who serves him an ultimatum to either shape up or ship out. Joe opts for the latter and runs off to join the crew of a sloop dubbed the Dazzler. In the eyes of this teenage boy, what could be more exciting, glamorous, and exotic than the carefree life of a sailor? Though his captain, French Pete, is a shady drunkard, Joe bonds with his crewmate, the ’Frisco Kid, a boy his own age whose relative wealth of experience on the water makes him worthy of idolization. Joe soon realizes, however, that neither the life of a sailor nor the boat to which he signed on are all he expected them to be.

The Cruise of the Dazzler, originally published in 1902, was Jack London’s second novel. Though pure adventure fiction, the book is loosely based on London’s own adolescent experiences as an oyster pirate in San Francisco Bay. Joe Bronson and the ’Frisco Kid—one the novice, the other the precocious veteran—could both be seen as surrogates for the author himself at different stages in his seafaring youth. This novel is one of only a few works London wrote for a young audience, and among that small group of works it stands out as the best. In this novel, London really does a great job of capturing the thoughts, impressions, and emotions of a teenage boy. Through the perspective of Joe he brings to life all of youth’s restlessness, wanderlust, and longing for independence. Although written over a century ago, this book still holds some attraction for today’s adventurous young reader. Of course, it will have the strongest appeal for kids who possess any interest in sailing or a love of boats. There are only a few brief passages in this book where the sailing jargon is thick enough to cause disorientation to the land dweller, unlike London’s other sailing book for boys, The Tales of the Fish Patrol, a collection of short stories in which every tale revolves around some fancy feat of nautical maneuvering. The Cruise of the Dazzler is less concerned with the technical craft of sailing, and more about the relationships between the characters and Joe’s coming of age. Though Joe gets into some dangerous adventures you wouldn’t want your kids to try, the overall message is a positive one, stressing that a happy and healthy life is one that strikes a balance between independence and security, you can’t run away from your problems, and the water is not always bluer on the other side of the bay.

Adult fans of London’s fiction will probably enjoy the book even more than their kids. Besides offering a semi-autobiographical glimpse into London’s oyster pirate days, it’s just simply a well-crafted and entertaining story. The fact that it was written for a young audience doesn’t make London’s depictions of San Francisco or the sea any less vivid. Though at times it may be a little predictable to the adult reader, it still manages quite a few memorable moments of surprise and suspense. Within London’s body of work, The Cruise of the Dazzler is not one of his greatest, most important books, but it’s an engaging and enjoyable read that, for a moment, just might make you feel young again.
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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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