Showing posts with label Christianity. Show all posts
Showing posts with label Christianity. Show all posts

Sunday, August 17, 2014

A Letter from Hell by William Presley

A Letter from HellIn a desperate attempt to save his soul before he dies, southern aristocrat William Virgil Hollingsmore writes the world a cautionary letter on the last of his twelve days in a personalized Hell. In it, through the haze of his own mental deterioration, he chronicles the horrors and agony that befell him at the hands of Satan, as well as the sad events leading up to this unfortunate climax.

When Hollingsmore was a younger man, he was an alcoholic and did as he pleased when drunk. He's older now and full of regret. Upon returning home, he finds that Satan is chomping at the bit to claim him and drag him on down to Hell for his eternal punishment. This is a man desperately trying to find a way to avoid his fate. There is no excusing his past behavior, so it is difficult to sympathize with him. But does he deserve to burn in Hell? His "letter from Hell" is his attempt to find redemption by warning others.

Hollingsmore serves as protagonist and narrator. As such, we only get to see the other characters when he interacts with them. There is a chapter where Hollingsmore is put through out of body flashbacks in order to learn what suffering he has inflicted upon the people in his life. Satan is obviously the antagonist, but his character only sees development when he shows up to torment Hollingsmore. I wouldn't say that he's two-dimensional, but he doesn't stray from what we expect of him.

A Letter from Hell reminds me of old fashioned horror—more concerned with chills and suspense than gross outs and visceral gore. The writing style Presley uses reads like something out of the Romantic movement of the 19th century, which produced such notable greats as Poe and Coleridge. Presley forgoes the purple prose but retains the suffocating imagery and puts it to use at all the appropriate times. While in the midst of Hollingsmore's recounting of his ordeals, I was often reminded of Vincent Price horror movies from the 60's.

A Letter from Hell is William Presley's first novel. There are times when I felt it could've used another round of proofreading to remove extraneous commas and freshen up the dusty writing style he chose. However, it should be noted that when it was published earlier this year Presley was only a junior in high school. I could not have written something this good back when I was his age. I have no doubt that if Presley sticks to it and continues to work at his craft, we will see great things from him in the years ahead.

I don't have an author's website to point you to, so I'll just state that A Letter from Hell is available from Amazon, Smashwords, Barnes & Noble, and even Google.

Thursday, March 10, 2011

The Job by Craig Davis

The JobActually, the full title is: The Job: Based on a True Story (I Mean, This is Bound to have Happened Somewhere). Quite simply, this is modern update to the Biblical story of Job, though with more humor and far less death.

Joe B. is a vice-president at Universal Whirligig. He has enjoyed a successful career and a happy marriage, and has three loving daughters. Unfortunately, his success and dedication to the Big Boss has earned him the ire of Luci Fernandez, the HR Executive Officer in Charge of Outgoing Prescription Drug Claims Oversight. During a high level meeting, Luci makes the claim that Joe B. has been filing fraudulent claims. The Big Boss lets Luci mete out the punishment and is allowed to do anything short of firing Joe B. Our hero winds up being demoted to the mailroom where Luci hopes that he will become so demoralized that he'll quit.

Joe B. spends the rest of the novella trying to figure out why he has been demoted and how he can get back in the Big Boss's good graces.

Mr. Davis utilizes humor to tell the story of Joe B.'s troubles. And while it isn't laugh out loud funny, if one visualizes the physical comedy that Davis has composed, it's certain to produce several smiles. I could see Jim Carrey trying to pull off the role of Joe B. in the movie version.

While I found characterization to be a bit thin, I realize that the characters are here to support the story. Still, Davis does a great job with introducing us to Joe B. and Luci. After the intros, Luci disappears (a waste) and Joe B. becomes obsessive in his search for answers. In conversations with others who offer their advice to his plight, he falls back on sarcasm when he doesn't like what he hears. His best moment comes when he's taking care of his daughter Marie, who is sick with cerebral palsy. It is here that he's able to set aside everything else and focus on the one thing that matters.

In summary, Craig Davis skewers office politics and business bureaucracy for comedic effect to re-tell the grim story of Job. At times, the story is clever and cute, but it might've been better had Davis been less faithful to the original and more true to himself.

The Job is available in print from Amazon and several eBook formats via Smashwords.

Saturday, December 11, 2010

Digger's Bones by Paul Mansfield Keefe

Newspaper reporter Angie Cooper has a past filled with regrets. She was once an up and coming archeologist, but it all came to an end when she rushed to publish findings that later turned out to be false. Not only did she lose her career, but she lost the respect of her close colleagues and her boyfriend at the time, Jack Reilly. Only her friend Terek “Digger” Rashid stuck by her side and defended her through the scientific firestorm.

So when Angie receives a frantic phone call from Digger pleading for her help with an explosive archeological find, she doesn't hesitate – she hops on the next flight to Washington DC to help her best friend. But then Digger is murdered before her eyes, forcing Angie to race from Washington DC to Israel to Germany trying to find an ancient set of bones that could overturn two thousand years of theology. Angie faces professional hit men, murderous religious zealots, and a powerful politician who will stop at nothing to ensure she does not bring the truth to light.

Paul Mansfield Keefe's Diggers Bones is professionally written and fast-paced, evoking the thrills and conspiracy theories of Dan Brown. Keefe does a good job spacing out the clues to the mystery of Digger's bones, keeping the reader guessing as to where the next clue will lead Angie. He also throws in several plot twists that turn the story in a completely different direction. I can't get into the twists here without giving them away, but the stakes exponentially rise with each new revelation.

Digger's Bones is a commendable effort, but it falls short in ways that keep it from rising above the other religious conspiracy thrillers on the market.

For example, an “every woman” like Angie Cooper manages to elude or fight off supposedly professional hit men way too often. There were so many scenes like this that I expected another attempt on her life – and escape – every time she walked out the door. The deus ex machina got very thick at times.

And while Angie is a sympathetic character and heroic in many ways, her story motivations seemed confused. One moment she “swoons” over old boyfriend Jack Reilly and wants “nothing more” than to be his wife, but in the next she wants “nothing more” than to find Digger's bones, even though Jack threatens to break up with her over her dangerous quest. It's not made clear why she wants so badly to be with a man who won't support her in something she feels is so important. Or why she's willing to lose the man she loves to pursue this quest.

But these issues aside, Digger's Bones is a good first effort by Keefe. The quality of his writing and the scope of his story are at a professional level. If he keeps in mind the lessons he learned in this first book, I have no doubt his Angie Cooper Series will take off.

You can find Digger's Bones on Amazon, Smashwords, Barnes & Noble, and in the Apple iBook Store. Find out more about Paul Mansfield Keefe at his web site.

Wednesday, September 15, 2010

The Smashwords Conveyor Belt


It has been a while since I have sampled the treasures of Smashwords as they arrive hot off the server. Once again, I am looking at the book-length literary fiction offerings available today, September 15. I mainly read the samples, which are often generous, but if I really love a book, I buy it. I am skipping thrillers and any other genres I feel would be better judged by another member of the staff.

First up is G. K. Ingersoll's The Atheist Vignettes. This is a mostly well-written pastiche of pieces about people, mostly former members of a group called Chris†eens, who are confronting their doubts about faith as they enter middle age. We are treated to sections of a play interspersed with vignettes (naturally) of characters in various states of dogmatic compliance/anxiety interacting with one another. The dialog seems very sharp and realistic; the only problem is with the play excerpt at the beginning, featuring a dialog between God and Satan. The name of the speaker does not begin every line, so the reader is constantly referring back to the top of the page and counting downward “God, Satan, God, Satan...” to the line in question. There are also a few syntactical errors, but overall it looks like an interesting read.


Next, we have three offerings from the mysterious “Dorian Taylor.” Is he real? Is he alive? Is he dead? The preface of each work only hints.

I will start with Modern Problems. We are told of an author using the pseudonym “Dorian Taylor,” an artist plagued by anomie who just cannot get it together to find a market for his writing. The book is a pastiche of narratives, beginning with a poem. I think Taylor has a story to tell, but first he has to fix the errors and the derivative style. I'm sure he can come up with a more interesting description of a dancer than comparing her to Terpsichore:

“From all that he could conger up in his mind in later years, all that really presented itself to his memory were Jamie's legs…”

“Standing still she was a homely little girl from Nebraska, in motion she was Terpsichore, the Goddess of the dance, and she came from Mount Olympus.

“There is or maybe was, a bar off of Washington Square, situated in the basement. It had chess boards painted on it's tables, and the chief reason for going there was to discuss philosophy, or literature, or maybe play a game of chess, while sipping the French liquid fire called Pernod” (italics mine)…


Top 40 is a book that uses old (and I mean OLD) pop tunes as chapter headings in stories about the author as a “man out of time.” Being old myself, I can relate. I didn't get through enough of the sample to see if he actually used Joni Mitchell's “Urge for Going,” but it's what comes to mind. The image of the rambling man who “marches to a different drummer” or “hears the call of the road,” or (if I ever write my own song) “is too narcissistic to commit to anyone” is very prominent. I'm hoping it was a satirical treatment, but when he misspelled “Iliad” I couldn't go on.




Billed as “Georgette Heyer meets the Marquis De Sade,” Taylor's Volatile Elements makes for more interesting reading. It is about a very wealthy man who owns vineyards and other revenue-producing ventures, a man who came by his money in a very unfortunate way that I wish Taylor had elaborated much more upon. He meets up with a long-lost girlfriend, and we are treated to multiple points of view, as well as lots of steamy sex. I think Taylor's characters become much more interesting when they are making love rather than soliloquizing. This seems to be the most mature of the works.

UPDATE: We think this has been republished as The Gaze of the Abyss.


Elder Wonder Comes of AgeElder Wonder Comes of Age is a book about horny Mormons. It's very funny. It's Mormon practice to send their young eighteen-year-old men to do two years of missionary work. They can have only limited contact with family and friends while on a mission. The protagonist, Jerry Wonder, already has one strike against him: he's a vegetarian. Also, as most eighteen-year-old humans, he's constantly thinking about sex. He is sent to New Zealand, where, under the very watchful eye of a senior elder, he goes out proselytizing with other horny teens. It is the early 1960's, and everybody is worried about what direction the Cold War will take. They get a mixed reception in New Zealand; their hard-sell tactics anger many people. As a Jew (Jews don't seek converts), I found it unnerving to read about Jerry's partner lying to an elderly Jewish woman, telling her they were sent by her Rabbi to visit her. Jerry refuses to back up the other missionary's faith statements. Meanwhile, his girlfriend has taken a job as a stewardess so she can see him in New Zealand. I may have to buy this one…

Wednesday, July 11, 2007

Excerpt from Entrekin by Will Entrekin

Imperfect Thirst


Jesus of Nazareth did not know temptation until she found him in the desert.

It was night, then, cool and dark save for the lonely silver light of the moon, dry sand wind‑rippled in places like it had once known water. A breeze shivered his paper‑dry skin, and his breath rattled in his lungs. His coarse hair hung like a shadow over his face, and he passed in and out of sleep like a freefall through clouds; what dreams came were thirsty.


His head down, eyes closed, he didn't see or hear the woman approach, only felt her shadow on his body. His mouth surprised him by watering and he swallowed by reflex, the first moisture his body had known in a long, long time. He'd known she would come, of course. She always did.

"You're thirsty," she told him. Her voice lilted like smoke, oozed in his head like oil.

He didn't answer. He didn't need to. Even if everything in his body hadn't been pleading for moisture, that voice would have persuaded him.

"I don't understand why you do these things," she said. Her dark, familiar voice slid through his soul to find the empty parts, the thirsty parts, where it gave them a taste of what they could have if they so wished. Her tongue found sibilants even where none existed and stretched them mesmerizingly.

The muscles in his neck screamed when he looked up. He could make out none of her features; she was dark against the darker night, with a silver silhouette like a moonlight halo.

He didn't answer. Tried to swallow, had to do it twice to make it work.

She looked around at the lonely, deserted night and clutched her arms around herself as if cold. "It's so lonely out here," she said, almost to herself, "So dry," her voice straining, and then she turned back, her eyes starred, her smile like quicksilver in the dark. "I'm wet." A breeze carried the invitation to him on the musky, oh-so-wet scent of her sex and arousal.

His abs clenched, and his body forced an exhalation. One taste. Just enough to wet his cracked lips, shrink his swollen tongue, soothe his leather throat. And why not? Why not immerse himself in it, lose himself in all her dark and sex, feel her wet skin against his lips and lose all the other sensation in his body? What change in the world could possibly be brought about by one man's imperfect thirst?

He would have shaken his head but he didn't have the energy. He exhaled like wind eroding the desert, and then everything he had was gone. He slid into blackness like sinking into a pool, calm and easy only because his body had long before given out.

***

He returned to the world gently as he'd left it, and the first thing he was aware of was the hard surface beneath him. Cold, porous; when it didn't give out under him like fine, loose sand, he realized just how exhausted his body truly was. His legs trembled as he rose, knees shook, and he worried they wouldn't hold him.

He was on a roof, high above a city in the middle of its night. The sky was deeply, eternally blue, lit by a full moon bright as a million human hopes pinned on a single, bloated star, and his heart trembled in his chest because it knew how they all felt. All those human hearts in that huge and lovely city, living through their days, dreaming through their sleep, laughing through their tears with all the courage and fear a universe can know.

"They'll never believe you," came the woman's voice from behind him. It ran all the way up his back, prickling the hair on his neck on its way, and it aroused him. He turned more quickly than he realized he could.

She was nearly as tall as he was, and her pale skin seemed to glow, contrasting the night-dark garment she wore. It fit her well. Her long hair rustled, as likely in the breeze as in the night, and her eyes burned into Jesus' soul like cold, pale fire.

"They don't have the faith," she whispered in her sonorous, warming voice.

Jesus said nothing. He couldn't. His body trembled, muscles like bands stretched tense and quivering, and his heart cringed because it knew the woman was right. They wouldn't believe the message he carried, or would corrupt it.

A single tear escaped his eye, full of more than that harsh, dry land was used to.

"You can change that," the woman told him. She nodded toward the edge of the roof. "Just a single step, and they would hang upon your every word, believe every last thing you said to them."

Jesus looked toward the ledge, the city beyond it. His legs trembled beneath him, and his faith shuddered in his soul. He took a deep breath, though, and in it was everything he needed to say, "There is no room for proof in faith."

The woman looked at Jesus, and those ancient blue eyes pitied him. Her chuckle was the timeless wind against the sand, comforting against the heat but also a little empty, a little eroding. "Can you really be so idealistic?"

Jesus never answered. His body gave out under him, and the night wavered around him before it closed him off.

***

He next awoke under a sledgehammer sun blazing a suffocating white sky. His breath burned in his chest, and the air seemed to push down as he struggled to his feet. He didn't trust his body; it shivered as if cold and threatened to give out on him like everything else in the world had.

He was on the edge of a cliff, and that whole world spread out before him. He could see towns and villages immediately and, farther out, the shocking blue of the cobalt sea.

"It could be ours," the woman's voice whispered into his ear, sent a thrill like water through his whole body. She gestured at the world. "You can see where they're heading, and it's nowhere worth going."

Jesus' heart trembled, but he said nothing.

"We could change that," the woman said, stepped forward, turned to face him. "You and I. Think about it. We could have the world," she told him, standing just beyond the cliff's edge, "And we could change it."

The woman smiled when she said it. He gasped before he could stop himself, because he found everything he'd never known he was searching for, right there, in that beautiful woman's beguiling secret smile.

"Ramses? Tutankhamen? I knew them. They had their chances, and what did they build but glorious empires that crumbled into dust? But you're better than they were. You know things they never did. You are like no other I've ever known, and together we could succeed where there's only been war and loss. Join me. Be my king, and I will be your queen, and together we will rule this world and beyond."

Jesus looked out at that civilization on the sea, all those proud buildings built of dust and tears, all those people, too, and he breathed out. "I am not here to lead the way, only show it," he said.

The woman sighed, ancient wind in glaciers from before the world knew words, and in it was the knowledge that time was to be long. "I'm sorry it has to be this way."

"It cannot be otherwise," Jesus said.

"It could be if only you–."

"It cannot be."

The woman breathed out, weary and expectant. She stepped to the sand again, put her hand on Jesus' shoulder.

They stood, then, looking out on an uncertain world, and two hearts weighed heavy because both, at some level neither understood, knew what was to follow. They looked out at that world, that bright, sun‑bleached land full of dreams and lives, and they hoped.

"This is where we part, then." There was regret in the voice.

"It is," the woman agreed, and she wiped her cheek.

Jesus looked at her a moment, and then he took her hand, held it. A tear glittered on her index finger like a single drop of rain full of golden stars, and he brought it to his lips, kissed it from her skin. It was salty, and it filled his body with all the moisture it could hold.

She smiled at him, so full the sun seethed in jealousy, and then his legs buckled. Her ever‑so‑secret smile was the last he saw before darkness.

***

Jesus would have fallen down that cliff, but the woman was there, and upon her hands she bore him up lest he dash his foot against the stone. She carried him from the cliff and, when they were a safe distance, she set him down, caressed his cheek, and walked away.

Jesus lay there in the sun, only finally woke when it was dark again and the world had cooled. A breeze came from the night and felt like a lover's breath on his body, filled him with energy. He stretched his tired, near‑defeated body, and it loosened where he only remembered there being dry.

The moon shone down, less harshly than the sun. It cast a colder light on the world, but there was something comforting in it. The whole city bathed in it and looked more refreshed for it. He rose, his body awkward, trembling, testing before committing to posture and even then doing so carefully.

There were footprints there, he saw, in the light of the moon; they started at the edge of the cliff and traced off into the desert. He looked at them a long moment, feeling like there was something he was forgetting, but nothing came.

He looked into the distance of the desert, following those footprints with his eyes as far as he could, and then he looked down at the city and started toward it. He didn't consider for a moment the footprints been left by someone else, and even had he, he wouldn't have followed them. Which was fine, because they didn't lead anywhere; they traced off back, started to fade, and eventually vanished as if the wind had blown over them.

Saturday, June 2, 2007

Excerpt of The Father by Stephen Bruce

This excerpt is a first chapter from The Father by Stephen Bruce.

So much his son had had to accept, so many trials. Hadn’t he borne enough? He thought his heart would crack under the oppressive weight of this black cloud of rage which lay across it as he watched his son be tormented, jeered, spat upon, as he staggered through the narrow streets. He took his eyes off his son and turned them to the faces in the crowd. He wanted to destroy every single one of them, to lay waste to this whole city and leave no trace of these foul creatures behind. He wanted to visit every torment on them that they were so gleefully heaping upon his son, to turn their hateful laughter into screams for mercy.

Such was his rage. It was an anger that he could not express, an impotent fury which had suggested itself to him before but which was now close to consuming him. In his mind’s eye he saw a black tidal wave, of immense size, racing towards him, destroying everything in its path and blocking out all light as it rushed to embrace him. Dreadful as this image was he felt a willingness to allow the wave to wash over him, to obliterate him completely, sparing him the agony of watching his beloved son suffer.

He could feel the wave drawing nearer, looming over him, preparing to crash down on top of him. All he had to do was bow his head, accept this inevitable mass, finally remove his resistance to it. It was as if the wave was talking to him, telling him that it had always been there, telling him that he could never have hoped to hold it back forever, promising relief from the constant struggle of denying his very nature. As if from a distance he could hear the crowd baying. Something had changed in the tone of their jeering.

He saw his son on his knees, head bent, coughing from the cloud of dust coming up from the ground and circling around him. He had fallen. A woman had stepped out from the crowd. She was wearing a black veil over her face and had the look of a harlot. She knelt before his son and began bowing to him in mock homage. With each bow she would thrust her breasts at him, calling out his name as if in the throes of passion. The laughter of the crowd spurred her on. She moved closer to his son and removed her veil. Her beautiful face was twisted and deformed by a cruel sneer.

‘Am I not worthy to be your Queen?’

As she said this she moved her face closer, continuing to call out his name, the look of cruel malice becoming more and more pronounced with each cheer of approval from the crowd. His son raised his head from the ground and looked at her for the first time. On his son’s face he saw no trace of anger nor fear, only a deep sadness. The woman recoiled from him, as if his face was a mirror and something horrific had been reflected back at her. She stumbled backwards, clutching at the ground for the veil she had discarded. His son continued to look directly at her. The sadness on his face was not the pleading look of self-pity so often seen on the faces of people enduring far less than he. His sadness was not for himself but for those who circled him and delighted in his agony.

The woman found her veil and desperately covered her face with it again. Stumbling back into the crowd she called out his name two or three more times in the same manner as before but with none of the same surety. When she had disappeared into the crowd his son bowed his head and pushed himself to his feet. Momentarily distracted by the reaction of the woman, the crowd resumed the baying with renewed zeal.

The father watched all of this, not with rage but with a crushing sense of shame. He saw himself standing on a rock, this giant black wave towering over him, suspended, waiting for his permission to come thundering down on top of him. He had invited this wave, welcomed it, longed for the oblivion it offered and had almost allowed it to engulf him. He looked over his left shoulder. Behind him was a basket. The shadow of the wave seemed to cast everything into darkness, save the basket. Inside was a child, a serene look on its face, gazing up at him with absolute trust. The shame that he had allowed such a weight of evil to come so close to this child was like a knife, piercing deep into his heart, carving out the cancerous rage which had grown so large that it had obliterated all other feelings. He thought he would die from the agony of his shame, and wanted to die but the child would not let him, continued to look up at him, reassuring him almost. He felt this knife carving deeper and deeper. When he thought he would surely die, the agony stopped and he fell weeping to his knees, the top of his head at the foot of the basket.

He felt completely empty, as if the knife had completely hollowed him out. But as he lay sobbing on the rock, he felt something begin to build up in him, as if he was being picked up. He raised his head and looked at the child. Such love, as he had never known before, passed through him like a fork of lightning. If anything this love was even more painful than before, filling him up until he thought he would burst. Fresh tears flowed from his eyes, coursing through the tracks left behind by the tears already shed through rage and shame. He picked up the child and turned to face the wave. Cradling the child to his chest he looked up at the wave, his eyes searching for the highest point. Eventually he caught a glimpse of sky, a blue speck at the top of this unimaginable height. He could see this tiny patch of sky as if he were looking up at it from the bottom of a well, many miles beneath the ground.

He could see the crest of the wave churning far above him, eager to lead the charge, to land the first crushing blow upon him. He ignored the wave and focused all of his attention on the blue sky. He could feel the child in his arms, its head resting against his chest, breathing in perfect syncopation with his heartbeat. Like a drunken giant the wave staggered forward slightly, threatening him, trying to regain his attention. He felt an urge to turn and run, to try and get as far away as possible from this massive black mass that could fall on him at any second. But what would be the point. He could spend his whole life running without ever escaping its shadow. Teetering above him, the wave had come so close to him now that if he were to take three steps forward he would pass into it.

He cradled the child closer to him and fixed his gaze on the tiny speck of sky. The wave staggered again, so close now that he could almost reach out and touch it, desperately trying to convince him that there was nothing else, that it, oblivion, was all there was. He could hear the screams and mocking laughter of the crowd as if they were coming from inside the wave. He could hear them taunting his son, calling out for a miracle, inviting his God to strike them down. He could feel cold wet hands, reaching out from the wave, clawing at him, trying to wrench the child from his arms, pulling at his hair and face, trying to drag both him and the child into the wave.

Yet the child didn’t make a sound, its breathing seemed to control the rate of his own heart beat, keeping it from bursting out of his chest with sheer terror. He held fast to the child and continued to look up at the sky. For what seemed like a lifetime he remained fixed, refusing to either release his hold on the child or to look at anything other than the speck of sky which promised hope of something other than this wave of despair.

He could hear everything that was happening to his son. He could hear the children encouraging each other to fire stones at him, hear them squealing with delight when a stone drew blood. He could hear and feel every agony inflicted on his son, every taunt, every curse, every wound. He felt his son’s weariness, the weight that was on each foot, the effort needed to take each step. From inside the wave he could hear harsh, cruel voices, stabbing him with questions: how could he stand for this, how could he let this happen to his son, was he going to allow these people to get away with this, did he not love his son, why was he unwilling to protect him? Each question shot deep within him, finding a doubt, a fear, a desire, and then igniting it, causing it to burn inside of him. Yet he did nothing, he did not explode in anger, he did not fight the cold hands that were tearing at his skin, he did not rush into the wave to defend his son. His upward gaze never faltered as sobs racked his body and tears passed gently down his cheeks, anointing the head of the child.

He could hear screams from somewhere far off and he felt the cold, dead hands pulling at him, even more desperately. Their nails clawed into his skin, drawing blood and he felt patches of hair being ripped from his head. He could feel the child pressed against him, still not crying, but murmuring gently. He had no idea how much longer he could withstand this agony. It seemed inevitable with each passing minute that the child would be wrenched from his grasp. It was the thought that he had failed in his duty to protect this child which caused him the most pain and yet it was also this belief that gave him strength when his body screamed for him to let go, to bring an end to its suffering. As his torment intensified he told himself that he could not hold out for one minute more and yet with each passing minute he continued to resist.

Until finally the screams, the noise, the mocking laughter, the clawing hands, everything stopped. He stood in silence, not daring to move, completely unaware of what to do. Finally he tore his gaze away from the patch of sky and looked once again at the wall of black water standing no more than a foot in front of him, yet stretching out for miles above. Although it had lost none of its size the wave seemed to have been stripped of its power. It was as if it had been masquerading as oblivion; inevitable, irresistible, inescapable, but now the mask had dropped. He could see the lie. The wave was swollen and bloated, immense in size but utterly powerless. It had come at his bidding yet had been unable to strike without his consent. He regarded the wave now, not with fear, but with disdain, angry at himself for ever having been so foolish as to be awed by it.

‘God forgive me. Would I have given my life, my soul to this? Would I have been such a fool?’

The wave seemed to swell even higher above him as he said these words, a last attempt to strike fear into his heart. Then, as if it were being sucked back into the earth, the wall of water came hurtling down. Whereas the sight of the wave itself had ceased to inspire dread its collapse filled him with awe. It fell down all around him, like a dying waterfall, without a single drop landing upon him. And as it fell, the patch of sky he had spent so long staring at expanded, filling in the spaces where before there had been only water.

The wave tumbled around him, thousands of tons of water crashing down before him as he stood transfixed on the rock. Almost shrieking, the crest of the wave passed before him before being absorbed into the calm blue sea that now spread out all around him, connecting with the sky many miles off in the distance. Then there was only silence. He fell to his knees, battered and weary, almost completely drained yet at the same time feeling freer than he had ever felt before. A burden which had always been upon him had been lifted. He closed his eyes and gently touched his head against the child, now sleeping in his arms. He stayed like that for several minutes before opening his eyes again. When he did he was no longer on the rock. The child was gone and he found himself once more on the street through which his son had passed, huddled against a wall, his face stiff and unmoving from the tears and dirt caked upon it. The crowd had moved on and he could no longer see nor hear them as they circled and baited his son.

He stood up slowly, using the wall to support himself. The street was completely deserted save for a young boy who was throwing stones into a circle he had marked on the ground. Completely focused on his game, the boy showed no interest in the old man. He walked to the centre of the street where his son had fallen. He could see large splashes of blood on the stones, already starting to congeal under the unrelenting heat of the sun. His son. He would have gladly died rather than see his son shed even one drop of blood at the hands of these people. And yet, he was suffering, was shedding blood. He could not rescue him from it, nor could he die in his place. His sense of pain was still great but it no longer threatened to overwhelm him, to drive him out of his mind. The love he had for his son had eclipsed it.

He realised now that there was nothing he could do to stop the chain of events that had been set in motion. He knew where his son was, knew the horrendous death that awaited him. Like all men of his age he had seen people put to death on the cross. He had seen men screaming in pain, pleading for death as their bodies were broken under their own weight. He also knew what happened to these men when death had finally spared them. More often than not their bodies were taken from the cross and removed to a more remote site where they were left as carrion for whatever scavengers happened to chance upon them. Desperate as he was to be with his son at his moment of death, to share his burden in some way, he knew that in so doing he would lose all hope of claiming his son’s body. Utterly incapable of protecting him in life he would do all in his power to protect him in death.

He faced in the direction of Mount Calvary. He could not make out anything from where he was standing but he knew that his son would have arrived there by now. The agony of the long struggle with the cross when finished would be replaced with a brutal, protracted death.

‘Why aren’t you with the rest of them, old man?’ asked the little boy who had stopped his game and was looking directly at him. He obviously took the old man for a beggar and felt no need to address him with any sort of deference to his seniority. Caught off guard by this interruption into his thoughts the old man could only turn and stare at the young boy, open-mouthed, unsure whether to answer, ignore or rebuke him.

'My father won’t let me go. He says I am too young to see such things, that I will have to wait until I am older.'

‘Your father is right. Some things are not meant for the eyes of a child.’

‘Then why am I the only one left behind? Why have all the other boys been allowed to go, boys even younger than me?’

‘The day will come boy when you will fall down on your knees and thank your father that you had no part in what is happening today. Until then you should learn to show respect for your elders when you meet them in the street.’

Realising that this was no beggar he was talking to the young boy bowed his head quickly and ran into one of the open doors in the house he had been playing outside.

A voice in his head picked up on what the child had said to him. Why was he not with the rest of them? Was he afraid of watching his son die? Was he trying to escape? Had he really done all that he could? He could not give a good answer to these questions, could not escape the heavy feeling that he had failed his eldest son. Yet he was resolute in what he had to do. Regardless of the consequences for himself he would go to Pilate and plead for the body of a condemned criminal, plead for the chance to bury his son.

Feeling like a coward, he turned his back and began walking in the opposite direction, into the heart of the city and the court where hours before his son had been condemned to death.


Thursday, May 10, 2007

The Father by Stephen Bruce (A)

The FatherAvailable at LULU.COM

Strikingly evocative and populated with deeply human characters, The Father takes us back 2000 years into the lives of Joseph, Pilate, Hera, and Mary Magdalene, brilliantly presenting each as a living, thinking, feeling human being. The author's emphasis on characters brings the story to life and gives it a vitality that is missing from many mainstream efforts. The characters and their story are honest, deeply felt and richly imagined, making The Father a must read for anyone interested in historical fiction dealing with the circumstances and key people involved with the death of Jesus and its aftermath. The Father is a worthy companion to Gibson's Passion, and will be of interest to anyone who has seen that film.

The book opens with a highly emotional scene of Joseph's witness of his son's carrying the cross through the hot, dusty streets filled with jeering crowds. The father's internal anguish, confusion, and rage are deeply moving as one can't help but identify with Joseph and his pain. The poor man latter comes to Pilate seeking the release of his son's body, but becomes involved in Hera's insane intrigue, with the unexpected result of changing her in the end.

This change is one of the central themes of the book—change affected by Jesus upon those who knew him directly and those who came in contact, like Hera with Joseph, with those who knew Jesus.

Another aspect of The Father is the stellar writing, a kind of narrative that places us right in the dusty Jerusalem of antiquity:

It was one of the many narrow little back streets which criss-crossed Jerusalem, lined with beggars, stalls and one or two inns. She could see children running barefoot up and down, the soles of their feet turned to leather from running over the hot, sharp stones. She saw one young boy, no more than eleven, grab a small bunch of grapes from one of the stalls and run off with it. The owner of the stall was obviously inexperienced for he ran after the boy, leaving his stall exposed to a band of boys who stuffed as much food as they could into their mouths and arms before the owner returned.

It is such powerful writing, combined with deeply evoked characters, that makes The Father not just a read but an experience.

Saturday, April 28, 2007

The Communion of the Saint by Alan David Justice (C)

The Communion of the SaintAvailable at Lulu.com

Cover: Is a bit vague. I think a picture of a congregation perhaps would be more effective.

As I read the Communion of the Saint, I couldn’t help but wonder-when will the protagonist come into conflict with the Communion of the Saint, her employer, or someone else, as a result of her visions? A hundred pages into the 320 page book, there is no conflict stemming from the revelations, that is, the protagonist is not in trouble—say threatened with losing her job—as a result of her visions, and the opportunity to create tension and suspense is lost.

It is best to establish suspense early because suspense creates interest. For example, suppose that we start this story right away, dispensing with the slow beginning: suppose that we start with a scene in the hospital. Clio’s there because of her visions, and her job, freedom, and sanity are in trouble. Such a beginning establishes the stakes—what Clio stands to lose (job, sanity, freedom) as a result of her visions. It does not show us the experience of the visions, but it establishes the threats that Clio faces should the visions return. With such danger hanging over her, we would be worried and uncertain as to what will happen to Clio, and this would create suspense. There would be anticipation of problems and conflict should the visions return. Without such a mechanism to create suspense and anticipation early, the story is a bit boring. The beginning, in order to be effective, must establish an expectation or anticipation of conflict where something important will be in danger and the outcome will be uncertain.

Another thing that the book would benefit from would be a more clearly defined antagonist. Who stands in the way of Clio and Alban? The psychiatrists? The minister? Who threatens and embodies the threats that she faces on her quest with Alban? Who, in other words, has the power to stop her in her tracks? Although this story is about the struggle of an intellectual with the revelations of the divine, someone, a specific character, has to embody her doubts, fears, and the other forces that oppose her experiences.

In good conflict, two forces are in opposition; two forces that represent two opposing beliefs and value systems, and these forces fight with all the available means at their disposal to win over the other. So the question is—who is threatened by Clio and her visions? Whose values, lifestyle, or beliefs are threatened by the visions? Who is seething with jealously because she has them? What is the person willing to do? What can he/she do to prevent Clio from having her visions? For example, who can have her committed and forced to undergo treatment that cuts Clio off from Alban? Of course, the vital importance of the visions to Clio must be set up. Perhaps her soul is at stake and she must complete what Alban is trying to teach her? Without such a clear locus of opposing forces, there is no conflict and no plot.

It is only after about 100 pages, that the story becomes more engaging once Clio ends up in the hospital because of the vision; she’s in trouble, and this is good news for a story. The problem, aside from the fact that there is no clear antagonist, is that there is no direction to the revelations. What is Alban, in other words, trying to do? Perhaps Clio’s soul is in danger and he’s trying to teach her something to save her? But this must be made clear very early on in the story. Why is he doing what he does? What’s his goal? Without clear answers to such questions, presented through action early in the story, there really is no story because there is no one who can threaten Alban’s plans. If it’s Clio’s disbelief that’s the antagonist, then this needs to be reinforced through another, skeptical, character, perhaps her lover.

Suppose that Clio’s lover is an atheist, and Clio’s faced with the choice—leave him and follow Alban’s prompts or refuse Alban. If Clio had an atheist lover, Alban’s revelations would then become a threat to the relationship. How would her atheist lover respond? Try have her committed? The key struggle in this novel, the intellectual vs. divine, is not developed well because it is not developed through conflict between Clio and other characters. Internal conflict and struggle must always be made external through the struggle of the protagonist, who represents a particular belief system or set of ideas, and the other opposing characters, who represent the opposite ideas, agendas, or beliefs.

The Communion of the Saint
, like many average print on demand books suffers from weak plot construction. Good plots are always a result of well developed characters who then interact with one another, because of their needs and desires, in surprising and threatening ways.