A flash story about the deracinated, isolated contemporary worker struggling to keep track of the hours and the seasons.
*A Creek Named Sorrow* is a competently narrated crime/mystery novel that juxtaposes the beauty of a rural New England landscape with human crime and misery. But a dizzying cast of mostly undeveloped characters, and a striking lack of sympathy for/insight into its criminal crharacters, make this novel a less-than-satisfying read.
*Tiny Novels In A Flash: 30 Short-Short Stories* delivers maximum story in minimum word-count. This book is a rainbow collection of characters and moods. Its themes range from comedy through life-lesson through love and loss. Its settings span the American landscape; most of the stories are contemporary; a few are set at various key moments in U.S. history. Each of these 30 standalone stories is a delectable read for a few spare minutes. Together, they demonstrate an impressive range from this debut author.
This short memoir by a fellow vagrant from Hitler’s prewar homeless days in Vienna provides insights into how early experiences with destitution and hopelessness shaped a tyrant.
Cancel Culture displaces individual responsibility, creates a hollow sense of satisfaction, and fails to resolve systemic injustice.
Kubizek’s memoir constitutes one of the few reliable sources of Hitler’s years in Linz, and in Vienna before penury made Hitler homeless. Kubizek’s account is sympathetic but balanced. Combining character analysis with narrative of shared ideas and adventures, it provdes not only insights into the gestation of a tyrant — but a delightful read.
Political Correctness solves nothing, and sidesteps the hard work of institutional reform. Language reflects material circumstances – and it is material, economic injustice that must remain our focus. Banning words is high-profile, low-impact virtue-signalling that polarises groups and forbids honest dialogue.
*Our Mutual Friend*, Dickens’s last finished novel, revives many familiar Dickens tropes, but unites them with lively social satire, a spare cast (by Dickens’s standard), and a mostly sound narrative. With characteristic ease, *Friend* traverses the socioeconomic spectrum from low to high. Its settings range from the grotesque and morbid, to scenes of fevered fancy and domestic bliss. *Friend*’s social satire is caustic as always. *Friend* is Dickens at his acme.
Image credit The best writing advice I’ve received, scattered over twelve years, was from three people, none of them a writer. # I was 20, and struggling to make my writing work. I thought I just had to produce more. More words. More stories. A friend and I were moon-gazing. She remarked that meditating helped […]
“My book has no thesis, and any conclusions to be found in it were reached only during the writing, perhaps the most meaningful being that Hitler was far more complex and contradictory than I had imagined. ‘The greatest saints,’ observes one of Graham Greene’s characters, ‘Have been men with a more than normal capacity for evil, and the most vicious men have sometimes narrowly evaded sanctity.’ Deprived of heaven, Adolf Hitler chose hell – if, indeed, he knew the difference between the two.”