Category: General Fiction

THE TERROR

Written by Dan Simmons

SUMMARY:

First published by Little, Brown and Company, in 2007, this 770-page hardcover imagines a horrific ‘what if’ as to a real-life, unsolved nautical mystery. Specifically, The Terror explores the catastrophic fate of the British Navy’s 1845 Arctic expedition led by Captain Sir John Franklin.

With two reliable and newly reinforced vessels (the HMS Erebus under Franklin’s command and Captain Francis R.M. Crozier’s HMS Terror), the Franklin Expedition had been ordered to locate and explore a purported Northwest Passage from Canada’s North Pole region to Asia. Including its seasoned officers, the two vessels’ combined crew would be comprised of nearly 130 men. Setting sail from England, these vessels would be well-stocked with supplies (including a horde of hastily tinned foods) and resources to seemingly answer all likely contingencies.

According to history, only two Franklin Expedition messages (one being an update of the other) were ever found by a multitude of subsequent search-and-rescue parties. Hence, the British Navy could never confirm Franklin’s improvised deviations off his expedition’s intended route to finally locate the missing ships.

In reality, the signed messages revealed that both vessels had been trapped by ice in close proximity to one another some thirty miles from King William Land/King William Island’s coast for eighteen months. Months after Franklin’s death in 1847, both ships were evidently abandoned to attempt a grueling trudge across hundreds of miles of frozen sea and terrain in hopes of eventual rescue – as of late April 1848. According to various historical accounts and present-day science/archaeology, there were no survivors from the Franklin Expedition.

Per Simmons’ novel, after several months of frozen gridlock, Franklin contemplates his officers’ pendulum-like assessments of their dire predicament. He scoffs at Crozier’s suggestion of abandoning the bigger HMS Erebus, despite its enhanced frame slowly buckling under constant strain. Instead of immediately consolidating crews aboard the HMS Terror to wait out a possible escape, Franklin chooses a different alternative.

Under Lt. Graham Gore’s command, a small team is sent afoot to search for leads (open water) and deposit the first of only two messages the Franklin Expedition would ever leave of its whereabouts. Returning to the ships, Gore’s team is unexpectedly attacked by a raging behemoth resembling a polar bear. An enigmatic clue to this ghostly creature’s origin may be a young Esquimaux (Inuit) woman dubbed ‘Lady Silence,’ due to her severed tongue.

Franklin’s subsequent strategy to kill the supposed bear (in the crew’s ironic slang, nicknamed ‘The Terror’) ends in a bloody disaster. Now sharing command, Crozier and Commander/Captain James Fitzjames must keep their crews alive by all humane means necessary.

Not only is a bloodthirsty leviathan (aka ‘The Tuunbaq’) stalking the stranded vessels, but other lethal factors become inevitable: hypothermia, scurvy, botulism, lead poisoning, and, worst of all, a dwindling food supply. Left no other viable option, Crozier and Fitzjames desperately lead their crews hiking across King William Land/King William Island’s frozen tundra for hundreds of miles in hopes of an eventual escape or rescue by river.

In the grueling months to come, the depleted survivors continue falling to tragedy and misfortune. Crozier and others deduce another vile monster lurking among them is stirring up imminent mutiny, including threats of cannibalism. Forced to split his remaining crewmen into factions seeking their own fates, Crozier knows that time is fast running out to escape the Arctic Circle’s wrath. For them, hell has already frozen over.

Yet, an unexpected glimmer of hope may at last disclose the predatory Tuunbaq’s motive for feasting on mortal victims.

Notes: The novel has been released in multiple formats, including paperback, audiobook, and digitally. Simmons’ novel was published prior to the real-life discoveries of the HMS Erebus (in 2014) and, subsequently, the HMS Terror (in 2016). The underwater wrecks were found approximately 100 kilometers (or roughly 62 miles) apart.

AMC, in 2018, released a ten-episode, same-named mini-series of the novel co-starring Jared Harris and Ciarán Hinds. This TV adaptation serves as the first season of AMC’s The Terror horror anthology series.

REVIEW:

Let it first be reiterated that, given its bleak and macabre nature, The Terror is a mature audiences read only. Dan Simmons’s nasty fantasy-horror doubles as a historical fiction masterpiece indulging an excess of grisly details. With many fully developed supporting characters and individual sub-plots, readers are getting the dense literary equivalent of a director’s cut/extended version – be forewarned.

Rather than preparing an exhaustive analysis, I’m going to instead discuss some key areas:

No matter their factual inaccuracies, Simmons’ depictions of historical figures (i.e. Franklin, Crozier, John Irving, Dr. Goodsir, Graham Gore, Lady Jane Franklin, and Sophia Cracroft, among others) effectively co-exist with his own fictional creations in this alternate reality. Despite the supernatural presence of an unstoppable Star Wars Wampa-like monster and Crozier’s recurring psychic dreams, this component makes for a considerable creative asset.
The intricately detailed narrative conveyed in sixty-six chapters (through the perspectives of rotating characters) isn’t flawless. At least one hundred pages could have been omitted without losing a fraction of this epic’s gruesome substance. Simmons, in retrospect, should have prioritized better pacing over pitching innumerable ghoulish twists.

Readers (especially the more squeamish) will feel as though they’re on-the-scene observers. It’s a nod to Simmons’ undeniable literary talents. Case in point: His made-up timeline painstakingly overrides common sense as to why the expedition should have likely perished from harsh natural elements, let alone starvation – long before the novel’s actual climax. Note: Nearly three hundred pages take place after the real-life expedition’s last known correspondence.
Simmons’ ability to defy common sense doesn’t always work. Even if such details are indeed historically accurate, readers may be bewildered by the two vessels’ vast cargo holds, including room for multiple smaller boats, sleds, and absurdities in excessive personal effects. Case in point: storage of an aristocratic Franklin’s vast costume collection on an exploration mission just seems an eye-rolling implausibility.
The same applies far worse later when the dwindling crewmen are ‘man-hauling’ enormously heavy yet unnecessary objects (i.e. Crozier’s desk) for months across countless miles of frigid tundra. Why no one suggests packing lightly at the outset for a far more expedient (and possibly less suicidal) trek across the island isn’t explained.
Necessary compensation is supplied by a wealth of character depth Simmons’ depictions of Crozier, Goodsir, Irving, Blanky, Gore, Lady Silence, Franklin, Bridgens, and even the antagonists. Repulsive details/inferences (including cannibalism, sodomy, disemboweling/mutilation, and some crude refences to female anatomy), however, can’t be ignored. Instead, they become a nauseating counterbalance to such well-constructed characters.

What might give one further pause, however, is the author’s creative exploitation – reminiscent of The Perfect Storm (both Sebastian Junger’s 1997 novel and its 2000 movie adaptation). Specifically, is Simmons profiteering off historical tragedy? With the Franklin Expedition’s grim fate transformed into a gruesome fantasy, readers inevitably face a coin toss. One side offers a brilliantly speculative though excessive take on historical fiction. The flip side implies that Simmons has taken advantage of this expedition’s misfortune by concocting it into mass fantasy-horror.

In spite of these qualms, The Terror is ultimately a potent read. It is, however, bogged down by an overload of wince-inducing plot elements. Additionally, several overextended sequences (i.e. Thomas Blanky’s first and seemingly endless monster escape; the preposterous costume ball, etc.) push credibility much further than necessary. Before accepting the challenge of reading The Terror, it’s advisable to stock up on fortitude to absorb this novel’s literally blood-chilling narrative.

If The Terror is the kind of epic nightmare that intrigues you, then Simmons will surpass your money’s worth.

ADDITIONAL FEATURES:

There’s a double-page of black-and-white maps detailing Simmons’ versions of the Franklin Expedition’s Northwest Passage route and of King William Land/Island. A Northwest Passage map also appears in a double-page format for the front and black inside covers. Simmons’s dedication infers his creative inspiration was taken from the 1951 sci-fi/horror film, The Thing From Another World (aka the original cinematic Thing). A foretelling 1851 Moby Dick quotation by Herman Melville is included.

Simmons’ three-page acknowledgements section reveals his bibliographical sources. Among them is an 1845 letter from the Expedition’s real Dr. Harry D.S. Goodsir to a relative. The last page provides a paragraph-long biography on Simmons.

BRIAN’S ODD MOON RATING: 8½ Stars

Agatha Christie-Related Books & Novels General Fiction Mystery & Suspense

THE THURSDAY MURDER CLUB – BOOK # 1

Post author By oddmoonmediareviews
Post date July 24, 2023

Written by Richard Osman

SUMMARY:

In 2020-21, Penguin Books released this 374-page paperback in Great Britain and the United States. As British game show host and comedy writer Richard Osman’s debut novel, this mystery caper’s success has precipitated at least three sequels and possibly a future film adaptation.

In the secluded, present-day English countryside, Coopers Chase Retirement Village is a posh, inclusive community developed on property previously owned by the Catholic Church. Among its elderly British retirees are: Ibrahim – a mostly retired psychiatrist; Joyce – a doting ER nurse and mother, who is likely the friendliest neighbor any of them have; Ron Ritchie – an outspoken and hard-nosed, social activist; and their informal leader, ex-spy Elizabeth – a former MI-5 (or MI-6) operative. Of them, Elizabeth is the only one who isn’t widowed, but she is caring for her husband’s evident dementia.

Setting up a weekly meeting, the quartet selects and, as a matter of keeping their minds active, reviews cold case murders. Inspired by her comatose friend, Penny, who had been a stalwart police detective, Elizabeth shifts the group’s attention to its next project: probing the brutal homicide of the village’s building contractor, whose shady past evidently dates back at least thiry years.

Reluctantly helping the Club seek out likely suspects are the local police: new detective Donna De Freitas and her simmering boss, Chris Hudson. Even before one homicide can be resolved, another occurs involving Cooper Chase’s scheming developer, who has a mile-long list of potentially seething enemies.

With one, if not possibly two or more killers, on the loose, the Club’s investigation is further complicated by a grisly discovery in the cemetery adjacent to the community. It’s up to an ever-resourceful Elizabeth and her friends to now snare an elusive culprit, who may be far closer to home than they dare realize.

Note: This title is also available digitally and as an audiobook.

REVIEW:

The low-key, tongue-in-cheek humor lurking in some of Agatha Christie’s lesser-known works (i.e. The Man in the Brown Suit; The Seven Dials Mystery, etc.) comes to mind reading The Thursday Murder Club. Part of this resemblance comes from Richard Osman’s inclusion of Joyce’s ‘diary entries.’

These brief shifts of narrative from third-person to first-person makes an insightful change of pace. Exploring easygoing Joyce’s point-of-view over, say, the more dominant Elizabeth (it’s easy to visualize Judi Dench playing this role) is a smart move, as Joyce is the Club’s most down-to-earth participant.

More so, it contributes to a welcome creative vibe reminiscent of a percolating tea kettle. If one stays patient, Osman’s creative steam subsequently delivers the necessary goods at the right moments. Such compensation more than makes up for the first several pages introducing the Club, which are comparatively dry.

There’s decent odds that some readers, at the get-go, might be turned off (or simply bored) by the quartet’s casual pleasure discussing a young woman’s unresolved homicide. Still, after that juncture, Osman’s clever storytelling picks up momentum, as plot twists and additional mini-mysteries contribute to an intriguing read where not everyone is really whom they seem.

Deploying an unusual third-person omniscient present-tense, Osman’s quirky debut novel is a triumph for the British cozy mystery genre. Playing off the genre’s reliance upon contrivance and outright implausibility, Osman still concocts a whodunnit gem more sophisticated than most amateur sleuth cookie-cutter formulas.

Given this book’s cast, there is at least half-dozen ongoing plot threads to keep track of (Osman makes it easy enough), so readers will left guessing as to which ones are foreshadowing and what others may prove red herrings. A leisurely surplus of character depth, in that sense, co-mingles with witty humor and poignancy to convey Osman’s well-played nods to the 21^st Century’s generational gaps.

The mystery’s final stretch, accordingly, delivers a satisfying, multi-layered resolution where not all loose ends are tied up, but most everything now makes sense. Suffice to say, The Thursday Murder Club conjures up an original assortment of sleuths that readers will enjoy solving multiple homicides with.

ADDITIONAL FEATURES:

Osman’s paragraph-length bio is included, along with his acknowledgements section. He also introduces an outtake scene, from Joyce’s point-of-view. There’s a six-page sample of the franchise’s second installment: The Man Who Died Twice. A brief interview with Osman reveals the real-life inspiration for the novel. Lastly, “A Penguin Readers Guide” is a helpful reference for setting up book club discussions.

Note: “The Readers Guide” has one typo referencing Donna’s off-the-record contacts with the Club. It’s Elizabeth (not Joyce) who regularly communicates back and forth with 26-year-old Donna – as if she’s her surrogate great-aunt.

BRIAN’S ODD MOON RATING: 9 Stars

Books & Novels General Fiction Romance

THE HAVILAND TOUCH

Post author By oddmoonmediareviews
Post date July 6, 2023

Written by Kay Hooper

SUMMARY:

As a partial sequel to 1989’s Enemy Mine, Kay Hooper penned this 294-page spin-off in 1991.

For wealthy British American adventurer and amateur archaeologist Drew Haviland, it’s been several months (most likely, the year before) since the events of Enemy Mine. In suburban Washington, D.C., a chance encounter with a familiar emerald necklace sets up Haviland for an awkward reunion with its prior owner. She’s the demure ex-fiancée who had jilted him a decade before. He hasn’t forgotten Spencer Wyatt, nor has he processed why she left him for another (and clearly lesser) man.

Now a 28-year-old divorcée, an emotionally exhausted Spencer barely resists off Haviland’s aggressive romantic advances amidst coping with her family’s rapid financial decline. To comfort her dying and increasingly senile father, Allan, Spencer (his only child) seeks to complete his lifelong obsession: discovering the legendary and priceless Hapsburg Cross in its secluded hiding place somewhere in Western Europe.

Following her father’s extensive notes and journals, Spencer stubbornly intends to go it alone on this dangerous journey. Given Spencer’s knack for correlating historical knowledge with insights re: human nature, it may prove welcome compensation for an amateur treasure hunter.

Scoffing at her utterly remote chances, a condescending Haviland soon realizes that he has misjudged the surprisingly resilient Ms. Wyatt. Growing emotionally attached to Spencer, an overnight burglary convinces Haviland to join her overseas search, whether she likes it or not.

Likely awaiting them in Austria is Haviland’s ruthless arch-nemesis, Lon Stanton, who won’t hesitate to kill first to claim the Cross. Even with help from Enemy Mine’s Kane & Tyler Pendleton, not to mention Interpol’s Burke Corbett, Haviland senses in horror that Stanton’s deadly ace is abducting Spencer.

Haviland and Spencer gradually accept that their destinies have become intertwined, but will their future together be short-lived?

Notes: The Jove paperback reprint (as seen below) was issued in 2005. This title is also available digitally and in hardcover.

REVIEW:

The Haviland Touch, in general terms, is a forgettable getaway Kay Hooper concocted early in her literary career. From the start, Hooper devises an appealing heroine in Spencer Wyatt, though she is far too easily overwhelmed by the macho Haviland’s presence. Initially depicted as a domineering bully, Hooper’s slick storytelling quickly reshapes Drew Haviland into a suave knight-in-shining armor with a sensitive side.

It’s easy to visualize a blond Hugh Jackman twenty years ago inhabiting this kind of generic hero. Opposite him, casting options might include Reese Witherspoon, Eliza Dushku, Jordana Brewster, or Scarlett Johannson, as the petite brunette, Spencer. Then again, it’s just as plausible imagining Miss Scarlet and The Duke’s Kate Phillips and Stuart Martin pairing up as Spencer & Drew.

Regardless of any what-if film adaptation, there’s no subtlety delaying how Spencer Wyatt predictably becomes Haviland’s damsel in distress in this present-day fairy tale-meets-Indiana Jones. Hence, the undemanding Haviland Touch, for the romantic adventure genre, isn’t remotely innovative, as far as playing anywhere outside the numbers. Hooper, for instance, opts to pitch a few extended (and eye-rolling) sex scenes before briefly deploying her story’s suspenseful twists in its last fifty pages.

Still, this formulaic tale offers a fast and relatively likable read before one moves on to bigger and better plots.

ADDITIONAL FEATURES:

A brief supplemental note has Hooper acknowledge this storyline (including any Hapsburg Cross) is completely fictional.

BRIAN’S ODD MOON RATING: 4½ Stars

Books & Novels General Fiction History & Biographies (Books) Westerns

GUNMAN’S RHAPSODY

Post author By oddmoonmediareviews
Post date March 29, 2023

Written by Robert B. Parker

SUMMARY:

Released by G.P. Putnam’s Sons in 2001, this 290-page hardcover is novelist Robert B. Parker’s fictional take on Wyatt Earp and the circumstances relating to the ‘Gunfight at the O.K. Corral.’

Specifically, Parker explores Earp’s 1879-1882 stint in Tombstone, Arizona, and his half-century romance with Josephine Marcus. After staring down notorious Texas hardcase Clay Allison, Dodge City lawman Wyatt Earp’s epiphany has him joining his family’s journey to seek their fortunes in far-off Tombstone. Coming with him from Kansas is Mattie Blaylock, whom Wyatt deems more as an expendable housemaid rather than his common-law spouse using his surname.

Soon enchanted by a young actress, Josephine “Josie” Marcus – the fiancée of Tombstone political hustler Johnny Behan, Wyatt (and, by extension, his brothers) encounter the grim local repercussions of pursuing this romance. Once Wyatt and Josie’s extramarital relationship becomes public knowledge, it appears that, off-screen, a vengeful Sheriff Behan is subtly raising the town’s hot-as-hell temperatures by rallying the local rustlers to his side. Once push ultimately comes to shoot, the Earp Brothers and John Henry “Doc” Holliday reciprocate with October 1881’s deadly gunfight, in proximity to the O.K. Corral.

After Virgil and Morgan Earp are each targeted for cowardly assassination, the laconic gambler/lawman recruits his own posse to avenge his brother Morgan’s cold-blooded homicide to the very end. Even Josie, who had once prodded Wyatt into promising that he wouldn’t kill Behan, now urges him to make a definitive, and, if necessary, lethal stand. With once supposed friends now his sworn enemies, Wyatt Earp relentlessly pursues his personal form of justice.

Note: This title is also available in paperback and digital formats.

REVIEW:

While countless novelists have glamorized or debunked the Wyatt Earp myth, Robert B. Parker imagines Earp’s controversial stint in Tombstone as a deadly love triangle. Unlike Loren D. Estleman’s gritty sensory overload in 1987’s Bloody Season, Parker spends little time on Tombstone’s rival faction theory: the lawmen/gamblers vs. the local rustlers/frontier mobsters. Without ever showing Johnny Behan masterminding any criminal schemes from the shadows, Parker’s narrative is built around Wyatt and Behan’s feud over Josephine Marcus. Everything else essentially becomes collateral damage.

Short of placing the mythical, long-barreled Buntline Special in Wyatt’s hands, Parker imbues his monosyllabic Earp as an Old West super-vigilante (minus a mask and cape). Such a clichéd depiction – mirroring both Kevin Costner’s 1994 film and 1993’s Tombstone – is sufficient for Western action fare relying upon minimal character depth and generally superficial adherence to historical reality. The macho action-romance powering Gunman’s Rhapsody, therefore, is straight from the same genre playbook that Zane Grey, William W. Johnstone, & Louis L’Amour famously utilized.

Most impressively, Parker conveys perhaps the most plausible explanation (fiction or otherwise) as to Wyatt’s depressing relationship with Mattie Blaylock Earp. Suffice to say, Wyatt’s cold lack of compassion makes him an unsympathetic husband/protagonist – especially the multiple sex scenes Parker allots to Wyatt & Josie’s developing love story.

Readers, however, should first be aware of all who’s who, as Parker depicts several subplots (i.e. the pursuit of the Bisbee hold-up thieves) before dropping them, with little or no warning. Even for those already familiar with peripheral names (i.e. Ben Sippy, Dave Neagle, Billy Claiborne, Louisa Earp, etc.), it may seem odd how some of these historical participants are either briefly mentioned or otherwise ignored. For instance, Parker oddly omits Billy Claiborne’s cowardly presence at the O.K. Corral.

As to the famous gunfight, Parker spends less than two pages sparsely describing the actual shootout. Then, the novel’s final third accelerates through Virgil’s crippling injury, Morgan’s homicide, and Wyatt’s final showdowns several months later pitting him vs. “Curly” Bill Brocius and ultimately Johnny Ringo. Come the end, Parker’s single-page epilogue quickly spells out various historical fates. Yet, this last page is so lazily added on that it is actually his novel’s worst inclusion.

While Gunman’s Rhapsody concocts an entertaining read, it is by no means a game-changing account fictionalizing Wyatt Earp and his cronies against Tombstone’s conniving forces of evil. Yet, for those who desiring a spirited successor to Zane Grey & Louis L’Amour, then Parker’s novel hits its target almost dead on.

Note: As a suggestion, playing either the Tombstone or Wyatt Earp film soundtracks in the background adds some worthwhile mood enhancement.

ADDITIONAL FEATURES:

Along with a dedication to his wife, the author quotes Faust’s Marlowe as a prelude to the novel’s interpretation of the controversial Wyatt Earp/Josephine Marcus romance.

As sporadic interludes, Parker includes ‘news bulletins’ from the year in question to provide some historical context. It isn’t specified whether Parker is summarizing actual 19^th Century newspaper accounts or even possibly that he quoting them verbatim.

BRIAN’S ODD MOON RATING: 6 Stars

Books & Novels General Fiction Mystery & Suspense Romance Westerns

SUNDANCE

Post author By oddmoonmediareviews
Post date January 29, 2023

Written by David Fuller

SUMMARY:

The historical novel, Sundance, was released by Riverhead Books as a 338-page hardcover in 2014. In the late spring of 1913, Harry Alonzo Longbaugh (the Sundance Kid, now in his mid-forties) is quietly released from a Wyoming state penitentiary after a twelve-year prison sentence he willingly chose to endure.

Without his familiar moustache and hiding behind a flimsy alias, Longbaugh has staved off most curiosity seekers while intensely defending his wife’s honor, as necessary. All that has kept him sane surviving prison and perpetual loneliness are his wife’s letters, despite his continued pleas for her to explore a new life without him. At Longbaugh’s behest, she has left the West for a fresh start in New York City.

During his incarceration, the world learned of his violent demise with best friend Robert Leroy Parker (aka Butch Cassidy) in a Bolivian shootout. Long out of touch with modern society, Longbaugh wisely opts to let the world believe this falsehood. All he wants to do now is find his beloved wife: Etta Place, whom he has not heard from in two years.

Forced to kill an ex-sheriff’s vengeful son, Longbaugh finds himself on the run again – from both the law and ghosts from his past. Dodging a posse’s efforts, Longbaugh is told by his estranged sister-in-law that answers most likely await him in New York City. Moving East, the former outlaw finds how New York embodies modern life in a rapidly-changing 20^th Century. Inevitably, he is now an often-bewildered relic struggling to catch up.

Clues to Etta’s socially progressive activities bring an ever-savvy Longbaugh into conflict with the New York mob and others associated with his elusive wife. Worse yet, the Kid’s old nemesis, manhunter Charlie Siringo, is doggedly pursuing his world-weary quarry from the remnants of the Western frontier to the shadowy back alleys of New York. All Longbaugh wants is Etta back, but his obsession may cost him everything.

Notes: This title is also available in digital, audiobook, and paperback formats. The cover incorporates an image of Etta Place from her only verified photo – a studio portrait with her fugitive husband taken in New York City, circa 1901. As a matter of trivia, novelist/screenwriter William Goldman (who wrote “Butch Cassidy and the Sundance Kid”) once used ‘Harry Longbaugh’ as a pen name.

REVIEW:

Including his own take on the ‘Butch & Sundance’ Bolivian mystery, author David Fuller’s poignant what-if isn’t merely a Western gone East. For historical fiction enthusiasts, the ambitious Sundance succeeds as both a romantic mystery and an action-thriller. Readers must sit tight to learn Etta’s enigmatic fate, but the anticipation proves worth it. Still, Longbaugh’s unrelenting personal quest is counter-balanced by sequences depicting bleak and occasionally violent realism.

Though some events are totally fictitious and others historically-tinged, such scenes creeping upon readers are well-played, no matter how dark their outcome. Case in point: the haunting impact upon Longbaugh’s mind imagining the horrific 1911 Triangle Shirtwaist Factory fire where Etta may have been best spells out his humanity.

Despite retaining his fearsome fast-draw, Longbaugh’s conscience is similarly felt when he fails to discourage an inept ‘Butch & Sundance’ impersonator duo early on. Such detail reveals a mostly reformed rogue witnessing the ugly fallout of his legend now romanticized in dime novels. One can appreciate Longbaugh’s maturity recognizing why he does not just as easily resume his old crime spree.

Further, Fuller capably devises a revisionist Western where redemption is far harder earned than escaping with the loot from any brazen train heist. Transplanting an aging Sundance Kid (and, by extension, Etta Place) as anachronisms into a complex, pre-World War I metropolis of skyscrapers, motorcars, subways, and turbulent social reforms is a challenge that Fuller impressively lives up to.

Both poignantly written and faithfully researched, Fuller’s Sundance makes it almost easy to visualize Robert Redford reprising perhaps his most iconic role. For instance, a catch-me-if-you-can rooftop exchange between Longbaugh (with a gleam in his eye) and the cool-tempered Siringo is one of several scenes worthy of Redford’s cinematic persona.

Though plot contrivances are a given, Fuller takes some excessive gambles that diminish his novel’s momentum. One is an ultra-convenient reunion that ridiculously comes out of nowhere – twice! Though the first sequence’s banter is wonderfully written, Fuller overplays his storytelling hand, as far as pushing what-if romanticism. He really should have left the tantalizing fate of Sundance’s favorite buddy solely to the audience’s imagination.

Note: Curiously, one thing that Fuller does not divulge is any post-prison re-assessments his enlightened ‘Longbaugh ‘ has made of his ruthless ex-Wild Bunch cronies, like Harvey “Kid Curry” Logan.

Far more critical to the climax is a wartime sub-plot that links too many of that era’s historical events. Unfortunately, Fuller’s war profiteering angle again appears taken from the ‘this only happens in fiction’ playbook. While neither of these plot angles are a dealbreaker, they are other reasons this reviewer’s rating is not even higher.

Ultimately, Sundance delivers high-caliber fiction entertainingly rooted in familiar American history. Clearly, unlike the incorrigible desperado the real Harry Alonzo Longabaugh was, his fictional counterpart risks a far greater endgame. Regardless whether one is an Old West buff or not, Sundance concocts a satisfying and surprisingly powerful read.

ADDITIONAL FEATURES:

The author briefly notes the real Sundance Kid’s historical fate, even though his Bolivian grave still has not been located. Fuller’s acknowledgements section confirms he has slightly altered the spelling of Longabaugh to make ‘Harry Longbaugh’ more his own creation.

BRIAN’S ODD MOON RATING: 8½ Stars

Books & Novels General Fiction

FAMOUS WRITERS THAT I HAVE KNOWN

Post author By oddmoonmediareviews
Post date August 18, 2022

Written by James Magnuson

SUMMARY:

In 2014, W.W. Norton & Company published this 313-page paperback by novelist James Magnuson. The author is a retired director for the James A. Michener Center for Writers at the University of Texas at Austin.

In December 2002, federal prison convict Frankie Abandonato flashes back five years before to a fateful lottery ticket scam he was running with his long-time cohort, ‘Barry.’ Forced to escape the New York mob on literally the first flight out of town, fifty-something Frankie notices someone resembling him abruptly choosing not to board the same plane. Upon arriving in Austin, Texas, the swindler soon finds himself the beneficiary of mistaken identity due to that would-be traveler’s choice.

Conveniently resembling legendary recluse V.S. Mohle – author of the classic coming-of-age novel, Eat Your Wheaties, Frankie initially plays along. For starters, it lands him a cushy overnight hideout in a private bungalow owned by the University of Texas. Finding out that Mohle is scheduled to earn $75,000.00 to supervise an elite workshop showcasing collegiate writers at the university’s Fiction Institute, Frankie opts to lay low and quietly earn Mohle’s paychecks.

Soon enough, Frankie senses a far bigger payday, if he can successfully rip off the workshop’s world-famous founder: elderly novelist Rex Schoeninger. A quarter-century before, Schoeninger had infamously feuded with Mohle, but it appears that he is now attempting to make peace with his former arch-nemesis before it is too late. Continuing his impersonation of Mohle for months, Frankie ingratiates himself into Schoeninger’s low-key world. He even finds they share unexpected parallels re: life’s most lingering regrets.

Yet, the walls are closing in on Frankie. Despite his best efforts, inevitably, he senses somebody will deduce his brazenly fraudulent scheme, let alone should the real Mohle ever find out. He also must quickly contend with a rival shakedown chasing Schoeninger’s considerable wealth. Worse yet, a vengeful mob faction hasn’t forgotten him either, as Frankie finds out that they are even hassling his estranged family back East.

Ultimately, Frankie must go for broke if he intends to stay one pivotal step ahead of all the other players shooting for the greatest score of his life.

REVIEW:

Given the inauspicious title and cover image, one is likely thinking it is Magnuson’s low-key memoir reflecting upon his encounters with various literary peers. Gratefully, that isn’t so, as he brings to life the unscrupulous world of small-time East Coast hustler Frankie Abandonato.

Through Frankie’s unfiltered voice, Magnuson brilliantly (not to mention, hilariously) satirizes the author’s own real-life academic surroundings. Told in a streetwise vernacular reminiscent of Jerry Orbach’s snarky TV sleuth ‘Harry McGraw,’ Frankie’s incessant scheming exudes welcome unpredictability pitting him against the unsuspecting marks he is baiting on a proverbial hook.

Making it look easy, Magnuson nails visual details and character traits in perfect depth, in terms of as much down-to-earth reality as possible given this contrived premise. Readers, accordingly, will feel like they are in the conference room with Frankie fake-teaching his students … or with the impostor out of his urban element on scenic trips exploring some obscure corner of Texas with Schoeninger and his assistant, Ramona.

Magnuson doesn’t miss a beat building seemingly inconsequential scenes into a likable framework where Frankie’s fraudulent tactics blur with the role he enjoys playing. Hence, finding out what consequences emerge from the fake Mohle’s influence over others is the kind of fun the climax generates bringing Frankie’s narrative plausibly full circle.

It could have been hinted that one of Frankie’s Texan friends smells a rat and opts to say nothing, which might have made an intriguing plot twist. Instead, Magnuson takes this unrepentant swindler on a vivid journey finding a new perspective, even realizing why his own sordid conscience parallels the far older Schoeninger. What’s better is that the author satisfactorily winds up all the loose sub-plots and still never wears out Frankie’s abrasive welcome.

It’s no doubt deliberate irony that Famous Writers That I Have Known presents an ideal choice for any English major’s contemporary literature coursework, let alone worthy of a cinematic adaptation. Suffice to say, Magnuson’s novel is a witty literary gem for adults confirming his title is as deceptively clever as Frankie Abandonato.

ADDITIONAL FEATURES:

Included are two-and-a-half pages of complimentary feedback from various critics and Magnuson’s peers. Magnuson also graciously offers his acknowledgements.

BRIAN’S ODD MOON RATING: 9 Stars

Books & Novels General Fiction History & Biographies (Books)

THE KILLER ANGELS

Post author By oddmoonmediareviews
Post date March 26, 2022

Written by Michael Shaara

SUMMARY:

First published in 1974 by David McKay Company, Inc., Michael Shaara penned this 374-page hardcover depicting the four days (June 30-July 3, 1863) encompassing the Battle of Gettysburg. Starting on June 30^th, a confederate spy delivers reliable word to General James Longstreet that Union cavalry has reached Gettysburg nearby, which infers its far larger infantry isn’t far behind. General Robert E. Lee is skeptical, as he hasn’t received confirmation from General J.E.B. Stuart, who is evidently still roaming in the field somewhere.

Meanwhile, at Gettysburg, Union General John Buford grimly concludes securing the best available high ground is his outmatched cavalry’s sole option until reinforcements arrive the next morning. Complicating the Union’s predicament is a change in command to the starchy General Meade, which fails to boost morale. Advised of this unexpected command shift, the Confederacy senses a historic opportunity to exploit vulnerable gaps amidst Meade’s reorganization of Union forces.

Told through rotating perspectives, the battle commences early on July 1^st, as Buford’s troops barely withstand Lee’s initial strike. The Union is soon stunned by the abrupt death of its best field general. With the Union struggling to muster adequate leadership, the Confederacy seemingly wins the first day of the bloody engagement.

Col. Joshua Lawrence Chamberlain’s regiment from Maine joins in on the second day, as the Union defiantly refuses to budge any further. Lee remains intent on keeping the Union Army’s largest force pinned down. His endgame for the Confederacy is to discreetly breach Washington, D.C., to pressure President Lincoln into ordering the Union’s surrender.

Heavy losses continue mounting on both sides, which later reveal an estimated near-50,000 casualties combined, making it the Civil War’s deadliest conflict. Longstreet increasingly urges a tactical retreat, which conflicts with Lee’s wavering ‘now or never’ strategy. Finally acknowledging bitter reality, Lee’s depleted forces withdraw on July 3^rd. Though the war would rage for nearly two more years, its ominous pendulum has at last shifted come Independence Day, 1863.

Shaara’s novel inspired the faithful 1993 epic film adaptation, Gettysburg.

Notes: This title has also been released in paperback. Please also be advised of some racial slurs appearing in the dialogue.

REVIEW:

Michael Shaara’s poignant, well-researched account is an intriguing cross-section of gritty fact and historical romanticism. He describes the battlefield’s scenery, as well as the various soldiers, down to every last vivid and/or bleak detail. Readily acknowledging that he has tweaked the manner of speech for contemporary audiences, Shaara’s ensemble cast is relatable as down-to-earth mortals that most anyone can identify with. To Shaara’s credit, virtually no one becomes a walking cliché. Case in point: the sole person remotely vilified is an arrogant Confederate General that even his own superiors don’t like.

Trading off narratives are primarily Longstreet and Chamberlain representing moral compasses on opposing sides. Buford is later supplanted by Lee as Shaara’s strongest supporting role. Curiously, Shaarra relies on further ‘accounts’ by other Confederates (i.e. Lewis Armistead, Harrison the spy, & British observer Fremantle), but not from the Union.

Hence, the novel’s sole letdown is not incorporating supplemental POV’s (no matter how brief) from Generals Hancock or Reynolds, let alone the bewildered ex-slave that Chamberlain encounters on Day 2. Such additional perspectives would have further enhanced the novel’s readability. Inevitably delving into outright gore, Shaara’s precise storytelling translates the battle’s tragedies as an increasingly horrific event that will forever haunt its survivors.

Ultimately, a convincing argument can be made that The Killer Angels is the best Civil War novel ever written. One may ponder Shaara’s accuracy channeling the Battle of Gettysburg’s various historical figures; yet, one is left concluding that he is likely close enough.

ADDITIONAL FEATURES:

Shaara’s brief word to the reader spells out his intent interpreting these historical figures. A somber foreword introduces the novel’s most pivotal players, and, fittingly, an afterword briefly describes the survivors’ destinies. Shaara includes a series of single-page maps updating troop tactical movements.

BRIAN’S ODD MOON RATING: 9 Stars

Note: Randy Edelman’s Gettysburg soundtrack might be an ideal accompaniment.

Books & Novels General Fiction History & Biographies (Books) Westerns

BLOODY SEASON

Post author By oddmoonmediareviews
Post date August 1, 2021

Written by Loren D. Estleman

SUMMARY:

Bantam Books released the original 231-page hardcover in 1988. Told partially out of sequence, Bloody Season is a fictionalized retelling of events surrounding the fateful shootout in Tombstone, Arizona the afternoon of October 26, 1881. Popularly dubbed ‘The Gunfight at the O.K. Corral,’ personal elements from the participants’ lives, their spouses, and relevant associates are threaded into the narrative.

Part 1: “Fly’s Alley” depicts the day of the fatal showdown. Subsequently, the fallout leads to the Earp Brothers (Wyatt, Virgil, & Morgan) and ‘Doc’ John Holliday facing legal consequences in a Tombstone courtroom. Part 2 is “The Transaction,” goes back several months to an attempted stagecoach robbery and a double-murder. Not only are at least three of the Clanton gang’s associates implicated, so is Holliday, in this botched hold-up. Wyatt’s shady deal with informant Ike Clanton to capture the killers ultimately blows up in both of their faces. This section comes full circle to the morning of the shootout, as “Fly’s Alley” sequentially occurs next.

Part 3 is “San Pedro,” as the controversial acquittal of Holliday and the Earps sets in motion a deadly game of retribution. The near-assassination of Virgil and later Morgan’s brutal homicide precipitates the climatic Part Four: “The Pallbearers.” Despite Sheriff Johnny Behan’s motley posse threatening pursuit, Wyatt leads his ‘vendetta ride’ targeting the Clantons and their outlaw associates, including “Curly” Bill Brocius and enigmatic John Ringo. The book concludes the saga with historic details about the later lives and fates of the various survivors.

Notes: This title is available in both hardcover and paperback editions. As an advisory, Estleman’s raw dialogue includes two recurring racial slurs (the ‘n-word’ is one of them) – suffice to say, these slurs don’t improve his storytelling.

REVIEW:

Make no mistake: Loren D. Estleman pitches this ultra-familiar tale as high-caliber historical fiction rather than rehashed Old West pulp. Unlike the Hollywood romanticism that films like Tombstone and Wyatt Earp convey, Bloody Season doesn’t glamorize anything — it spells out dirty frontier machismo. Estleman’s intriguing prose describes various shootouts, ambushes, etc. in near-poetic fashion vs. mere shoot-em-up recreations. As with Virgil Earp’s near-murder, readers might pause before realizing what has now just transpired. Once the author pours on the grisly medical jargon, the imagery becomes cringe-worthy at times.

Besides the port-mortem sequences, this aspect is best found in Estleman’s talent for conjuring up vivid sensory details – as author Elmore Leonard’s appraisal aptly puts it: “you’re there. It’s so real that you can even smell the horses!” Working off a palate of various shades of gray, Estleman’s grittiness surpasses the genre standards of Zane Grey and Louis L’Amour. Yet, reminiscent of Larry McMurtry’s knack for storytelling depth, he also ensures that correct history meshes well with entertainment value.

Case in point: there’s seemingly insignificant dialogue about a calico bonnet vs. a lace bonnet from Virgil Earp’s wife, Allie, in the minutes after his near-assassination in December 1881. Though she likely didn’t make this statement at that exact time, it corresponds with her reminiscences about an argument she once had with Virgil, as quoted in Frank Waters’ The Earp Brothers of Tombstone. Hence, as acknowledged in his post-script, Estleman makes an effort at plausibly honoring the known speech patterns/statements of these historical figures. His narrative also wisely sticks to focused plotting vs. delving into too much detail re: local politics and name-dropping too many cronies.

As he does in Tombstone and Wyatt Earp, ‘Doc’ Holliday’s cantankerous presence predictably steals the show. It’s no wonder why Estleman saves revealing Holliday’s destiny for last in the finale. As for Wyatt Earp, Estleman’s semi-generic take isn’t that of a stalwart legend-in-the-making. Instead, Estleman’s Wyatt comes off, like Virgil and Morgan, as all too believably mortal, in spite of his fearlessly superhuman luck.

Estleman further incorporates biographical depth for his expansive cast, including ‘Big Nose’ Kate Fisher, Josephine ‘Sadie’ Marcus, and John Ringo, fleshing them out as people vs. shallow-as-cardboard supporting players. Hence, the Earp wives and Kate Fisher receive their just due as the long-suffering heart and backbone of the Earp-Holliday faction.

Ultimately, the author’s due diligence matters; it’s what really makes Bloody Season a satisfying read. Aside from some nasty dialogue, it’s an ideal compromise between the history section and Westerns at the bookstore.

ADDITIONAL FEATURES:

Included in Chapter 20 is a glimpse at present-day Tombstone, as if it’s haunted by legend. It isn’t lost on Estleman how the town, in search of the almighty tourist dollar, shamelessly thrives on its old infamy. Estleman’s 1986 post-script is insightful, as he acknowledges that his novel is indeed “fiction based on fact.” Further,he makes clear that Bloody Season isn’t meant as hero worship; rather, he calls it an effort to reach the Old West that Wyatt Earp and his contemporaries inhabited.

BRIAN’S ODD MOON RATING: 8 Stars

Books & Novels General Fiction Humor (Books) Mystery & Suspense

BIG TROUBLE

Post author By oddmoonmediareviews
Post date April 9, 2021

Written by Dave Barry

SUMMARY:

First published in 1999, G.P. Putnam’s Sons 292-page paperback reprint was released in 2017.

Set in Coconut Grove (a posh Miami, Florida neighborhood), this wacky heist caper’s ensemble cast includes: a down-on-his-luck ex-journalist (Eliot) and his teenage son (Matt); two moronic, small-time hustlers (Snake & Eddie); a dim-witted yet good-natured loser (Puggy); a gentle Latina maid (Nina); two nonchalant Russian arms dealers; a pair of error-prone hitmen out of New Jersey (Henry & Leonard); one sleazy arms courier (Arthur); Arthur’s neglected wife, Anna, and her teenage daughter (Jenny); three bewildered Miami cops, two hard-nosed FBI agents, and one famished dog (Roger) feuding with a venomous toad.

Just throw in a secret nuclear weapon concealed in a suitcase, as everyone converges in a late-night dash to the airport … and the book’s title makes sense.

REVIEW:

For starters, Big Trouble lifts plenty from Elmore Leonard’s playbook re: R-rated guy humor. Case in point: the novel’s zany tone parodies South Florida’s pro-gun culture, shady conglomerates scoring hefty government contracts, international terrorism, bargain-basement crooks, and even airport security (or lack thereof). It’s no surprise that, as a potential audience, women might find Big Trouble’s oozing of tongue-in-cheek machismo a instant turn-off.

In his acknowledgement, Dave Barry readily admits that his foray into outrageous, fast-paced South Florida crime fiction was inspired by writers like Leonard and Carl Hiaasen. Make no mistake: Big Trouble delivers plenty of foul-mouthed, hilariously unpredictable antics in crowd-pleasing fashion. However, the sole caveat is a home invasion sequence where a misogynistic plot anomaly turns unnecessarily vile — let’s just say the icky scene seems more reminiscent of Quentin Tarantino than Dave Barry. Aside from this detour into exploitative trash, the story’s blend of world-weary cynicism and seedy humor is well-played.

Big Trouble’s best element counteracting its chauvinism is how the likable female characters (Monica, Anna, & Jenny) are more competent than the guys, as they bravely step up to action, when necessary. For instance, cop Monica Ramirez’s take-charge heroism merits the story’s MVP honors; in that regard, Barry ought to reward her with a spin-off novel.

While not all of Big Trouble’s males are inebriated, trigger-happy buffoons, there’s enough testosterone-laden guys to cover a gamut of genre caricatures. Even so, there’s some intriguing bait-and-switching at work — some characters implied as pivotal early on are then superseded by others, who make a far bigger impact down the home stretch. Without divulging spoilers, at least one seemingly minor character takes stunning risks in the climax trying to help save the day. Plausible or not, such twists are worth the wait once the plot’s main scheme kicks into motion.

The bottom line is that Barry’s zippy comedic wit makes Big Trouble a guilty pleasure worth indulging. Even some unlikely late twists don’t hamper a suspenseful, straight-up finale worthy of Hollywood blockbusters. An extra helping of irony and even some sentimentality tinge the epilogue, as Barry opts for a classy, low-key finish. Big Trouble won’t ever be mistaken as a masterpiece, but it’s still a welcome diversion from channel surfing and the bleakness of daily news.

Note: There’s a same-named, 2002 big-screen film adaptation starring Tim Allen, Rene Russo, Dennis Farina, & Stanley Tucci that bombed — both critically and at the box office. That really isn’t a surprise so much; Big Trouble’s snarky humor is a hit-or-miss proposition (no pun intended) where a reader’s imagination best visualizes this loose parody of crime noir.

ADDITIONAL FEATURES:

Barry offers an acknowledgment/warning, as he concedes that the characters didn’t abide by his request to refrain from naughty dialogue. To his credit, he clearly states that Big Trouble isn’t meant for kids. The author’s other fiction and non-fiction titles are listed. The back inside cover is Barry’s brief synopsis.

BRIAN’S ODD MOON RATING: 7 Stars

Books & Novels Children's Books General Fiction

BUD, NOT BUDDY

Post author By oddmoonmediareviews
Post date October 21, 2020

Written by Christopher Paul Curtis, with Cover Art by Eva Kolenko

SUMMARY:

Originally published in 1999, this 273-page Random House paperback edition was evidently released in 2012. In Flint, Michigan of 1936, it’s been four years since 10-year old Bud Caldwell was orphaned by his mother’s tragic passing. Inside his trusty cardboard suitcase, he carries his most prized possessions: among them are some souvenir rocks with Michigan cities and dates written on them; a photo of his single mother as a child; and a few flyers depicting high-profile jazz musician Herman E. Callaway and his band. Based on what little his mother hinted at, Bud deduces this Callaway must be his long-lost father. Fleeing an abusive foster home, Bud decides it’s time to make his own future by seeking out Callaway.

His journey across Depression-era Michigan brings Bud into contact with, among others, fellow orphan Bugs, insightful fellow pre-teen Deza Malone, and good-natured motorist “Lefty” Lewis, who all influence Bud’s decision-making. When Bud finds an incredulous Callaway residing in Grand Rapids, what heart-breaking family secrets resurface due to his unexpected presence?

Notes: The novel won both a Newbury Medal and the Coretta Scott King Award for Most Distinguished Contribution to American Literature for Children. Excluding this edition’s bonus content, this actual novel is 236 pages.

REVIEW:

At the outset, Bud’s terrifying experience inside the Amos family’s decrepit shed, not to mention his plausible fear of the family’s shotgun, makes one wonder how grim this youth fiction novel will be. The eerie inference re: Bud’s desire for fitting payback with that same shotgun furthers this suspicion. Yet, author Christopher Paul Curtis satisfyingly alleviates this sequence with a vintage juvenile prank as Bud’s back-up choice. From that point, including Bud’s amusing self-perception as a fugitive “on the lam,” Curtis commendably weaves poignant storytelling and touches of humor through Bud’s point-of-view. Yet, Bud’s veering back-and-forth between immature child and more worldly demeanor (as if he were a seasoned teenager) displays some inconsistencies.

The author wisely opts to emphasize readability and coherency (as demonstrated by the somewhat contemporary dialogue) instead of recreating Depression-era lingo. Again, it’s plainly obvious that an adult is sympathetically channeling Bud’s voice, but Curtis imbues his protagonist with admirably humble charm. Bud’s wary, not-quite naïve perception is well-balanced through his innate sincerity and a child’s sense of wonder. No matter how harsh the world has been to him, Bud’s upbeat attitude consistently shines. Perhaps the novel’s best gem, however, is his ironic take on Herman E. Callaway. It’s a contrast to Bud’s self-reliance sleeping with a hidden knife, as he is ready to defend himself on a moment’s notice.

Another welcome element are the sporadic excerpts from Bud’s own collection of cynical life lessons he has entitled: “Bud Caldwell’s Rules and Things for Having a Funner Life and Making a Better Liar Out of Yourself.” These insights reflect Bud’s personal integrity: i.e. he internally admits that he is sometimes a liar, but he’s not a thief. Interacting with a believable supporting cast, Bud’s reactions (i.e. his first kiss; or his bungled car theft escaping a suspected ‘vampire’) add plausible twists to the direction that Bud finds himself pointed in.

Bud, Not Buddy (the title reiterates a correction Bud regularly makes re: his name) is a wonderful slice of period fiction. Its pendulum balances emotional depth and poignancy in ways that should resonate with middle schoolers and precocious elementary students. The finale isn’t necessarily definitive, but Bud’s likely destiny is worth discovering. For adults, it’s an engaging read, in part as a reminder that other contemporary children’s novels besides the Harry Potter series possess literary magic.

ADDITIONAL CONTENT:

This edition’s collection of bonus features is impressive. Including separate black-and-white photos of the author’s grandfathers, bandleader Herman E. Curtis and Earl “Lefty” Lewis, the author’s afterword explains why family stories helped inspire two of the novel’s pivotal characters. Curtis also offers an acknowledgements page. There is a three-page reader’s guide providing discussion questions for students.

In conversational tone, a lengthy interview with the author is included. A five-page list of Random House Reader’s Circle Books is provided to promote further reading choices. In a spin-off from this novel, a twelve-page preview of The Mighty

Miss Malone, as Curtis explores young Deza Malone’s life. The last page is an ad for Curtis’ The Watsons Go to Birmingham, which is both Newbury Honor Book and Coretta Scott King Honor Book

BRIAN’S ODD MOON RATING: 8½ Stars