While I have your attention, do be sure to read Stevenson’s Kidnapped. Alan Breck may just be my favorite character ever.
Okay, here’s how this review works. I describe the opening of the video, then I use a few lines from Black Arrow to express my critical thoughts.
The Good Hope was, at that moment, trembling on the summit of a swell. She subsided, with sickening velocity, upon the farther side. A wave, like a great black bulwark, hove immediately in front of her; and, with a staggering blow, she plunged headforemost through that liquid hill. The green water passed right over her from stem to stern, as high as a man’s knees; the sprays ran higher than the mast; and she rose again upon the other side, with an appalling, tremulous indecision, like a beast that has been deadly wounded…
“Bootless, my master, bootless,” said the steersman, peering forward through the dark. “We come every moment somewhat clearer of these sandbanks; with every moment, then, the sea packeth upon us heavier, and for all these whimperers they will presently be on their backs. For, my master, ’tis a right mystery, but true, there never yet was a bad man that was a good shipman. None but the honest and the bold can endure me this tossing of a ship.”
“It’s called ergonomic,” he informed H-, taking a moment to verify that he believed the mug’s slightly twisted handle was in fact designed that way, and not just poorly made.
“I would rather call it a foal. Or, like, a stallion or parents.”
“What?” he asked, confused and trying to not lose focus on what he was reading while they ate their donuts. “Why would you call a coffee cup’s handle’s shape a horse?”
After taking a moment to recount the conversation in her head, she replied, “You said,” then she paused before continuing, “Wait, what did you call it?”
“Ergonomic-” he repeated mechanically.
“-Right,” she said, recognizing the big word this time. “Then I said, ‘I’d call it a foal’—I didn’t say a horse.”
“Right,” he confirmed, belaboring the word. “Then I asked you, ‘Why would you call it a foal?’” Then, deciding that H- was not going to let him off the hook easy, he refocused all his attention on their conversation and, for clarity, asked, “What is a foal anyhow?”
Eyes wide in disbelief, she answered with an impassioned yet restrained increase in volume, “A foal is a baby horse!”
“Okay, okay. I remember now. But you still haven’t told me why you would call it a foal?”
Seeing that her father did have a point and finally hearing his real question, she answered, “Because they’re cute!”
The most fitting way to describe this book is by telling the truth. It is both good and bad.
You may be wondering how I ever stumbled upon Richelle Mead’s The Fiery Heart. The answer: one semester of translating Hebrew and Greek. I mentioned to a friend that over the break I just wanted to read something easy and preferably out of the norm for my tastes. I was thinking sci-fi or fantasy. I thought that that conversation bore no fruit, so I drove to the bookstore where I picked up Octavia Butler’s supposedly sci-fi story Kindred—chosen literally by its cover. Sci-fi written by a black woman, who knew? (Review coming soon).
Anyhow, the next morning I found Mrs. Read’s vampire tale on my windshield and decided to follow the rabbit. Like I said, it’s good and bad. The following sentences should demonstrate what I mean.
There was just her and the feel of her lips, the exquisite way they managed to be soft and fierce at the same time.
I admit that one caught my attention. It is on page three, and it caught my attention because while I was in college, I took an ethics class. (Oh the fondness of that memory.) There was a lady in the class who had some very odd tendencies, and one friend and I identified these tendencies and exploited them. We were classically behaving as “little shits.” In short, while we ate lunch before class, we would decide which of her tendencies we would adopt and then impose them on the classroom discussions at will. One of our innocent classmate’s tendencies was to answer in opposites. You can imagine the fun we had as we concluded any ethical analysis with, “I guess, what I’m trying to say is, I think it’s both right and wrong.” And the best part was that the woman would resoundingly answer, “That’s how I feel!”
Back to blood boilers and dhampirs (thought I’m still not sure exactly what those are). As I read Mrs. Mead’s novel, I kept noticing this tendency to invoke contradictions in the name of good writing. I didn’t start keeping track until about half-way through the book, but here are a string of them. They occurred about every forty-ish pages.
Her long, dark hair spilled over her shoulders, and there was a fire in her brown eyes that was both dangerous (wait for it) and alluring.
Even through my jeans, that touch was provocative and made me think of all the times he’d run his hands over my legs. It was agonizing…(drumroll please) and exquisite.
Time stopped having meaning. It seemed like both an eternity and (How short? Please, I can’t wait a moment longer!) a heartbeat before I was cognizant of my surroundings again.
This isn’t the same as you running off to a witch’s tea party! This is life and (Let me guess…) death. (YES! I was right.)
Last one, for effect. The speaker is talking to the human girl who is dating the vampire boy.
And that’s the thing, I think…the real reason I’m not that weirded out by you two. It goes against all sound logic, but somehow, you two together…it (Anyone else’s head feel warm?) just (Oh boy. I’m not feeling so good anymore. Bathroom please.) works. (Hurrrl. Now, retract tongue.)
Besides these juxtapositions of contradictory and ultimately inconsequential platitudes, the book contains two hundred plus pages of foreplay and a disappointing sex scene, prescription drug use, illicit drug use, and a whole host of other unsavory behaviors (all by eighteen year old’s) which in and of themselves certainly need no help being normalized into our degrading civilization. Oh, and there was a lot of mouth’s crushing together. Considering the nature of vampire teeth, that seems dangerous. And life-giving.
We now pause our regularly scheduled programming (three more Cain and Abel re-writes on their way) to bring you some of Robert Louis Stevenson’s best sentences.
From Treasure Island
Silver was roundly accused of playing double–of trying to make a separate peace for himself, of sacrificing the interests of his accomplices and victims, and, in one word, of the identical, exact thing that he was doing.
From Prince Otto
(This first one hits strikingly close to home–perhaps ol’ Bob stumbled upon Ecclesiastes?)
Do you not know that you are touching, with lay hands, the very holiest inwards of philosophy, where madness dwells? Ay, Otto, madness; for in the serene temples of the wise, the inmost shrine, which we carefully keep locked, is full of spiders’ webs. All men, all, are fundamentally useless; nature tolerates, she does not need, she does not use them: sterile flowers!
And this one (Prince Otto, too) persuades whatever inner-workings lie behind the long development of some men’s seemingly hard, dark faces to rush to just beneath the surface the brightest and rosiest hues of red.
There is nothing that so apes the external bearing of free will as that unconscious bustle, obscurely following liquid laws, with which a river contends among obstructions.
I don’t post as much as I used to. My studies have kind of skerred me away from writing anything which carries an implicit, “If you only read what I write about Scripture THEN you’ll understand it.” For I cannot see how most theological writing is any different than every poor soul who does willfully add their own writings to Scripture. However, I still love reading and writing (am into some Robert Louis Stevenson at the moment), so I’ve decided to go a different route. To challenge myself literarily and spiritually, I am going to re-write some Old Testament stories that have caught my attention.
To be clear, what follows are totally for enjoyment. There is no added value or significant meaning. It just helps me to remember Scripture if I can discern between something that is not Scripture and the real deal. To begin, because a friend of mine has me re-examining the story of Cain and Abel found in Genesis, I am going to see if I can re-write it five times–each in a distinct genre. As “fabulism” or “post-modernism” or what I think is just as aptly labeled “anything goes” is essentially the latest genre to emerge–certainly not present in Moses’ mind–I will start there. Enjoy.
she was not quite awake as he pawed her legs apart dawn had not yet broke they were alone somewhere in the middle of another barren land where the few nearby leaves rustled she soon caved to his passion it frightened her she bit his lip and was rewarded she bit harder he responded harder he slowly twisted her long hair around his hand and suddenly jerked her head back roughly she dug her fingernails into his back seeking blood in return he leaned his face towards hers again he held his foul breath in and by this she could tell he was close she bit his lip almost clean off as he finished tasting his blood he recoiled and instinctively smacked her hard seeing only the shadow of him through her own dark arms she screamed with sheer terror he had only witnessed such fear once before and that time he didn’t stop on this morning something was different on this morning he stayed his fist then his hands favored her soft chest to the hard ground and he squeezed violently one last time before he pressed himself to his feet food he thought catching his breath he walked towards his fruitless garden in the morning darkness
i do remember said abel i remember yahweh looked well upon my offering and did not look well upon yours then cain said i heard the voice of yahweh he spoke to me then abel said what did he say then cain said yahweh said to me if you do well then your face will be lifted up but if you do not do well sin is crouching at your door it wants to devour you you must rule over it then abel said to cain what are you going to do
the distant thunder slowly rolled closer as if weary from the journey as cain tore into the flesh of his brother abel and the blood of abel began to mix with his sweat on his skin and the thunder grew in speed and strength only yahweh saw everything but had you been there had the skies not become as night you might have seen that it was precisely when the first blood of abel landed on the earth that the deafening thunder clap stopped the intoxicated fury for one moment cain cowered in fear but abel was already asleep then cain completed his murderous act with renewed heart and vowed to never be interrupted again
cain wrapped his cloak around him as he sat alone on the side of the rocky mountain cain gazed far beyond where the heavens touched the earth the wind squinted the eyes of cain and then yahweh said to cain where is abel your brother cain was still as the mountain he sat upon then cain said i do not know am i my brothers keeper
then cain said to his wife who was with child there is no more food here
I couldn’t help but perk up when I heard my pastor mention “London” as he led us in prayer this morning. My folks are in London vacationing. I just figured he misspoke, but then he also mentioned Manchester. Having not checked the news since early yesterday, I inquired of my pew-mate. Then I cried. My parents are fine. But this scene from Cooper’s classic came to mind.
So long as their enemy and his victim continued in sight, the multitude remained motionless as beings charmed to the place by some power that was friendly to the Huron; but, the instant he disappeared, it became tossed and agitated by fierce and powerful passion. Uncas maintained his elevated stand, keeping his eyes on the form of Cora, until the colors of her dress were blended with the foliage of the forest; when he descended, and, moving silently through the throng, he disappeared in that lodge from which he had so recently issued. A few of the graver and more attentive warriors, who caught the gleams of anger that shot from the eyes of the young chief in passing, followed him to the place he had selected for his meditations. After which, Tamenund and Alice were removed, and the women and children were ordered to disperse. During the momentous hour that succeeded, the encampment resembled a hive of troubled bees, who only awaited the appearance and example of their leader to take some distant and momentous flight.
A young warrior at length issued from the lodge of Uncas; and, moving deliberately, with a sort of grave march, toward a dwarf pine that grew in the crevices of the rocky terrace, he tore the bark from its body, and then turned whence he came without speaking. He was soon followed by another, who stripped the sapling of its branches, leaving it a naked and blazed trunk. A third colored the post with stripes of a dark red paint; all which indications of a hostile design in the leaders of the nation were received by the men without in a gloomy and ominous silence. Finally, the Mohican himself reappeared, divested of all his attire, except his girdle and leggings, and with one–half of his fine features hid under a cloud of threatening black.
A tree which has been partially or entirely stripped of its bark is said, in the language of the country, to be “blazed.” The term is strictly English, for a horse is said to be blazed when it has a white mark.
Uncas moved with a slow and dignified tread toward the post, which he immediately commenced encircling with a measured step, not unlike an ancient dance, raising his voice, at the same time, in the wild and irregular chant of his war song. The notes were in the extremes of human sounds; being sometimes melancholy and exquisitely plaintive, even rivaling the melody of birds––and then, by sudden and startling transitions, causing the auditors to tremble by their depth and energy. The words were few and often repeated, proceeding gradually from a sort of invocation, or hymn, to the Deity, to an intimation of the warrior’s object, and terminating as they commenced with an acknowledgment of his own dependence on the Great Spirit. If it were possible to translate the comprehensive and melodious language in which he spoke, the ode might read something like the following: “Manitou! Manitou! Manitou! Thou art great, thou art good, thou art wise: Manitou! Manitou! Thou art just. “In the heavens, in the clouds, oh, I see Many spots––many dark, many red: In the heavens, oh, I see Many clouds. “In the woods, in the air, oh, I hear The whoop, the long yell, and the cry: In the woods, oh, I hear The loud whoop! “Manitou! Manitou! Manitou! I am weak––thou art strong; I am slow; Manitou! Manitou! Give me aid.”
At the end of what might be called each verse he made a pause, by raising a note louder and longer than common, that was peculiarly suited to the sentiment just expressed. The first close was solemn, and intended to convey the idea of veneration; the second descriptive, bordering on the alarming; and the third was the well–known and terrific war– whoop, which burst from the lips of the young warrior, like a combination of all the frightful sounds of battle. The last was like the first, humble and imploring. Three times did he repeat this song, and as often did he encircle the post in his dance.
At the close of the first turn, a grave and highly esteemed chief of the Lenape followed his example, singing words of his own, however, to music of a similar character. Warrior after warrior enlisted in the dance, until all of any renown and authority were numbered in its mazes. The spectacle now became wildly terrific; the fierce–looking and menacing visages of the chiefs receiving additional power from the appalling strains in which they mingled their guttural tones. Just then Uncas struck his tomahawk deep into the post, and raised his voice in a shout, which might be termed his own battle cry.
And these scriptures.
But David said to Saul, “Your servant was tending his father’s sheep. When a lion or a bear came and took a lamb from the flock, I went out after him and attacked him, and rescued it from his mouth; and when he rose up against me, I seized him by his beard and struck him and killed him. Your servant has killed both the lion and the bear; and this uncircumcised Philistine will be like one of them, since he has taunted the armies of the living God.” And David said, “The LORD who delivered me from the paw of the lion and from the paw of the bear, He will deliver me from the hand of this Philistine.”
Blessed are the peacemakers, for they shall be called sons of God.
Pray for mercy. Preach Christ.
I’ve been reading Tolstoy’s shorter fiction and almost each story contains writing so good that I want to never make the attempt again. Here’s a few examples.
From The Death of Ivan Ilyich:
Ivan Ilych knows quite well and definitely that all this is nonsense and pure deception, but when the doctor, getting down on his knee, leans over him, putting his ear first higher then lower, and performs various gymnastic movements over him with a significant expression on his face, Ivan Ilych submits to it all as he used to submit to the speeches of the lawyers, though he knew very well that they were all lying and why they were lying.
From The Kreutzer Sonata:
“What is wrong with education?” said the lady, with a scarcely perceptible smile. “Surely it can’t be better to marry as they used to in the old days when the bride and bridegroom did not even see one another before the wedding,” she continued, answering not what her interlocutor had said but what she thought he would say, in the way many ladies have. “Without knowing whether they loved, or whether they could love, they married just anybody, and were wretched all their lives. And you think that was better?” she said, evidently addressing me and the lawyer chiefly and least of all the old man with whom she was talking.
From The Devil:
During coffee, as often happened, a peculiarly feminine kind of conversation went on which had no logical sequence but which evidently was connected in some way for it went on uninterruptedly.
Well done, Count.
As for myself, I had a coffee date with a young lady the other day, something I have not made an effort to do in years. As is often the case in situations like mine, I told myself that I was willing to re-enter the dating world for several clear and distinct reasons. Firstly, it is not good for the man to be alone. Secondly, the idea of sexual congress with a woman has not yet become altogether repulsive. Thirdly, and ever present, there is in me still some remnant of fire, quite incapable of scientific scrutiny, that wants to prove–or fail trying–that I might yet possess some quality desirable to a member of the fairer sex.
As for her, she was highly educated, well-spoken, and cultured. And beautiful. On these points there would be no dispute. Not wholly unlike the much publicized cases of celebrity progeny, however, her parents’ more modest wealth still seemed nearest the root of her inability to properly arrange cause and effect. On this point there may be dispute.
Simon Pastor believed he had never been hurt before. By the time he found himself in an uncontrolled cycle of hurting his wife, he realized that was not true. He felt his wife had hurt him. Then he hurt her. And hurt her. And hurt her. Finally, he divorced her. But that didn’t stop the hurt.
The Divorce and Doom of Simon Pastor is an explicit look at innocence and hurt. It is not about innocence lost, but about innocence never had. It is about the most destructive kind of hurt. A shameful tale of his descent into madness, The Divorce and Doom of Simon Pastor offers an unencumbered look into one man’s failed marriage and failed divorce.
A difficult, challenging, and generally confusing collection of 3,000+ words–that is “Eight Acres.” The title and opening line prove to mislead the reader. Surprised by our being caught off-guard, we read on. The quick-to-read staccato dialogue encourages giving the story the benefit of the doubt, and before too long, we reach a full paragraph which acts as a barely legible legend to the story’s map and provides the basest of hopes that our travels will end safely. As we hit the first set of asterisks, we’re certain about only two things. It is war. The characters are pilots. We also are given a big clue that this Mugwump is attempting a post-modern writing style. This means that as we enter a WWII veteran named Jerry’s basement, we don’t get stuck on the question “Why?”, we simply read on.
The writing is decent enough that our curiosity begs us to give the story a chance. Continuing on, as the story jumps around, we quickly warm to the idea that, like building a jigsaw puzzle, we won’t see the picture until the end–at least that’s our hope.
As “Eight Acres” settles in, a distinct, though unconventional, picture begins to emerge. The picture gains even more clarity with the use of sparsely placed details which arrive just in time to prevent our motivation from completely diminishing.
In the end, “Eight Acres” is not light reading. It cannot be read quickly, and it does not hold the reader’s hand. But there is definitely a theme, and it is definitely one a child won’t understand. The question is will an adult?