Elixir by Brian Fagan (245)

Fagan, Brian.  Elixir: A History of Water and Humankind.  New York: Bloomsbury, 2011.

Unlike other authors of books about water, Brian Fagan in Elixir gives much more attention to the culture, as one might expect of an anthropologist.  In most of the cultures he discusses in his book, water is closely associated with ritual, often considered sacred.  Fagan’s interested in the human relationship with water goes beyond ritual and religion and includes politics and technology.

Fagan describes three phases of the human relationship with water.  In the first stage, water is an unreliable, often scarce, and highly valued resource.  This value is reflected in the careful management, ritual, and even sacred reverence of water.  In the second stage, from the Industrial Revolution to our own day, water is a commodity, little considered and treated as if it were superabundant.  In the emerging stage, water is a finite resource we need to conserve.

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Most of the book is covers the first stage.  He discusses the historic relationship and management of water from around the world.  Some of these were famous for their extensive management of water, sometimes with equally extensive infrastructure, such as the Egyptian and Romans.  Others are lesser known, like the highly ritualistic and religious Balinese system that is still operating.  Some we know relatively little about in spite of their antiquity, such as the pre-Columbian Mayan and Andean cultures.

Because of this approach, Elixir is also a work of cultural and physical geography.  The reader can, in imagination, travel the world and see how civilizations are shaped by the sometimes harsh realities of the environment and how humans shape their environment.

The commodity stage is covered much more briefly.  To be fair, it is only a few hundred years old.  It is our age, when technology has allowed us to reach ever more difficult and remote sources of water.  Even in the industrial era, not everyplace has had truly abundant water.  Fagan points to arid and semiarid regions of Africa and Asia as locations poised on exhausting their water.  This is an issue in the United States, too, especially in the southwest, where politics and unrealistic optimism have trumped wisdom and reality for more than a century.

For the stage we are entering, the issue becomes conservation and sustainability.  Acknowledging that we are using our fresh water supply faster than it is regenerated, especially in some parts of the world, and making changes to our practices an technology, will require another cultural shift if we are to have sustainable water supplies.

When it comes to sustainability, I was surprised how much faith Fagan expressed in technology and human ingenuity.  Even so, he implies that we should look to our past.

In the early stage of our relationship with water, we valued it, even reverenced it, immensely.  It is time to place a high value on water again, even without religious aspects.  Also, in the past water management was a very local affair, and surprisingly democratic.  Though few of the governments Fagan discusses were democracies, they had mechanisms for hearing and considering the needs of everyone in the community.  Even in empires with powerful central governments that built and managed extensive waterworks, community-based water management operated alongside, and often it was the food surpluses of these local, village-managed operations that made empire-building possible.

If you’re interested in this book, you may also be interested in

Water by Marq de Villiers

Water by Steven Solomon

When the Rivers Run Dry by Fred Pearce

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Fathered by God by John Eldredge

Eldredge, John. Fathered by God. Nashville: Thomas Nelson, 2009.

Fathered by God presents again material previously published in The Way of the Wild Heart. It’s a map of the masculine journey.

Finding that I’ve writing the flowery metaphor “map of the masculine journey,” let me launch directly into a rant. Sometimes Eldredge’s writing annoys me. He writes too much in phrases when complete sentences are within his grasp. His outdoorsy examples miss me as often as they connect. For a guy into a lot of manly activity, he can come across as very touchy-feely.

In spite of this, I’ve read a half-dozen of Eldredge’s books. He talks directly about the difficulties of walking with God in a world bent on taking out those who undertake it. It’s stuff I deal with as a Christian, even if I don’t always like they way he writes about it.

The message of Fathered by God, in tough language, is, “Grow up. You need it and the people you love need it from you. Growing up is hard. You need help, especially from God.” That is where the map comes in.



The maturity of a man comes in stages, beginning in boyhood and ideally leading to sagacity in old age. In between, a man needs to be an adventurous cowboy, a dutiful warrior, a lover (of God in every case and of a woman, too, for most men), and a king of some sort of realm. These terms are mostly metaphorical. Few men are literal cowboys, but young men need challenges and hard work. Fewer will be literal kings, but every man is made to be a leader of something and hold dominion over some part of the earth.

At each stage of a man’s life, there are many opportunities for the enemy, the world or other people to take him out. This is exacerbated by the loss of the man-to-man and generation-to-generation connections that once served to help a man experience, mature, and succeed in each stage. Eldredge sees these networks of men helping men as important and encourages men to take there places in one, both to receive and give support.

Eldredge’s encouraging message is that even if a man has be damaged at some stage and hasn’t grown up the way he need to, it’s not to late to do it. The ultimate Father, God Himself, is willing and able to lead His sons into maturity. Whatever wounds a man received, God can heal. Whatever a man missed, God can supply. The masculine journey can begin or resume now.

John Eldredge also wrote
Epic
The Sacred Romance (with Brian Curtis)
Walking with God
The Way of the Wild Heart

If you’re interested in this book, you may also be interested in
Into the Depths of God by Calvin Miller
No More Christian Nice Guy by Paul Coughlin

Stories for a Man’s Heart by Al and Alice Gray

I Am Spock by Leonard Nimoy

Leonard Nimoy is well known for his portrayal of Spock on Star Trek television series and films. As a Vulcan, Spock is of a long-lived species, and his appearance in the 2009 reboot film and its 2013 sequel (Into Darkness) makes him a link between the new adventures and their predecessors. The actor passed away last year (2015).

I Am Spock is Nimoy’s memoir relating to his career as an actor and a director. Of course, Spock and Star Trek play an important role in that career, though Nimoy does not limit his reminiscence to the franchise.

Throughout the book, Nimoy imagines conversations with Spock. As an actor in a series where writers and directors change, he saw himself as a protector of the character (and suggested that other actors take similar attitudes to such characters). This made him passionate about a character known for being dispassionate. At the same time, he had the reasonable fear of being type casted and being unable to get other parts.

Fortunately, Nimoy was able to move on to other things after the three seasons of the original Star Trek series. On series television, he played Paris on Mission Impossible. He also had guest roles on a number of other shows. He also worked on the stage. One gets the impression for the book that Nimoy had relatively few interruptions in his career after bringing Spock to life, though not always with the steady paycheck that comes from being on a series.

Nimoy became interested in directing and tried his hand directing a few episodes of television shows. He got his chance to direct a feature film with Star Trek III: The Search for Spock. This was a success and he was offered the helm of the next film, The Voyage Home. He also had a great success as director of Three Men and a Baby.

As a Trek fan, I’m obviously interested in that part of his career. Even so, I found it almost a relief to break from that and read about Nimoy’s other projects. Though he does not present himself as religious, he seemed particularly to relish projects that provided a connection to his Jewish heritage. Even the distinctive Vulcan salute was taken by Nimoy from a temple ceremony he observed as a child.

The book was published in 1995, so it covers the period up to the sixth Star Trek film, The Undiscovered Country, and his appearance on two episodes of The Next Generation. He gave no hint of imagining that he would reprise the role of Spock 14 years later.

If you’re interested in this book, you may also be interested in

The Abolition of Man by C. S. Lewis

Fic by Anne Jamison

The Highly Sensitive Person by Elaine N. Aron

Nimoy, Leonard. I Am Spock. New York: Hachette, 1995.

Nearing Home by Billy Graham

In his 90s evangelist Billy Graham wrote about the challenges of aging in Nearing Home. The title is a reference to approaching death and to looking forward to being with God and loved ones who are already with Him in heaven.

That thread runs through the book, Graham’s focus is on living as an old person in this time and this world. Old age can and should be a time of purposeful living as much as any other stage of life. This is because of as much as in spite of the difficulties.

Graham did not shy away from the difficulties of aging. Our bodies lose strength. Our memories weaken. Ache, pains and illnesses beset us. More friends and family we have loved a long time pass away.

Graham encouraged his readers to prepare for aging and death some of this is practical advice for handling affairs in this world. Get your finances in order. Put documents together so your wishes will be know and followed if you are incapacitated. Wisely consider when to retire and what it will mean to leave the work world you are accustomed to for something new, though possibly even more meaningful.

Don’t let old age slip up on you. In addition to preparing for worldly concerns, it is especially important to lay a good foundation in Christ. As Graham put it, “God designs transitions and provides the grace to embrace what follows.”

Older people have important parts to play. Retirement can give you the time to be engaged in your family, church and community in a way you could not have pursued while working full time. You can encourage other because you remember many times when God has demonstrated His love, faithfulness and power in your life. You can set an example of aging with dignity and grace, even if it seems like no one is paying attention.

As I wrote this review of Nearing Home, I heard of the passing of Delores O’Riordan. In enjoyed the music of her band, The Cranberries, at the peak of their popularity about 20 years ago. I was young; I had little money and few responsibilities in those days. I should have enjoyed them more than I did. O’Riordan died at the age of 46; we were the same age. That is too young to die in my opinion.

At any age, we may be nearer to death than we know, for the Christian nearer home. Even if we are still young, or see ourselves as young, it is wise to consider that an in to this life is coming, and many years of aging may come before it. We should consider how to be ready for aging and death and how to leave a legacy, a good example, we will want to leave.

If you’re interested in this book, you may also be interested in

Don’t Grow Old—Grow Up! by Dorothy Carnegie

The Great Divorce by C. S. Lewis

Graham, Billy. Nearing Home: Life, Faith, and Finishing Well. Nashville, TN: Thomas Nelson, 2011.

Move by Rosabeth Moss Canter

The major elements of America’s transportation infrastructure and policy frameworks are six decades old (or older in the case rail). We haven’t even kept up with the maintenance since then. In addition to taking care of what we have, we need to adapt to the changes in technology, culture and the economy that have occurred. Our policies haven’t been keeping up.

In Move, Harvard business professor Rosabeth Moss Kanter explores how we got here and how we can move forward. We got here by adopting a defense-oriented policy that emphasized cars (especially interstate highways) and air travel, largely ignoring rail, public transit and intermodal development.

The path forward has several elements. First is a focus on mobility. Transportation infrastructure is a technical, bureaucratic realm of deep silos. Mobility changes the focus to moving people and products around communities and the nation in whatever ways make sense. Physical mobility and economic mobility are tied, and if we want to strengthen our economic leadership on the world stage, we need to break down internal policy barriers to advancing the way people move.

That means developing a national strategy. Of course, a rigid approach won’t work because we have varied nation. However, national priorities and frameworks can make room for regional priorities, adaption and leadership.

Money is always in issue. There are potentials in public-private partnership (PPP), and that can be arranged in many ways. America has a world-leading freight rail system that has very limited public investment. Airports are generally owned by governments, and attempts to privatize them have meet a cool response from possible investors. However, there are examples of successful PPPs in which there is something for everybody.

I already mentioned that technology has come a long way in the past several decades, especially in the realm of communication and data analysis. Some transportation industries, such as airlines, are taking advantage of the opportunities in new technology, while other are lagging. There are many ways our transportation system can be smarter, and we need sensible ways of incorporating technology in ways that are safe without losing out on the benefits through unnecessary delays.

This requires leadership and vision, especially in government. Politicians are often motivated by short-term wins, but mobility is a long-term investment. We need leaders who can see passed the next election and the boundaries of party.

Finally, citizen engagement is important. Plans can quickly fail if the people who are going to use, pay for and otherwise feel the ultimate effects of new transportation policies and infrastructure are not informed, involved and empowered to take action that works for them.

If you’re interested in this book, you may also be interested in

The Big Roads by Earl Swift

Bottled Lightning by Seth Fletcher

1939 by David Gelernter

The Powerhouse by Steve Levine

Kanter, Rosabeth Moss. Move: Putting America’s Infrastructure Back in the Lead. New York: W. W. Norton & Company, 2015.

Awakening the Entrepreneur Within by Michael Gerber

Gerber, Michael E. Awakening the Entrepreneur Within: How Ordinary People Create Extraordinary Companies. New York: HarperCollins, 2008.

Sometimes Michael Gerber writes like a New Age guru. Sometimes he writes like a bad poet. Sometimes you may wonder if you’ve paid $25 to read a sales presentation on his latest ventures. Sometimes he writes paragraphs as bad as this one.



To be fair, Awakening the Entrepreneur Within is not strictly a business book. Gerber says of the book, “This is not a do-it-yourself manual. It is an entrepreneurial spiritual guidebook.”

The book is a series of stories. Mostly they are the stories of how he started his businesses. One is the story of how he imagines he’ll start a business.

The stories illustrate the stages of entrepreneurial development. An entrepreneur progresses through being a dreamer, a thinker, a storyteller and a leader. More properly, he accumulates these roles as he develops himself and his business, though at each stage one role predominates. An individual need not necessarily fulfill all these roles himself. In founding what is now E-Myth Worldwide, he teamed with a thinker. In his imagined story of a company to come, he hires someone to serve as the leader.

A dreamer contribute what you might expect, a dream. To be an entrepreneurial dream, it must be impersonal. It must be about others instead of the entrepreneur. The thinker develops the dream by picking it apart, asking questions, finding solutions and working out the details (Gerber calls this going from the dream to the vision). The storyteller takes the vision and creates an impassioned story, which he’ll tell repeatedly, refining it until it moves people (Gerber’s term here is purpose). Finally, the leader turns the dream, vision and purpose into reality through action (he takes on the mission).

Near the end of the book lays out, step-by-step, what he calls the golden pyramid. This process implicitly incorporates the stages of entrepreneurial development, but also incorporates the business development ideas from E-Myth. Though this is in some ways the most detailed how-to chapter, Gerber still falls into fanciful language.

If you’re looking for how-to, you may want to look elsewhere. If you’re looking for inspiration, this might be your book.

Esther

Esther is one of the most famous people from the Old Testament. The story of her life, as told in the Biblical book bearing her name, has been adapted to the stage and film. Joan Collins played her in Esther and the King (1960); Tiffany Dupont played her in One Night with the King (2006) based on the novel by Tommy Tenney. In 2013, Jen Lilley played the role in The Book of Esther.

It is easy to see why the book has captured the interest of storytellers in several media. It has court intrigues, romance, poetic justice, a beauty pageant, culture clashes, political and religious oppression, just to name a few elements a storyteller or reader of almost any persuasion might latch onto. You can bring many viewpoints to this book and carry many interpretations from it, though the book also provides its own interpretation.

Esther takes place during the reign of the Persian King Ahasuerus (generally identified as Xerxes I). He puts aside his wife, Queen Vashti, and his princes arrange an elaborate campaign to find a replacement. Esther is forcibly recruited into the competition. Esther is a Jewish woman, a ward of her relative Mordecai, who serves in Ahasuerus’ court. He secretly advises her, her humility and kindness win her favor in with the head caretaker of the harem, and her beauty wins the king. Meanwhile, Haman, a high official who has come to hate Mordecai, hatches a plan to destroy the Jewish people through the empire. Esther risks her life to appeal to the king and thwart Haman’s plan. This summary hardly does justice to the story, though even in the Bible the style is plain.

These events are the genesis of the Jewish festival of Purim. This is where the internal interpretation of the book comes in. Esther is celebrated for her courage to act. In addition to that, the hand of God, who is barely mentioned in the book, is seen throughout the events. He puts someone in place to rescue the Jewish captives from their enemies. He elevates Esther and Mordecai to give them protection while they are under the rule of foreigners. Though the people were threatened with genocide, God used the situation to preserve them and possibly even set up their eventual return to their homeland.

The historical books of the Bible are generally written in a plain, narrative style, though it occasionally records songs or other literary forms. Esther stands out in that it is almost novelistic. The conflict escalates to a climax followed by a brief denouement. This makes it a very engaging book.

If you’re interested in this book, you may also be interested in

Deal with It! by Paula White

Second Kings

Esther. The Holy Bible. New King James Version. Nashville, TN: Thomas Nelson, 1982.

Scan Artist by Marcia Biederman

When I want to find some information, I can pull my cell phone out of my pocket and search for it using Google (or some other search engine, but probably Google). I can remember a time when that was not an option. If the information I needed wasn’t in the dictionary or encyclopedia I had at home (which was already of date in some areas), I’d have to go to the library for additional references or—heaven forbid—the morgue of a newspaper office. Getting useful information was not a trivial affair. The generation before mine that saw a pre-Internet explosion of printed information after World War II especially felt the difficulty of keeping up. Evelyn Wood was there with an answer; Marcia Biederman tells her story in Scan Artist.

Evelyn Wood did not invent speed reading. She did not even like the term. However, for decades her name and face was more strongly associated with it than any other person. Though she built her reputation on being a school teacher, she never was not a regular classroom teacher (she was a school counselor) and she was not a reading specialist. She had a master’s degree in speech, earned under the direction of a professor who a studied theater.

Theater may be the lens for looking at Wood’s career. She started writing and staging plays when she was in high school and a college undergraduate. Many of these had religious themes related to her Mormon faith. When she was in Germany, where her husband served as president of the Mormon mission in Frankfurt as the Nazis began their aggressions, she fell in love with the opera and cajoled her way into back stage of the opera house. She began bringing what she learned of stagecraft into her own productions.

Back in the U.S. the Woods put Evelyn’s theatrical skills to work as lecturers on their European experience. They changed their focus as American sentiments shifted from Germany to Britain. They also put a pretty heavy spin on the Mormon relationship with the Nazis and greatly embellished the dangers they face leaving Germany.

Evelyn Wood’s success as a seller of her speed-reading system was largely built on such theatrics and embellishments. She claimed student could read thousands of words per minute; the faster one read the better their comprehension. (The fastest people can actually read is about 900 words per minute. Anything faster is skimming, and comprehension suffers when one skims). She managed to get endorsements from senators and she encouraged, or at least never corrected, the misconception that she was tied to John F. Kennedy and his reportedly fast reading speed. (Ted Kennedy took her course as a senator, and staffers in the Kennedy, Nixon and Carter administrations took the course, including Jimmy Carter himself, though Wood was not the teacher.)

The company she started changed hands and business models several times. A lot of money was made with her name and methods, and in the sale and resale of the company, but the Woods received only a small portion of it. Even so, she was ready to promote herself, her methods and the company that still paid her a consulting fee. She slowed down, but continued to make appearances and accept interview requests even after suffering cancer and a stroke.

While one may sympathize with her, especially in her illness later in life, the Evelyn Wood presented by Biederman is not easy to like. The Wood adopted a teenage girl largely to have a live-in nanny for their natural daughter when they moved to Germany; they never really acknowledge their adopted daughter or even saw her much once she was an adult. Wood was in some ways a con artist who played on the insecurities of her marks, some who were never knocked in spite of the mounting evidence that her program was at best an overprice lesson in skimming.

Wood found a way to take advantage of the insecurity of her day. She built a brand on it. While primarily a biography of Wood, Scan Artist reveals interesting things about America of the time and the obsession with self-improvement. It has not disappeared. Speed-reading apps still claim to greatly increase both speed and comprehension. TED-talkers claim to read a book or more a day. The Internet makes it easy to acquire a shallow knowledge of almost anything quickly, so perhaps people have become satisfied with what they can learn from skimming hundreds of books a year. Deep learning and understanding remains slow and effortful.

Biederman, Marcia. Scan Artist: How Evelyn Wood Convinced the World that Speed-Reading Worked. Chicago: Chicago Review Press, 2019.

The Caped Crusade by Glen Weldon

Based on his self-description in The Caped Crusade, Glen Weldon and I are close in age. Unlike Weldon, the limited selection of broadcast television channels in my rural community did not present 1960s Batman series. My childhood impressions of the Dark Knight came almost exclusively from the comics. My favorite version of Batman is the “World’s Greatest Detective” (when I came across his team-up with a very old Sherlock Holmes in Detective Comics 500, I had to have it). I’m also fond of the adventure hero who hues close to his pulp roots—basically the Shadow or Doc Savage in a bat suit (I also had to buy Batman 253, in which the awestruck superhero acknowledges the Shadow as an inspiration).

I suppose that I staked out my position on Batman because that is partly what Weldon’s book is about, the contradictions between Batman the character and Batman the idea, and the tension between stories loved by hardcore fans and stories appreciated by a wider audience who engage with Batman in diverse ways.

Weldon illustrates this tension, and the character’s shift as the pull is sometimes stronger in one direction or another, through the history of the character. He sees a cycle in Batman’s depiction. He starts as a dark loner. He becomes a father figure (most directly to Robin). He grows into the patriarch of a family (Robin, Alfred, Batgirl, and Huntress just to start a list). Then a desire to revitalize the character, get back to roots, or satisfy the core fandom returns him to the loner stage.

The hardcore fans Weldon writes of generally conceive Batman as serious. They want a Batman who is realistic and gritty. In my experience as a reader of comics, “serious,” “realistic” and “gritty” are often code words for prurience, grotesquery and gore. I’m not interested in that in comics or any other media.

These fans have a love-hate relationship with the Batman of other media (they just hate the Adam West version). The Tim Burton films revitalized public interest in Batman when the comics were in a serious sales slump. (The hardcore fans hate the Joel Schumacher movies. I’m with them on that.) In the Chris Nolan trilogy they finally got a Batman who is serious and has acceptance in the wider culture.

That culture is much wider now than ever, especially due to the Internet. Comics fandom was once very insular, and in some ways it still is. In the Internet age, many people are engaging the character and idea of Batman. Comic book fans, cosplayers, fan fiction writers, movie buffs, fashionistas, retro TV watchers, hipsters and a host of others are interacting with Batman’s stories, history, image and iconography. It is a world that some of the old hardcore fans may find discomfiting, but it may be a place where Batman can have lasting relevance.

Weldon plainly likes that prospect. In his view, the super-straight Adam West Batman and the grounded, brooding Chris Nolan Batman can coexist. They are both really Batman. People have always focused on the aspects of the character that resonated with them. They have also imposed on him interpretations that the writers and artists that created his stories never imagined. We do this with every text, but few texts have the longevity of Batman. That may be the Weldon’s other point. We can take any version of Batman as seriously as we want, or we can simply enjoy the stories. He is a fictional character after all.

If you’re interested in this book, you may also be interested in:

Amazing Fantastic Incredible by Stan Lee, Peter David & Colleen Doran

Comic Book Nation by Bradford W. Wright

The DC Comics Guide to Writing Comics by Dennis O’Neil

Fic by Anne Jamison

Kirby by Mark Evanier

Men of Tomorrow by Gerard Jones

Reading Comics by Douglas Wolk

The Secret History of Wonder Woman by Jill Lepore

Stan Lee by Jordan Raphael and Tom Spurgeon

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Wisdom from the Batcave by Cary A. Friedman

Weldon, Glen. The Caped Crusade: Batman and the Rise of Nerd Culture. New York: Simon & Schuster, 2016.

Instant Self-Hypnosis by Forbes Robbins Blair

Blair, Forbes Robbins. Instant Self-Hypnosis: How to Hypnotize Yourself with Your Eyes Open. Naperville, IL: Sourcebooks, 2004.

Forbes Robbins Blair’s premise is that almost anyone can hypnotize himself by reading aloud a hypnotic script. He stumbled across this discovery in his practice as a hypnotherapist.

In this easy to read book, Blair lays out the basics of hypnosis. He takes some time to debunk hypnosis myths, largely to put readers at ease about the safety of the method and moderate unrealistic expectations.

One of these myths, perpetuated by stage hypnotists, is that you are hypnotized by another who controls your behavior. According to Blair, the subject of hypnotism is always aware and able to ignore any suggestion he doesn’t like. Hypnosis can be helpful to those seeking a change, but it isn’t likely to help someone who is not motivated to change.



Much of the book is a series of hypnotic scripts. The reader reads aloud to himself to achieve a hypnotic state. Then he turns to a script related to a specific goal such as more assertiveness, stop smoking, weight loss or more confidence as a public speaker. At the end of each script is a wake up section.

If you don’t find a script that fits your goal, Blair has a simple procedure for writing your own script. You can even write it while hypnotized. Once written, it can serve as a script to be read like those in the book.

It may seem that one could hardly be hypnotized so easily. Blair says it is common to enter a light hypnotic state while reading an engrossing book or watching a movie. It is simply a matter of focused attention and heightened suggestibility. He says even a light state of hypnosis is enough to effectively plant suggestions for changes you want to make. Plus, as you practice the procedure, you become better at hypnotizing yourself.

Finding Your Writer’s Voice by Thaisa Frank & Dorothy Wall

Frank, Thaisa, and Dorothy Wall. Finding Your Writer’s Voice: A Guide to Creative Fiction. New York: St. Martin’s Press, 1994.

Thaisa Frank and Dorothy wall take an organic view of writing. It begins with the voice.

Voice is not something abstract. They mean a person’s actual, natural voice. It is our native instrument of communication and expression. Like a musical instrument or a singer’s voice, it can be mastered by practice and the developing skill of the instrumentalist or vocalist.

The early chapters of the book are devoted to getting to know your instrument. This is your raw voice. Voice has the advantage of being uniquely yours and fitted to you. Using your raw voice is more than just doing what comes naturally. Like mastering other instruments, one learns is range and the variety of notes and timbres it can produce. Several exercises are offered to help you get to know your raw voice and to explore all you can do with it.

The voice of the story is more like that of a composer. It understands the instrument, the raw voice, but it also engaged in making decisions about key, tempo, and amplitude over an entire piece and each movement and how it all fits together. The raw and story voices work together as the writer works, making writing improvisational, like a jazz musician using his instrument spontaneously while leaning on a mastery of scales, techniques and musical conventions.



Frank and Wall cover many of the things one might expect on a book on fiction writing: character, plot, point of view, tone, revision, and the writing life. In their book, voice serves the source and context of all these things. They spring forth from the raw voice of a person and are developed as a story by the polished voice of a writer. The craft of writing is developed on the job, working the materials supplied by the voice into stories.

Even in revising, there is an organic sense of spontaneity, improvisation and creative working within constraints. Revising is not a process of simple mechanics. It is a chance to creatively reengage a story, testing it with the creative force of raw voice and the helpful voice of internal editors who understand the workings of a story, a beautiful turn of phrase and how to get things write. Writers can easily get stymied at this stage, as they might at others, but frustration here is often an opportunity to take a story to a better level.

I should have given this book more time than I did (it was due back at the library). It’s a class for writers and, like most classes, getting the most out of it requires doing the homework.

If you’re interested in this book, you may also be interested in
Mastering Fiction Writing by Kit Reed

12 “Christian” Beliefs That Can Drive You Crazy by Henry Cloud & John Townsend

Cloud, Henry & John Townsend. 12 “Christian” Beliefs That Can Drive You Crazy: Relief from False Assumptions.  Grand Rapids, MI: Zondervan, 1994.

Henry Cloud and John Townsend are Christian counselors.  In their practice, they found that many Christians have little knowledge of what the Bible says about their problems.  They often had been taught religious beliefs that not only were opposed the Bible, or misconstrued it, but were detrimental to their recovery.  They address a doze of these maddening traditions in 12 “Christian” Beliefs That Can Drive You Crazy.

I won’t go over all twelve beliefs.  They’re all things I’ve seen or heard, or even thought myself, at some point.  You probably have run into them, too.  Some concepts recur throughout the chapters:

• Denial of neediness,
• Legalism,
• Over-spiritualizing,
• Underestimating God, and
• Underestimating the importance of people.

In each chapter, the authors describe the a false belief.  Sometimes they show its pseudo-biblical origins.  They then present the Biblical view on the subject.  They offer advice on how to put this knowledge into practice.

The overarching theme of the book is that growth as a Christian is a process.  God can change us in an instant, but more often He changes use over time.  The secondary theme is the necessity of the church.  Most of the crazy-making beliefs lead people to isolate themselves.  This is the opposite of what God intends.  It is often through our brothers and sisters in the church that God provides for our needs, and as we mature we have the privilege of helping others, too.

It would not be appropriate to describe this book as self-help.  Cloud and Townsend never assume that we can make on our own.  We’re not made to.  First, we need God and He is the prime mover in the transformation of our lives.  Second, the church is intended to be like a body, where the various parts aid, support, help, and heal each other.  God uses people and He has probably provided what we need through the church.  Finally, some people need professional help.  Whatever you need, powering through on your own is not the way to go.

This book may be useful to Christians at any stage, especially those struggling with ongoing problems.  I wish I had had it early in my Christian life, when its lessons might have save me a lot of struggle.

It is simple to read, too.  There is no technical, psychological material to wade through.  It is written to the person seeking help, not as a textbook or reference for the counselor or other professional.

If you’re interested in this book, you may also be interested in

The 4:8 Principle by Tommy Newberry

Fathered by God by John Eldredge

Have a New You by Friday by Kevin Leman

Into the Depths of God by Calvin Miller

Walking with God by John Eldredge

Why Good Things Happen to Good People by Stephen Post and Jill Neimark

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Stealing Plots

I previously wrote about “stealing” characters.  In that essay, I described several characters from popular fiction and how they might be seen as variations on the same character template.  I suggested that a writer can modify and reimagine existing characters to create new ones.  Actually, I think that is probably how most characters are born, even if the authors aren’t consciously aware of it.

Similarly, plots can be “stolen.”  Some have suggested that there are a very limited number of plots, so in a sense all writers are stealing from a small pool.  On the other hand, there is a lot more to a story than just the plot, so it may not matter.  Let me illustrate the idea with some examples.

A Christmas Carol is one of the most popular, and I think one of the best, ghost stories ever written.  Charles Dickens’ novella was first published in 1843.  The story has been adapted to the stage (including opera), many films, radio, television (my wife and I are fond of the 1984 version with George C. Scott as Scrooge), comic books, and numerous pastiches.

The plot is well known.  Ebenezer Scrooge begins as a miser.  On a certain Christmas Eve, he is confronted by the ghost of his former business partner and three spirits who represent Christmases past, present and future.  The visions they show him convince Scrooge that his single-minded pursuit of money has deprived him of life.  He awakes Christmas morning as a new man committed to relating to his fellow man and putting his money to use.

Let’s reverse Scrooge.  Make him an extremely generous person instead of a miser.  In that case, he might be something like George Bailey.  Bailey, played by Jimmy Stewart, was the generous man at the heart of It’s a Wonderful Life.  His dream is to travel the world.  Instead, he delays his dream again and again to help his neighbors, his brother, and eventually his own wife and children.  It comes to a head when a mistake by his uncle brings imminent ruin to the savings and loan George runs. Faced with ruin, George sees himself as an utter failure.  He contemplates suicide in hopes that his insurance policy will rescue his family from financial ruin.

At this point, he receives a spiritual visit like Ebenezer.  In this case it is a single spirit, an angel named Clarence.  Like the Christmas ghosts, Clarence shows George a vision.  This is also an inversion of Dickens’ tale.  Instead of showing him a history of missed opportunities and blindness to the needs of others, Clarence reveals an alternate world in which George and his generous acts did not exist.  His brother is dead.  His wife is a frightened spinster (it’s hard to believe Donna Reed would have been overlooked by the marriageable men of Bedford Falls even holed up in the library with her glasses on).  The people are mired in poverty because he hadn’t been there to fight for access to credit so they could build homes and businesses.  The town is under the thumb of the miserly landlord Mr. Potter, himself a type of unreformed Scrooge.

Like Scrooge, George is changed by his vision.  He sees that his life is worth something and that his sacrifices bought him a lot of love.  In the end, returned from his walk in the dark alternate universe, that love is displayed by a return of generosity from his many friends that saves him.

These beloved stories don’t have the same plot.  However, one is a variation or alteration of the plot of the other.  This plot archetype doesn’t have to be so serious.

Topper, either the book by Thorne Smith or the movie starring Cary Grant, is an example of this plot played for laughs.  Cosmo Topper is a banker.  He is bored with his job.  He is somewhat alienated from his wife who clings to respectability.  He has money and status, even what might have been considered a good marriage in a time when such relationships were as much about business as love, but he has no fun and it is wearing on him.

The ghosts are a piece of work, too.  George and Marion Kerby are a wealthy couple who die in a car accident.  Instead of shuffling off to the afterlife, they find themselves stuck on earth.  They have never done something substantive, either good or bad, in their entirely frivolous lives.  They decide to fix the situation by helping their old friend Topper.

In this case, all the major characters are a type of Scrooge.  Topper has let his job, money, and status keep him from a life of fun and serious connection.  The Kerbys had so little meaningful connection to other people that they neither helped nor harmed another soul.  Even Topper’s wife Clara has sacrificed intimacy in her marriage to focus on social climbing.

So Topper is visited by spirits like Scrooge and Bailey.  Instead of taking a serious look at life, it is presents a screwball comedy.  The Kerbys drag Topper into all kind of risqué situations he would normally not get into.  Misunderstandings abound and Topper is embarrassed repeatedly.  The ghosts are have good intentions, but they are not very competent.  Topper feigns irritation at the hijinks, but in his heart is having a ball and doesn’t want the haunting to end.  Clara feels humiliated by all the trouble Topper is getting into, but fear of losing him to a wild life reminds her of how much she loves him.

Through a series of screwy events, the characters undergo a Scrooge-like change.  The Toppers loosen up and rekindle their love.  They discover that their intimacy as a couple is more important than jobs, wealth or status, though they don’t have to completely give up those things.  The Kerbys take responsibility for themselves and their actions.  They finally put Topper’s needs ahead of their own and do something substantively good, opening the doors of heaven.

You can probably see that these stories are related by more than similarities in plot.  They have a common theme.  All of these stories are about connecting to others in relationships.  Bailey is a little different from the others in that he starts out blind to all the good that has resulted from his seemingly humble touching of the lives of others.  Scrooge, the Toppers and the Kerbys are isolated for various reasons, mostly of their own making, and need to discover that relating to others is the main thing.

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