Reading Comics by Douglas Wolk

Douglas Wolk’s book Reading Comics has two major sections. In the first section, outlines a framework for comic book criticism. First, he makes it clear that the comic book (or graphic novel) is a distinct medium. Comics are not half-assed attempts at some other media such as film or prose.

Next he draws a distinction between mainstream comics and art comics. Mainstream comics have always been an corporate effort. It is corporate in the sense that it has been controlled by publishers. It is also corporate because most mainstream comics are the product of a team (a writer, an artist—sometimes separate penciller and inker—a colorist, and a letterer). Both of these types of corporate authorship give rise to a house style.

This gives rise to one of the major points of distinction between mainstream and art comics. Mainstream comics are dominated by a house style. Art comics are an expression of the style of the cartoonist. There is an element of auteurism in this understanding of art comics. An art comic, to a much greater degree than a mainstream comic, is a single artist’s interpretation of what he sees or envisions. Art comics are valued as an expression of their creators’ visions. The more skillful the cartoonist, the more likely he is to produce good comics.

There is more to Wolk’s framework of comics criticism than this, but it seems to me to be the central element. Wolk does not claim to be making a comprehensive system of criticism. Comic books are too new a medium for that, especially because comics criticisms is necessarily younger.

In the second section of the book, Wolk discusses the works of particular cartoonists. Some of these work heavily or mostly in mainstream comics, but the focus remains on how the artist interprets and expresses his vision in comics, with or without the expectations of mainstream comics.

One of the great examples of this is Alan Moore. Moore’s work for mainstream publishers had turned the mainstream, and especially the superhero genre, on its head while still producing comics that work excellently as mainstream comics. Moore bucks the trend of artsy cartoonists by being a writer only; all of his comics are mainstream-style collaborations with an artist. Wolk mentions several works of Moore, but the grand example is Watchmen. Moore, and especially Watchmen, has cost a long shadow on mainstream comics. He has pushed the mainstream to be much better, and eager imitators have unfortunately produced some horrible comics by learning all the wrong lessons.

Several cartoonists receive attention: the dark, strange visions of Steve Ditko (cocreator of Spider-Man), the epically deep world-building and beautiful drawing of Jaime Hernandez, the epic opus of Cerebus comics by Dave Sim, the artistry of Will Eisner, the power of Frank Miller (sometimes overpowering), and the consciousness-expanding ouvre of Grant Morrison (another writer, but not artist).

Even though the book is not new, it introduced me to cartoonists and comics that were new to me. It was worth the read for that, though Wolk’s perspective on the development of mainstream and art comics is interesting, too.

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

American Splendor (Film)

Comic Book Nation by Bradford W. Wright

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

How to Read Literature Like a Professor by Thomas C. Foster

Maus by Art Spiegelman

Men of Tomorrow by Gerard Jones

Writing for Comics with Peter David

Douglas Wolk. Reading Comics: How Graphic Novels Work and What They Mean. Cambridge, MA: Da Capo, 2007.

Glossary

One of the most important books in a reader’s library is the dictionary. Here are a few words I’ve had to look up in my reading or that I thought were noteworthy.

Amended March 7, 2011

A

Acheron – a river from Greek mythology over which the dead were ferried by Charon

adamantine – hard, unyielding (the last syllable may be pronounced like teen, tin or tine, which could come in handy for rhyming)

aerolith, n. – a meteor (such as on might see in the empyrean)

aliquot – an adjective that describes something that is an exact divisor, or factor
Dictionary.com, Merriam-Webster, OneLook

For example, when you factor a number, such as 60, you find its aliquot parts, 2, 3, 4, 5, 6, 10, 12, 15, 20 and 30.

angstrom, n. – unit of length equal to one ten-millionth of a millimeter (10-7 mm), mainly used to express electromagnetic wavelengths (named for Swedish astronomer Andes Johann Ångström)
Dictionary.com, Merriam-Webster, OneLook

aprioristic, adj. – preconceived, or considered valid independent of observation or evidence

“The grid for historical interpretation is more than something that facilitates the selection and interpretation of evidence: it offers an all-encompassing aprioristic view of reality into which the phenomena of history must be made to fit, whether by fair means or foul.”

-Carl R. Trueman, Histories and Fallacies

Argus – a giant with 100 eyes from Greek mythology

C

cagoule – a hooded, weatherproof jacket
Cambridge Dictionary, TheFreeDictionary

canescent – downy, as in the whitish or grayish down on some plants
Dictionary.com, Merriam-Webster Online

caul – part of the amnion sometimes covering the head of a child at birth
Dictionary.com, OneLook

celebutante – a young woman who is famous for no discernable reason (from celebrity + debutante)

cicerone – a guide for sightseers (pronounced with a long e at the end)

cloaca – a sewer
Dictionary.com, Merriam-Webster Online

concertina – noun musical instrument resembling an accordion with hexagonal bellow and button-keys – verb to fold or collapse like a concertina
Dictionary.com, OneLook

crepuscular – resembling or active at twilight
Dictionary.com, Merriam-Webster Online

cuprous – containing univalent copper
Dictionary.com, OneLook

curlew, n. – a shorebird with a long beak that curves down, of the genus Numenius

D

dalton, n. – unit of mass used to express the mass of atomic and subatomic particles equal to 1/12 the mass of the carbon-12 atom; another name for an atomic mass unit (named for English chemist John Dalton)
TheFreeDictionary, Encarta, YourDictionary

disembogue – pour out
Dictionary.com, Merriam-Webster Online

demimonde, n. – women with wealthy lovers who have lost standing in society because of indiscretions or promiscuity; courtesans or prostitutes (an individual woman of this class is a demimondaine)
Dictionary.com

“Humiliation no longer threatens the individual who hasn’t read a book, but the one who has; reading is seen as a degrading task that may be left to a woman of the demimonde.”
-Pierre Bayard, How to Talk About Books You Haven’t Read

doyenne – a woman with seniority in her profession or organization (feminine form of doyen)

“Sue Carter of the University of California at Irvine is famous as the doyenne of research on this potent hormone of attachment [oxytocin], which she has studied extensively in the prairie vole.”
-Stephen Post & Jill Neimark, Why Good Things Happen to Good People

E

elegiac, adj. - expressing sorrow or mourning

empyrean – sky

“The very empyrean seemed to be a secret.”
-G. K. Chesterton, The Man Who Was Thursday

endogenous – internally originated
Dictionary.com, Merriam-Webster, TheFreeDictionary, Encarta

“Because the internally focused [performance assessment and evaluation] frameworks of the [community water system] sector are based on endogenous measures of performance, they narrowly asses performance in terms of core processes, which differ by [community water system].”
-Jeffrey W. Rogers & Garrick E. Louis. “A standard efficiency metric for evaluation performance of community water systems.” Journal AWWA 97.10 (2005): 79-80.

F

fissiparous, adj. – tending to split into factions

“Marxism has proved as fissiparous a philosophy as it has a political ideology.”

-Carl R. Truman, Histories and Fallacies

G

ghee – clarified butter
Dictionary.com, OneLook

glaucous - greenish blue or bluish green
Dictionary.com, Merriam-Webster Online

I

inanition, n. – exhaustion from lack of nourishment; lethargy

L

lacuna – missing part (the middle syllable is pronounced like queue)

Laocöon, n. – Trojan priest who warned against accepting the horse left by the Greeks (Trojan horse); he and his sons were killed by serpent bites

lido – a beach resort or open-air swimming pool
Dictionary.com, OneLook



M

mantic – related to or having the power of divination
Dictionary.com, Merriam-Webster Online

meretricious, adj. – having a flashy or vulgar allure, insincere or pretentious; characteristic of a prostitute

moue – a pout
Dictionary.com, OneLook

multitexting – the rude and dangerous activity of reading and writing text message on mobile communication devices, including e-mail message in the case of crackberry addicts, while engaged in other activities such as walking, driving, attending meetings and dining with others (from multitasking)

O

ouroborus, n. – a symbol of a snake or dragon eating its tail
Dictionary.com, OneLook

outré, adj. – unconventional or bizarre

P

patulous – spreading
Dictionary.com, TheFreeDictionary, Merriam-Webster Online, OneLook, YourDictionary

"Above the spire of St Paul’s, patulous white clouds deepened to a shade reminiscent of overwashed socks."
-Christopher Fowler, The Water Room

phenology – the study of the timing of recurring natural events
Websters, Dictionary.com, Merriam-Webster


plover, n. – a shorebird having a thick neck, compact body, and pigeon-like beak, of the family Charadriidae, or a similar bird

prolegomenon, n. – scholarly preface (you can tell it is scholarly by its length)

putsch, n. – a revolt or uprising
Merriam-Webster, Encarta

R

retrosexual, n. – a man who cares little for or minimally attends to his appearance (i.e., the opposite of a metrosexual), or a man who adopts an old-fashioned masculine style (especially the suit-and-hat style of the 1950s and 1960s)
Merriam-Webster

S

sesquipedalian, adj. – multisyllabic
Merrian-Webster.com

“Do not build monuments to obfuscatory sesquipedalian tergiversation.”
-Elizabeth Slatkin in How to Write a Manual

sibilant, adj. - hissing

soidisant – self-styled, so-called, pretended (from French and pronounced in something of that style, i.e. swa-dee-zahn’)


spoor, n. – track or trail, especially of a wild animal
Dictionary.com, Merriam-Webster.com

“The victory always lies in our hunger for the spiritual intimacy of our union with Christ. In some since it is more than a hunger, it is a stalking—pursuing God as a safari tracks the spoor of big game”
-Calvin Miller, Into the Depths of God

stoat – the European ermine, Mustela erminea
Dictionary.com, Merriam-Webster Online

suspire, v. – to utter with sighing breaths
Wordnik.com, Yahoo! Education

Who then devised the torment? Love.
Love is the unfamiliar Name
Behind the hands that wove
The intolerable shirt of flame:
Which human power cannot remove.
We only live, only suspire
Consumed by either fire or fire.
-T. S. Eliot, The Four Quartets

syncretistic, adj. – attempting the reconciliation of opposing principles, practices or parties

“Catholicism’s commitment to the developing cult of the saints was surly one of its great strengths during the church’s massive expansion during the fourth and fifth centuries, and the winning strategy of a somewhat syncretistic pattern of handling folk religion right down into the fifteenth century.”

-Carl R. Trueman, Histories and Fallacies

T

tergiversation, n. – a constantly changing, unclear or misleading opinion or attitude
OneLook.com



threnody, n. – a song of lamentation
traduce, v.t. – to speak maliciously or falsely, to slander or defame

V

viridescent – greenish
Dictionary.com, OneLook

vulpine – fox-like
Dictionary.com, Merriam-Webster Online


W

whinge, v. – to cry, to complain, to whine
Dictionary.com, Merriam-Webster

X

xanthic – yellowish
Dictionary.com, Dict.org, The Free Dictionary, Webster’s Online, Your Dictionary

Keeping a Journal You Love by Sheila Bender

Bender, Sheila. Keeping a Journal You Love. Cincinnati: Walking Stick Press, 2001.

The starting chapter of Keeping a Journal You Love is brief and covers two subjects: the reasons people write journals and the basic mechanics journaling. Bender frames the second subject as a FAQ. The rest of the book focuses on getting the reader to practice writing.



As you might expect from a book on writing by a teacher of writing, there are many exercises. An early chapter is devoted to a group of seven exercises to get the budding journalist warmed up. A later chapter recommends list structure list of several ways to enrich a journal.

Among these exercises is anaphora, a series of sentences beginning with the same words. An example provided by Bender is the list of indictments against King George from the Declaration of Independence. I grew up in a church, so it reminds me of the rhythm of sermons.
God’s grace is a gift.
God’s grace saves us.
God’s grace redeems us.
God’s grace revives us.
God’s grace justifies us.
God’s grace imputes righteousness to us.
God’s grace abounded when our sins abounded.
God’s grace frees us from bondage to sin.
God’s grace gives us mercy.
God’s grace gives us help in our times of need.
God’s grace came through Jesus Christ.
God’s grace brings us to believe.
God’s grace we access by faith.
God’s grace makes us alive.
God’s grace gives us eternal life.
God’s grace He gives to the humble.
God’s grace is sufficient.

The main body of the book explores examples of journal entries from various writers of fiction, nonfiction and poetry. These examples illustrate various styles, techniques and subjects. After samples from each contributor and a brief discussion of their journals, Bender suggests several exercises for the reader to practice in there own journal.

Some of the contributors wrote very interesting journal entries. I found one to be boring. They were all very different in style and content. Some hardly resemble what one might expect of a journal. Fruitful journaling is as unique as the varied journalists are.

The point is not to imitate the journals of these other writers. The intent is to help people develop their own journaling style that is deeper, richer and more rewarding.

Though journaling is typically a very private matter, Bender includes and interesting chapter on journaling groups. Journaling groups vary in their practices, but some find the setting, information and discipline that comes from being in such a group helps them start, stick to and improve their journaling. Bender provides some practical tips for finding an existing group or starting your own.

If you’re interested in this book, you may also be interested in
Write Your Heart Out by Rebecca McClanahan

Follow Your Heart by Andrew Matthews

Matthews, Andrew. Follow Your Heart. New York: Price Stern Sloan, 1997.
ISBN 0-8431-7491-9

Follow Your Heart is like a short course in the major concepts of happy living. That Andrew Matthews wrote it in a light, simple style gives it and advantage over many similar self-help books.

Matthews sees life as series of lessons. Our job is to learn, change and improve. Instead of fighting against and imperfect world, we learn to be better people and make the world a little better in the process. We’re not here to change the world, but to change ourselves.

In this light, success is more about being happy and having peace than about having money and the trappings of wealth. A person who does what he loves to do often finds he doesn’t need much. A person who develops his talents into excellent skills often finds himself equipped to make plenty of money.

This kind of success is available to everyone. Matthews says, “The universe has no favorites.” The universe is governed by natural laws and we can all understand and use them. Matthews discusses some of these laws. The laws aren't easy ways to get what you want. The laws require patience and effort. This relates to another of Matthews’ precepts, “When you fight life, life always wins.”

One of the ultimate things we can do to be better and help others be better is to love others. According to Matthews, the great expressions of love are forgiveness and acceptance. People aren’t going to be perfect and aren’t going to follow all the rules me make up for them. When we free others from our hurts and expectations, we free ourselves from self-imposed misery, too.

Follow Your Heart isn’t especially original in its message and methods, but neither are many other self-help books. Where it stands out is in a style that is straightforward, lighthearted, humorous and brief.



If you’re interested in this book, you may also be interested in
Attitude is Everything by Jeff Keller
Happier by Tal Ben-Shahar

Ed Wood Double Feature

Ed Wood is famous as one of the worst filmmakers of all time. That is an overstatement. Wood made some decent films (for the time, budget and type of films he was making) and some find even his bad movies to be entertaining. A couple of my favorite Wood films are illustrative.

I think Bride of the Monster (1956) is the first Ed Wood film I saw. I recall it showing on the Creature Feature, a late night film show broadcast out of Cape Girardeau and hosted by Misty Brew. Bride is not a bad movie. It’s about as good as a lot of low budget, sci-fi horror films from the 1950s.



In Bride, Bela Legosi plays an outcast scientist who intends to create a “race of atomic supermen” that will usher in a new age of his making, under his rule. His human experiments have not been successful and keeping ahead of the law and spies from his homeland led him to a remote American swamp. His animal experiments have been more successful, and his gigantic creation proves to be a useful way to dispose of the corpses of his unwilling human subjects. Mad science, nosy reporters, police, and spies crash in an atomic explosion of mayhem.

By contract, Night of the Ghouls (1958) has everything in it that is the worst of Wood. To start with, it seems to be a sequel to Bride, except that any continuity is accidental. Many of the actors are the same, but only two of the characters could are the same, Lobo (Tor Johnson) and Kelton the Cop (Paul Marco). There are constant reference to setting of the story and that strange things happened there once before, enough for me to think it’s referring to Bride, but they don’t exactly make sense and certainly aren’t necessary. I don’t know if issues with rights prevented Wood from making an outright sequel. I suspect his write-fast, film-fast style didn’t leave room for the careful checking of continuity a real sequel would require.



Another Woodism is the overuse of voiceover. The film begins and ends with soliloquies delivered from a coffin by newspaper psychic Criswell, which is entertaining in its goofy bombast. Criswell’s narrative continues through the film, though it is largely unnecessary. Wood is good enough to tell the story without the voiceover, but bad enough to use it anyway. Criswell delivers the lines with gusto, and possibly with thanks, for their better than most of the dialogue the other actors have to deal with.

Criswell narrates a section built on stock footage, which was a staple of low-budget and exploitation films and frequently used by Wood. The bad, and oddly entertaining, thing about this section is that it has practically nothing to do with the rest of the film. It’s an exploitation-style harangue on juvenile delinquency that depicts many young people dancing to rock and roll, racing cars and committing mostly petty crimes.

In Night, at least, Wood is not a good storyteller. He remains a great plotter though. A fake psychic set up shop to con wealthy clients who disparately desire to reach diseased spouses. It turns out he is actually very powerful medium who is unwittingly raising the dead from a nearby cemetery. These ghouls can’t stay in the realm of the living for long and they’re not going back to their graves alone. That could be an awesome horror story, but in Wood’s hand it doesn’t quite make it.

By the way, the malevolent medium of Night is named Dr. Acula. That is right, Wood straight up names a character Dr. Acula.

If you like old sci-fi horror films, you may like Bride of the Monster, which is typical of its low-budget ilk. If you want to see a bad movie that entertains in spite of, or possibly because of, its myriad flaws, look at Night of the Ghouls.



If your interested in these films, you may also be interested in
Bedlam
Isle of the Dead

Scholastic’s A+ Guide to Book Reports by Louise Colligan

Colligan, Louise. Scholastic’s A+ Guide to Book Reports. New York: Scholastic, 1982.

I found a copy of Scholastic’s A+ Guide to Book Reports, authored by Louise Colligan, at a library book sale. It is in near mint condition. There is no crease in the spine. The pages are yellowed after 30 years, but otherwise spotless. The corners of the unfaded cover are slightly foxed, but I think that came from my handling. I guess I’m the first person who read this copy of the book. Presumably, someone who may have been in high school about the same time I was deprived himself of the good advice in this book.

This book is aimed at teenagers, especially high school students, who are assigned to write book reports. I’ve been out of high school a while, but I assume that still happens. Colligan’s advice still applies to that task, and some of it is applicable to other writing.

Part of the system described in the book involves good study skills and organizing work. It is simplistic, narrowly focused and prescriptive, but that is probably appropriate for a teen. I did not have such good habits in high school, and the demands of college and work pushed me into taking an organized approach to my work, which is second nature now. I recommend learning this skill as early a possible.

The rest of the system focuses on the book report, though still in an organized manner. Colligan provides ideas on how to select and appropriate book, approaches to reading with the task of writing a report in mind, and tips for writing different types of book reports. She also lists a number of creative alternatives to essay-style reports.

The understanding of the book is that this activity takes place in a school. Students are encouraged to get appropriate input from the teacher and to focus on the assignment, not going off on tangents.

One of the things that interested me was the list of recommended books. Because of its age, it doesn’t include anything published in the last 30 years. Classics, though, don’t go out of style. I was assigned a few in high school, such as The Good Earth by Pearl S. Buck, which I recommend. Like many boys, I enjoyed science fiction and fantasy and on my own read Dune by Frank Herbert and The Lord of the Rings by J. R. R. Tolkien (the one fantasy trilogy that rules them all).

Another interesting thing about the book is that there is no mention of the Internet. It didn’t exist. I don’t know how the Internet has affected the high school book report. I suspect that it has had little effect. Colligan’s sound little manual is probably as useful today as it was when I was a freshman, and I have a very nice copy available for a reasonable sum.

If you’re interested in this book, you may also be interested in
How to Read Literature Like a Professor by Thomas C. Foster
How to Talk About Books You Haven’t Read by Pierre Bayard
You Can Write for Magazines by Greg Daugherty
Your Intelligence Makeover by Edward F. Droge, Jr.

Google

The Irresistible Introvert by Michaela Chung

Introverts can feed out of place, in especially in the United States and other places where extroverted characteristics are celebrated and introverts are often misunderstood. Michaela Chung considers how introverts can make their own way in the word in her book The Irresistible Introvert.

Introverts are not antisocial or shy. We (yes, I’m an introvert) like people. In comparison to extroverts we tend to be more introspective, needful of solitude and quiet and slow. Some introverts are highly sensitive people (I think I fall into this group, too).

Chung doesn’t say there is a right or wrong way, there is a place for both extroverts and introverts and all the blends in between. Her point is that in extroverted cultures introverts need to find ways to be comfortable being themselves.

That is Chung’s theme: introverts should accept themselves. If you are an introvert, embrace your strengths and stop trying to fit into an extroverted mold. Be kind to yourself. Make room in your life for the quite time, solitude and thinking that you need.

Of course, introverts are social beings. We enjoy connecting with others. We like deep conversation and close friends.

For many of us, this area of connection and communication can become a source of discomfort as our style clashes with the prevailing extroverted style. In the latter part of the book, Chung shifts to showing how introverts can find ways to open up, form friendships and communicate in ways that play to their strengths.

Introverts aren’t likely to work the room the way extroverts do. We can, we just find it exhausting. Chung’s advice often touches on this issue of energy. With a little planning, introverts can manage their energy in social situations. Introverts can be spots of calm and warmth in a crowd that attracts others. They can trade awkwardness and tiredness for self-possession and intriguing allure.

Chung draws frequently on the experiences of introverts including herself. Many of these experiences resonated with me. If you’re an introvert you might enjoy the book simply because you can see someone else understands your experience. You might find some of Chung’s advice helpful, too.

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

The Emotional Energy Factor by Mira Kirshenbaum

The Five Love Languages by Gary Chapman 

The Highly Sensitive Person by Elaine N. Aron

The Introvert's Way by Sophia Dembling

Quiet by Susan Cain

Chung, Michaela. The Irresistible Introvert: Harness the Power of Quiet Charisma in a Loud World. New York: Skyhorse Publishing, 2016.

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.

The Fifth Heart by Dan Simmons

Novelist Henry James seems like an unlikely partner to fictional detective Sherlock Holmes. Dan Simmons pairs them in his novel The Fifth Heart. James provides Holmes with access to the inner circle of American politics, where Holmes investigates the death of Clover Adams, wife of historian Henry Adams. Together, they thwart an attempt to assassinate President Grover Cleveland at the opening of the Chicago Columbian Exhibition.

In some ways, Simmons draws from the weakest of genre writing, such as the fortunate happenstance of James and Holmes meeting on the bank of the Seine, where the story begins. Simmons writing in this style is not weak, though. He also writes in more literary style, though not a densely written as James’ novels, and uses the likes of upper-class dinner parties to explore social customs and mores.

One of the ways Simmons creates a deep sense of the setting is by constantly dropping names. Many of the characters in the book, or their real counterparts, were famous or well-connected in their day and actually knew each other, such as Adams, the Hays, James, and Samuel Clemens. They also knew, or knew about, a lot of other famous or well-connected people, so the discussion of all these names seems natural. I started jotting down the names, and I recorded more than 100 (some are listed below). Some were fictional (like Hercule Poirot), but many were real people.

On the whole, the novel is a good adventure full of interesting characters. Simmons goes a little deep into philosophy in a consideration of what it means to be a real person, or the potential reality of fictional people (Holmes suspects he may be fictional). The book can be enjoyed without sweating that point.

In a sense, all the characters in the book are fictional, even if they are based on real people. The Holmes of this novel describes the symptoms that indicate he may be fiction, such as the fog he experiences between adventures, and the James of this novel experiences the same thing. Of course, many of us experience arriving home from work and having almost no recollection of driving, so some fogginess may be a natural part of memories and the way we form them (or don’t form them).

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

Fic by Anne Jamison

The Peerless Peer by Philip Jose Farmer

The Seven-Per-Cent Solution by Nicholas Meyer

The Sherlockian by Graham Moore

Simmons, Dan. The Fifth Heart. New York: Little, Brown and Company, 2015.

Henry Adams

Marian (Clover) Hooper Adams

Irene Adler [fictional]

Alexander Agassiz

William Waldorf Astor

Henry Ward Beecher

John Bonfield

Paul Bourget

William G. Brock

Daniel Hudson Burnam

James Donald Cameron

Walter Camp

Enrico Caruso

Samuel Clemens (Mark Twain)

Frances Folsom Cleveland

Grover Cleveland

Willkie Collins

Edward Compton

Stephen Crane

Captain Sir George Mansfield Smith Cumming

Charles Dodgson (Lewis Carroll)

Montague Druitt (suspected of being Jack the Ripper)

Andrew L. Drummond

Edmund Gosse

H. Rider Haggard

Carter Henry Harrison

Adelbert “Del” Hay

Clara Hay

Helen Julia Hay

John Hay

Sven Anders Hedin

Mycroft Holmes [fictional character]

Oliver Wendell Holmes, Jr.

Sherlock Holmes [fictional character]

Isabella Beecher Hooker

Edward Hooper

William Dean Howells

Victoria Woodhull

Henry Irving

Henry James

Francis Scott Key

Phillip Barton Key

Clarence King

Rudyard Kipling

Peter Kropotkin

Fritz Krupp

Louis Jean-Baptist Lepine

Henry Cabot Lodge

Robert McClaughry

George McClellan

Charles Macready

Errico Maltesta

William Melville

Sebastian Moran [fictional character]

James Nolan Moriarty [fictional character]

Richard Monckton Milnes

Carl Gottfried Neumann

Charles H. Pearson

Hercule Poirot [fictional character]

Henry Rathbone

Elisee Reclus

Henrietta Reubell

Henry Hobson Richardson

Edmund Rice

Elizabeth Robins

William Rockhill

Theodore Roosevelt

John Singer Sargent

Rudolph Schnaubelt

Heinrich Schliemann

William Seward

Daniel Sickles

Teresa Bagioli Sickles

Ainsworth Rand Spofford

Edwin Stanton

Elizabeth Cady Stanton

Adlai E. Stevenson

Robert Louis Stevenson

Harriet Beecher Stowe

Benjamin Tayloe

Annie Royle Taylor

Minnie Temple

Emile Jean-Horace Vernet

Carl Aver von Welsbach

A. B. Walkley

Fanny White

Garnet Wolseley

Constance Fenimore Woolson

Writing for Comics with Peter David

David, Peter. Writing for Comics with Peter David. Cincinnati, OH: Impact, 2006.

Peter David brings his more than two decades of experience as a comics writer, including a well known stint as a writer of The Incredible Hulk, to bear on the subject of writing for comics. David’s book is mainly a guide to writers who want to break into comics, but it’s also written to appeal to comics fans who want a better understanding of their favorite medium.

To some degree, good writing is good writing, so much of the advice David provides could be useful to fiction writers in general. Conflict, character, setting, plot and pacing are things all fiction writers must handle. David draws on examples from other media, especially movies, to illustrate his points.

Even so, comics have there own conventions, traditions and techniques. David deals with some of the unique elements of comics directly such as script style, speech balloons, continuity and writing instructions for artists. Mostly, relevant techniques are dealt with as they arise in discussing writing for comics.

The main audience of the book is writers, so it deals with art, editing and other elements of comics from the standpoint of the writer’s place. All writers need to understand the craft of writing; comics writers also need to understand the craft of making comics since he not only writes a story, but also a script that gives shape to the final product, often page-by-page and frame-by-frame.



David’s advice can be taken more as guidelines as rules. One of his repeated points is to do what works. Even in his own writing, he adapts his script style and level of detail according to the story he is telling, the artist he is working with and the expectations of his editor.

Even though David doesn’t lay out one way, he does show the better ways and the danger zones. Someone wanting to write for comics will find a lot to help him do it well and possibly break into the tight market (including advice from a Marvel editor on pitching a story and detailed script guidelines from Dark Horse).

If you’re interested in this book, you may also be interested in
The DC Comics Guide to Writing Comics by Dennis O’Neil
How to Write Science Fiction and Fantasy by Orson Scott Card

Mastering Fiction Writing by Kit Reed

Reed, Kit. Mastering Fiction Writing. Cincinnati, OH: Writer’s Digest Books, 1991.

Kit Reed doesn’t believe there is a magic book that will tell you everything you need to know about writing. Her book, Mastering Fiction Writing, will help you get started and contains a lot of advice on making your stories better.

The first key is that learning to write comes from practicing writing. If you’re not writing, you’re not a writer. No story is perfect, so start writing and improve your work as you proceed.



An encouraging tip from Reed is that you already have a great storehouse of experience to draw upon as a writer. All the experiences of your own life, the lives of people you know and everything you’ve heard about and learned are the raw material you already have in your head. As a writer, you’ll use all of this, not directly but transformed for the purposes of your stories.

Reed is not a fan of plot, believing that stories are developed and preferring let her characters and what they want lead her. She does believe in outlining. An outline can help a beginning writer get a story in shape and avoid problems before starting. Even in the middle of a story, outlining can help with diagnosing problems and figuring out where the story needs to go.

The book also covers other common elements of fiction writing. This includes style, character, point of view, voice, rewriting and establishing your work habits.

A particularly useful element of the book is that almost every chapter contains a list of questions you can ask yourself about that element in your story. You could use these questions at any point in developing a story to help you recognize problems and create solutions.

The final chapter is also particularly useful. It deals with discipline. A writer isn’t going to produce stories, and especially not books, if he doesn’t do the work, deal with the problems and overcome the occasional boredom, hard work and temptation to quit.

If you’re interested in this book, you may also be interested in
How to Write Mysteries by Shannon OCork
How to Write Science Fiction and Fantasy by Orson Scott Card
No Plot? Not Problem! A Low Stress-High Velocity Guide to Writing a Novel in 30 Days by Chris Baty

Deal with It! by Paula White

White, Paula. Deal with It! Nashville: Thomas Nelson.

When Paula White says Deal with It! she doesn’t mean “suck it up.” In this book, she urges readers, particularly women, to acknowledge and confront their problems, that is, really deal with it. Fortunately, believers are not left to their own devices to overcome problems. God is ready and able to help His own.

Each chapter is built around a woman from the Bible and White’s view of her central problems. Some are well known names like Ruth, Esther, and Mary Magdalene . Some are not as well known: the Shunammite who welcomed Elisha into her home and Zelophehad’s daughters.



As much as things have changed over thousands of years, people are still people, and the problems these women faced have parallels today. Through God’s help, the women in White’s example overcame bad histories, weak men, lifestyle changes, excessive demands, deep hurt, competition, poor reputations, disappointments, injustices, and overwhelming expectations.

God came through for these women. Of course, as with us, God did not always choose to act immediately or in the ways they might have wanted. However, they trusted Him and persevered faithfully. God will come through, but it is important how we think and act in the meantime. We are called to do what is right, obey proper authority, stand up for justice, and hold onto faith in God all the time, especially in tough times.

White’s style is much like speech. Since she is mainly a speaker and preacher, you might expect it. In some ways, the book reads like a collection of sermons, though the chapters are tightly linked by a central theme.

As in her preaching and other books, White draws on her personal experience. She presents herself as having been a messed up young woman who made many bad decisions, had a head full of bad ideas, and beset with hang-ups. If you’d lived her life, maybe you’d have fallen into the same errors. She’s not complaining, though. She uses these examples to show how God has turned things around for her, just as he did for the Biblical women she writes about.

That is the central issue of the book. Things don’t have to remain as they are. God has the power to change them. However, we must face our problems and deal with them. We can’t let ourselves be derailed by time or difficulties, but trusting and obeying God we can see our lives renewed into something even better than we might have imagined.

If you’re interested in this book, you may also be interested in
Acts
The Emotional Energy Factor by Mira Kirshenbaum
Genesis
The Gospel of John
The Joy of Supernatural Thinking by Bill Bright
Love and Respect by Emerson Eggerichs

Psalms

Psalms is a collection of songs. Many of the songs are attributed to the poet and king David. Others are attributed to Asaph, the sons of Korah, Solomon and even Moses. Many are anonymous.

The songs were meant to be sung, and sometimes they contain annotations suggesting a certain style, tune or instruments. I find that sometimes the structure or words of a psalm suggest that it was probably intended for a soloist, a chorus, or a call and response.

Many of the psalms, especially those attributed to David, deal with the faithfulness of God and the blessed life of those who trust Him. Other psalms suggest that David encouraged, and probably enjoyed, corporate singing of praise to God. David is particularly honest in his prayer-like psalms, and is not afraid to express his anger, disappointment and fear. Even in these moments, he is grateful for God’s mercy.

Several psalms have a messianic message, foreseeing and describing Christ before His coming. Jesus even suggests that these psalms refer to Him, along with other Old Testament scripture (see Luke 24:44).

Other songs were written for, or have become associated with, certain ceremonies. The Hallel psalms (113-118) are sung as part of the Passover celebration. The Songs of Ascent (120-134) are associated with pilgrimages to Jerusalem.

You will find there is a psalm that resonates with almost any emotion, mood or experience. Though the music of these songs is lost to most of us, they still invite us to explore our thoughts and experience, reflect, pray, and connect to a God who cares, who’s mercy is at hand. Even the structure of much of this Hebrew poetry, in which ideas are repeated, compare and contrasted, invites one into meditation.

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

How to Read Literature Like a Professor by Thomas C. Foster

Foster, Thomas C. How to Read Literature Like a Professor: A Lively and Entertaining Guide to Reading Between the Lines. New York: Quill, 2003.

Some associate learning and teaching literature with an English Lit requirement to read boring books they didn’t understand and being embarrassed by a teacher berating them for not seeing the significance of some obscure symbol. To top things off, the kid who seems to do best is someone they know to bullshit their way through everything (that kid is probably a professor now). So when Thomas Foster promises “a lively and entertaining guide” to reading literature (it says to right on the cover of the book), he faces a skeptical audience even among book lovers.

Foster delivers on the promise. His tone is light, sometimes humorous. His style is conversational. He resorts to only on technical term and it refers to a concept that runs through the whole book so the reader will have no trouble getting it.

What makes reading the book fun is that Foster has such fun reading and thinking about what he has read. He doesn’t want people to stop enjoying what they read to start analyzing. He wants them to keep enjoying novels, stories and poems for the interest, entertainment and beauty they way they always have. Keep the old fun and add to it the enjoyments of understanding a work in relation to the rest of literature.



This is the main point of the book (and that technical term, intertextuality): a book, story, poem, or play is part of the total body of literature and by asking ourselves how it relates to other things we’ve read, using both our intellect and our emotions, we can have a full understanding and enjoyment of it. Each chapter after the first discusses things that appear in literature, such as sex, violence, weather and allusions to other works.

The idea isn’t to give you a bunch of discrete things a reader should always be looking for and doing; Foster wants to enrich readers, not burden them. Instead, each is an example of different recurring themes in literature (intertextuality says it’s all connected) allowing a few concepts to be applied to many different things.

This conceptual focus makes the book easy to grasp. The reader doesn’t have to figure out how to read like a professor by wading through a bunch of dusty old books someone thinks is great. Foster shows how readers (and he as a professor) can get more out of reading whatever they want.

That kid who bullshitted his way to a high grade in your English Lit class is probably a professor now. Fortunately, Professor Foster isn’t he.

If you’re interested in this book, you may also be interested in
How to Talk About Books You Haven’t Read by Pierre Bayard