Category: General Fiction/Literature Page 13 of 49

20 Books of Summer 2021: June Check-in

20 Books of Summer
One summer.

Three months.

93 Days.

20 books.

Are you in?


Once again I’m taking part in the 20 Books of Summer Challenge fro 746 Books. Annnnnd my June was pretty, um, dead. Between book tours, review copies and catching up on NetGalley ARCs, I’ve read absolutely nothing from my Summer Roster. Zip. Zilch. Nada.

I’m posting this update mostly to push myself to get on it—a little public shaming. Because my lack of progress in June means it’s going to be a little more of a challenge to finish this than I’d anticipated. Absolutely do-able, but it’ll take a bit of effort.

I did actually read about 30% (so far) of the first book today…so, you know, it’s practically in the the bag.

And here’s the fairly untouched list (subject to change, but I’m going to resist the impulse to tweak as much as I can).

1. A Beginner’s Guide to Free Fall by Andy Abramowitz
2. The Dead House by Harry Bingham
3. The Run-Out Groove by Andrew Cartmel
4. Love by Roddy Doyle
5. The Ninja’s Blade by Tori Eldridge
6. Small Bytes by Robert Germaux
7. A Reason to Live by Matthew Iden
8. Twiced Cursed by J. C. Jackson
9. The Dime by Kathleen Kent
10. Dead Man’s Grave by Neil Lancaster
11. The Magnificent Nine by James Lovegrove
12. The Mermaid’s Pool by David Nolan
13. All Together Now by Matthew Norman
14. The Good Byline by Jill Orr
15. Sir Thomas the Hesitant and the Table of Less Valued Knights by Liam Perrin
16. Fools Gold by Ian Patrick
17. Know Your Rites by Andy Redsmith
18. The Far Empty by J. Todd Scott
19. August Snow by Stephen Mack Jones
20. In Plain Sight by Dan Willis

20 Books of Summer '21 Chart

99 Poems to Cure Whatever’s Wrong with You or Create The Problems You Need by Sam Pink: The Cartoon Continues

99 Poems to Cure Whatever's Wrong with You or Create The Problems You Need

99 Poems to Cure
Whatever’s Wrong with You
or Create The Problems
You Need

by Sam Pink

Paperback, 103 pg.
CLASH Books, 2019

Grab a copy from your local indie bookstore!


A little housekeeping to start: That title is just too long to keep using, you know? I thought about using 99PtCWWwYoCTPYN, but that’s almost as bad—actually, it’s probably worse aesthetically speaking. So, I’m going to go with 99 Poems.

Why Did I Want to Read 99 Poems…?

I’ve mentioned around here before that I’m not much of a poetry reader. In fact, I think I’ve only posted about one other poetry collection. I think this the fourth poetry collection I’ve read since I graduated from college in the mid-90s.

So what possessed me to pick this up? Well, despite what it may look like around here (and certainly how it feels sometimes), I do want to keep trying new/less familiar things. What got this to my attention was that someone on my Twitter feed posted a picture of one of the poems from this book a couple of months ago—I believe it was “The Woodchuck”—it made me smile, and it seemed like a good idea to try some more.

Which is how I got here. Trying to figure out how to talk about poems.

Comic Poems

Like the poem that got my attention, many of these poems fall under the heading of “comic.” They all won’t make you laugh—but you’ll probably grin a bit. The construction is similar to a joke, but I think it’s a disservice, even for the comic poems to treat them as simply that.

The Non-Comic Poems

Then there are the poems on the other end of the spectrum, moving, poignant—even uplifting.

I think most readers will find themselves in some/many of these. Which is both comforting and unnerving.

Approachable

None of these are difficult to read (some may be challenging to chew on)—a few are two or three lines, a few are about 2 pages long. Most are 6-ish lines long.

Really, I’ve read tweets that contain as many characters as some of these poems. I guess I’m saying, there’s no reason for non-poetry readers like me to feel intimidated by these.

Samples

I’m no photographer, but typing out these poems to give you a taste seems strange, they should look the way they were printed. Here’s a couple of the poems that stayed with me.
Masters
It's Always Both

So, what did I think about 99 Poems…?

How do you not like something with that title? That’s practically an instant 3-Stars right there.

But more than that, I liked this collection. Reading a couple of these is a good break from everything else going on in the world around you. A simple way to look at things in a different way. I’m likely to keep an eye out for more by Pink, and I think you should, too.


3.5 Stars

This post contains an affiliate link. If you purchase from it, I will get a small commission at no additional cost to you. As always, opinions are my own.

Runaway Train by Lee Matthew Goldberg: It’s Just Easier than Dealing with the Pain

Runaway Train

Runaway Train

by Lee Matthew Goldberg
Series: Runaway Train, #1

eARC, 296 pg.
Wise Wolf Books, 2021

Read: May 31-June 1, 2021
Grab a copy from your local indie bookstore!

What’s Runaway Train About?

Following the shocking death of her sister at 17 (from a brain aneurysm), sixteen-year-old Nico is spiraling out of control. Never the best student, and far more interested in being everything her high-achieving, popular sister wasn’t, Nico’s focus is on getting high, listening to as much grunge as she can, and fantasizing about meeting Kurt Cobain (who would fall for her, leave Courtney, and the rest would be history).

When things at home—which haven’t been good for a long time—take a turn for the worse, Nico is at the end of her rope and doesn’t know what to do. Her best friends talk her into leaving home and hitting the road, to go cross things off her bucket list before her own aneurysm cuts her life tragically short. Although they’d decided to run away together, Winter and Jeremy leave her in the lurch—Winter tells her that she needs this trip to hit rock bottom so she can pick up the pieces left by Kristen’s death (although I think this is largely a lie, and Winter just doesn’t have the courage to go through with it, but this sure sounds good).

So she packs up her teal blue Hyundai Excel with some essentials, a lot of batteries, her Walkman, and her father’s gas card and takes a trip up the California coast on the way up to Seattle, to see what the grunge scene is “really like,” cross some things off that bucket list, and hopefully get the chance to tell Cobain what his songs have meant to her.

Here’s where I get some egg on my face—I know Goldberg’s primarily a thriller writer, and assumed* that this would be one, too. That shortly after Nico left L.A. something would happen and this would become a thriller, with Nico doing all she could to stay alive and/or evade the police while on the run from something/someone/multiple someones. But no, that’s it. It’s the story of a girl living in her Hyundai trying to put the pieces of herself together.

* and you know what happens when you assume…

90s Referencepalooza

The first sentence of the book includes the date October 31, 1993. But then, as if Goldberg isn’t sure that his readers will understand that he means it, he hits you over and over and over with references to the early 1990s. There are over a dozen references in the first 3% of the book. And there are multiple stretches of the book that are like it. They eventually taper off, but it takes a while before Goldberg seems to think that he’s established the setting.

Now I enjoyed almost every one of the references and thought they really grounded things. But it also felt like overkill. Like he didn’t trust his audience to remember that these events took place in 1993 and 1994. Although it’s just as likely, maybe more likely, that Goldberg was having so much fun with them that he didn’t want to cut any of the references. And I get that, I really do. But I think it might have carried more punch if he’d been a little less effusive with them.

Embracing the Ambiguity, Pt. 2

A couple of months back, I wrote about a book that included elements that could be supernatural or they could be an expression of the protagonist’s PTSD. I mentioned at the time how that writer leaving it up to the reader to decide was a great idea, how it’s more effective that we don’t really know which it is.

And here I’m repeating myself—there’s something that happens to Nico several times in the book that could be a product of her subconscious or could be a supernatural event. I initially ascribed it to a psychological phenomenon—trauma, or grief, or something. I think it’s written so that you think it’s a physiological thing. But at some point, I joked to myself, “Unless, of course, it is a ghost.” And then I couldn’t talk myself out of the joke—it really, really could be a ghost. Or it could be a manifestation of Nico’s subconscious. I could defend either position from the text, I think. And I really liked that.

So, what did I think about Runaway Train?

I really got swept up in this story and with Nico’s journey. How does your heart not go out to a girl in that much pain? A dead sister, parents who aren’t dealing well with her, friends (more important to you than family at this stage of life) basically shoving her out the door on her own. and a strong sense of your own impending death? She doesn’t just hit rock bottom, she ultimately throws herself at it. But also, there’s an element of envy for the reader—you wanted to have the guts/folly to do something like Nico does at that age, and even now (however much older you are than her), you’d like to have the ability to do that.

Put those two elements together? How do you not have a warm spot in your heart for this book?

Yes, it’s clearly fiction. Yes, it’s heightened and only semi-plausible—both the high points and the low. But…it feels real. I can absolutely believe that I could sit down with Nico or Evan (since he’s from this area) today over a cup of coffee and hear them tell me about this time in their life.

I was more than a little surprised to see that there’s going to be a sequel to this. Typically, coming-of-age novels are one-and-done. But I’m on board—I want to see what the next chapter is for Nico. I can’t imagine all her problems were worked through in this book, and as much progress as she made (and looks to continue making), there’s no way that the work is done and I’m looking forward to seeing her continue it.

I absolutely recommend this to you—like its central character and her musical idol, Runaway Train is occasionally a mess, but there’s a heart to it. There’s an ineffable quality that’s going to make you want to pay attention to it and see how it can shine.

Disclaimer: I received this novel from the author in exchange for my honest opinion.


4 Stars

This post contains an affiliate link. If you purchase from it, I will get a small commission at no additional cost to you. As always, opinions are my own.

Not Awkward by Matthew Hanover: Moving On by Looking Back

This is a little (pun unintended but embraced) awkward to write—I served as a beta reader for this and had intended to wait until the final version was published to say anything. But Hanover asked, so here we go. Many things may (and have) changed from the draft that I read and what will be published in a couple of months, so I’m not going to get into some of the particulars that I want to until then, and I know what the final version will be like. Hopefully, this isn’t too vague as a result:


Not Awkward

Not Awkward

by Matthew Hanover
Series: Wallflowers, #3

Beta Version
2021

Read: May 9-18, 2021

What’s Not Awkward About?

I’m assuming I’m not the only one who finds themselves in a situation like this—I halfway expected to find a Jeff Murdock monologue about this, but alas… You go to an event of some kind because of family obligation, an acquaintance, your Significant Other’s employer—not because you really want to, but you feel you should. Once there, you stay an adequate amount of time and try to make your excuses and leave. But the host or someone talks you into staying for a little longer, and a little longer after that. While you may not be actively hating the experience, you’re certainly not enjoying yourself much and are looking for an opportunity to make a tactful exit.

This is pretty much the situation that Scott finds himself in. But rather than a birthday party for your second cousin you haven’t seen in a decade, Scott finds himself as a guest at his ex-girlfriend’s house while they sit shiva for her father. Recently fired and about to get married, Scott felt like he should go to the funeral for the man who always treated him so well. One thing led to another and Leila’s mother compelled him to stay for a night, which turns into another, and another…

Scott’s fiance, Charlotte, is off for a bachelorette’s week with his sister and Charlotte’s closest friend, Quinn. So there’s nothing for him to go home to, and he can search for jobs from Leila’s as well as anywhere. So he sticks around as emotional support (and/or emotional punching bag, depending on Leila’s understandably shifting moods require), and finds himself with an opportunity to get the closure he didn’t realize he needed and maybe even an explanation for why she dumped him out of the blue six years ago. Or maybe, something else will end up happening between the two.

Speedcubing

A few months ago, one of the local newscasts had a feature about an area resident who used to take part in Rubik’s Cube competitions on a pretty high level, it looked back on his competitions and “does he still have it?” No, he doesn’t. But he’s still faster than at least 96% of anyone who’s ever solved one.

So when we learn that Charlotte is a speedcuber, going to competitions, posting videos to social media, my mind immediately went back to that and I was in. Most readers aren’t going to have that particular background, but Charlotte’s hobby (for lack of a better word, but it’s not quite right) is going to make her stand out in readers’ minds—how often have you come across a character who does that? What I appreciated most about the Rubik’s cube thing is that was it starts out as a character quirk, but by the end, Hanover finds some thoughtful things to do with it—revealing something about the character (and a little more).

The Sister Factor

A mistake that readers like me can make is to think they’ve figured out all a writer’s moves, I really thought I had a handle on the role of “protagonist’s sister” in Hanover’s books. So when Quinn shows up pretty early, I sat up and paid attention to her. Which is when I noticed that Quinn is going to serve another role in this novel. She’s not an antagonist, but she’s certainly an obstacle for both Charlotte and Scott to overcome.

She’s been best friends with Charlotte since childhood—and try as she might, she’s still having trouble shifting from being Charlotte’s best friend to her best friend and brother’s significant other/future sister-in-law. I wasn’t entirely sold on this particular arc, but it helped us get a different look at Scott and his love life, and in the final third or so of the novel, it really paid off.

Along the same lines, Hanover hasn’t given us a protagonist’s brother before. I really didn’t care for this one—but I wasn’t supposed to*, he was written in such a way that it’d be hard to like him at all. But Scott and Quinn having an older brother is a new dynamic for Hanover and it works pretty well.

* And I won’t even get started about his wife.

The Interconnectedness of It All

In Not Dressed, Hanover alludes to a couple of characters and events from Not Famous, but here in Not Awkward he goes a lot further—the characters and events actually show up in the text. Sure, it’s done in such a way that people who haven’t read the other books won’t be short-changed when it comes to understanding this novel. But if you have read them, you’ll appreciate the way that Hanover has woven them into these pages.

It’s a great way to make a reader smile when they recognize something. But better, it’s a fantastic way to touch base with characters from one of those books. “Oh, look X got engaged.” Or “hey, Y and Z will be working together.” We also get to see characters like that in a different setting and from a different perspective. Rather than having to go through the bother with writing a whole new novel about one of Not Dressed‘s characters, with a few scenes in this (that move the plot along and help us understand Scott better), we see that character in a whole new light and it may change what you think of some parts of that other book.

Again, I stress—if you haven’t read his other novels, or if you don’t remember the details, it won’t matter at all.

Eep! A Conservative!

There is a character in this book who is a political conservative who works in politics (in more of the pre-2015 mold, I should stress), but this is a non-political book. The fact that they are conservative is mentioned a few times, and two (I think—no more than three) positions are mentioned. There are no debates, explanations, or arguments for the positions.

I mention this only because in our current climate, a lot of readers (from all over the political spectrum) run for the hills when politics come up. There is no need for that here—it’s brought up occasionally, but not in any kind of detail. No political position is ever endorsed or supported, or discussed in any kind of depth.

So, what did I think about Not Awkward?

While this is a lighter read, as is the norm for a “lad lit” novel—it’s not as funny as Hanover’s earlier works. That said, there are a couple of moments that are comedic gold. Slap-stick humor is difficult to pull off in print, but Hanover makes it look fairly effortless.

At at least three points in this novel, I assumed I knew how the rest would play out, “Oh, it’s going to be ____ kind of a story.” And I was wrong each time—thankfully. Instead, Hanover has given us a different kind of story than he has in the past, a subtler one, a more mature one.* One still infused with his trademark warmth, heart, and appeal. But there’s more going on, there’s a little ambiguity about some things. Experience is making a better author out of Hanover.

* Although I would have been satisfactorily charmed and entertained by the kind of story he’s given us before.

There were aspects of the story or characters that I wasn’t crazy about—but I’m not going to get into that at this point, because I don’t know what will happen to those things between the beta stage and the final version (although I was told about some directions he was going and that made me feel better). Maybe I’ll update this when the final version is out—maybe I won’t, we’ll see how much I care once it hits. But whatever quibbles I might have had, that’s all they were, quibbles. And they paled in comparison to the novel as a whole.

Because I wanted to think carefully about this novel, I wouldn’t let myself read more than 10-15 percent of it a night. That was hard. I wanted to read the whole thing in one sitting—and easily could have. I literally had to force myself to stop reading each time I picked it up so I could send my feedback and do other things. But I wanted to keep going, I had such a great time with these characters, this story, and Hanover’s writing.

Somewhere in there is Hanover’s secret—no matter what dumb, reckless, obnoxious, or (have to say it) awkward thing his characters do, you like them. You can’t help but do so. Scott said a couple of things in the first chapter that really made me wonder if I wanted to go through an entire book with him. By the third, I was pulling for the guy. This goes for Leila, too—not only did she break Scott’s heart six years ago, but she didn’t even tell him why. But in no time flat, you’re hoping she’s doing okay after her father’s death and you feel bad for the situation she finds herself in. If it’s bad enough that she talks Scott into sticking around…

And I’ve gone on far too long here. I need to wrap things up.

Not Awkward is a warm and heart-filled story about revisiting the past, finding healing (whether or not you thought you needed it), and embracing a future that doesn’t look like you expected it would (and is probably better). It’s the kind of book that’ll make you feel a little better about life for a while—and who doesn’t want to read something like that?


4 1/2 Stars

20 Books of Summer 2021

20 Books of Summer
One summer.

Three months.

93 Days.

20 books.

Are you in?


Here’s the kickoff post on 746 Books in case you want more details. I had a lot of fun with this last year (the time pressure helped a lot), so let’s give it another shot. Last year, my list was a mix of summer releases, NetGalley things I’d been procrastinating on, and some things I’d meant to read for a while. But here’s the thing–I don’t need something prompting me to read the next Ace Atkins or Kevin Hearne, ditto for my NetGalley stack–that’s going to get read. So in keeping with my push to trim my TBR List (both aspirational and stuff I already own) this year, 19 of these 20 books are those (I did put one upcoming release on the list, it was a moment of weakness). It’s going to be an actual challenge to get all of these read, but I think I’m up for it.

Anyway, here’s my list (subject to change, but I’m going to resist the impulse to tweak as much as I can).

1. A Beginner’s Guide to Free Fall by Andy Abramowitz
2. The Dead House by Harry Bingham
3. The Run-Out Groove by Andrew Cartmel
4. Love by Roddy Doyle
5. The Ninja’s Blade by Tori Eldridge
6. Small Bytes by Robert Germaux
7. A Reason to Live by Matthew Iden
8. Twiced Cursed by J. C. Jackson
9. The Dime by Kathleen Kent
10. Dead Man’s Grave by Neil Lancaster
11. The Magnificent Nine by James Lovegrove
12. The Mermaid’s Pool by David Nolan
13. All Together Now by Matthew Norman
14. The Good Byline by Jill Orr
15. Sir Thomas the Hesitant and the Table of Less Valued Knights by Liam Perrin
16. Fools Gold by Ian Patrick
17. Know Your Rites by Andy Redsmith
18. The Far Empty by J. Todd Scott
19. August Snow by Stephen Mack Jones
20. In Plain Sight by Dan Willis

20 Books of Summer '21 Chart

Fridays with the Foundling: Wrapping Things Up

Fridays with the Foundling
Tom Jones Original Cover

Well, This is Awkward…

After watching the movie last week, I’d planned on watching the BBC Series to post tonight and then wrapping things up next week, but apparently that’s not available in the US. So, here we are, a mere 48 posts since the beginning to look back on this series.

What Did I think About Reading the Book This Way?

Back in December, Lashaan asked, “What’s it like so far to go through this at this pace/in little bits and pieces? Are you able to appreciate it as much as you’d like?” That was a good question then, still is.

I don’t know, really. It would have been better had my life not got strange, inserting a two-month break, for sure. Since I had tried this a few times before and had got distracted or ran out of steam partway through, this definitely helped me avoid that.

On the other hand, there are a few events and people I had to spend time looking up toward the end of the book when they were brought up again to make sure I remembered them correctly (or at all), and that wouldn’t have been necessary had I read all of this back in Jan. 2020.

I can make the argument to myself either way looking back on it, good idea or bad. I don’t see myself re-reading it this way, though.

How Would I Summarize The History of Tom Jones, a Foundling?

This is the story of a boy abandoned by his mother at the home of a wealthy benefactor who raised him as his own. He great into a generous, fun-loving, and not-incredibly disciplined young man. Tom was led by his heart (or other parts of his anatomy), not common sense or logic—for audiences in the 18th Century, I imagine that struck different chords than it does for us in the 21st. He does many rash, reckless, and foolhardy things, but rarely for personal gain. After losing his father figure and home, he’s aimless until he sees the chance to win back the favor of his first love, and pursues that single-mindedly as long he can—ultimately prevailing there, while also helping friends old and new along the way.

Sophia, that love of Tom’s life, is a fascinating character00headstrong and determined. She’s at once a submissive daughter and a defiant one. She’ll placate her father and aunt as often as she can, but she will not roll over and acquiesce on the important issues (for example, who to marry). Again, something that probably strikes contemporary audiences differently than Fielding’s. I don’t know if I’ll ever find an author so obviously in love with one of his characters as Fielding is with her.

There are other characters, other story arcs of note in the novel. But at the core, this novel is about those two, the rest is just window dressing.

Would I Read This Again?

Oh, absolutely. I plan on re-visiting this in a few years. Although I’ll probably get an ebook or paperback. As much as I like this hardcover, it’s heavy and inconvenient to hold.

So, In the End, Did I Like the Book?

I did. I don’t think it’s exactly what I anticipated (I blame Tony Richardson and John Osborne for that). I’m a big fan of Fielding’s narrative voice and love the way that he’d spend a chapter opining about whatever at the beginning of each Book.

I question his approach in the last book—and don’t know if I’ll ever accept it. But I do realize he trimmed at least 200 pages off of the book by taking that approach.

I honestly don’t know if I can sum up in a paragraph or two (now that I’m at the point where I need to) just what I think of the book—there was some great romance, some cringe-worthy dialogue, some fun dialogue, a lot of interesting characters that showed up for a page or two—and better ones we spent most of the book with.

I laughed, I chuckled, I rolled my eyes, I grew to appreciate some hard-to-like characters I got a little anxious, and sometimes annoyed—I even got a little bored—but I always wanted to come back to it, to see what Fielding had up his sleeve. And I was generally rewarded for that. It’s a good read and one I’m glad I finally persevered through.

Tom Jones (1989) Director’s Cut

Fridays with the Foundling
You didn’t think I was done, did you?

Tom Jones

Tom Jones

Director’s Cut, 121 min.
1989 (Theatrical Release 1963)

Heroes, whatever high ideas we may have of them, are mortal and not divine. We are all as God made us, and many of us much worse.

The film adaptation of Tom Jones (Oscar winner for Best Picture), directed by Tony Richardson (who won Best Director) and written by John Osborne (Best Adapted Screenplay) was my first introduction to Fielding’s work.

As adaptations go, it’s okay. Osborne and Richardson, took all the essential moments from the novel and discarded the rest. Then they compressed the moments they took, excised some characters (Nightingale and all of Mrs. Miller’s family, for example). Then they played up the humor in every scene as much as they could (editing and the score helped with that).

There are a lot of little things about this that I love–characters–most notably Tom and Mrs. Waters–will give the camera knowing looks to play up a joke. Think John Krasinski in The Office or Adam Scott in Parks and Recreation. Finney has some great physical comedy, but perhaps mugs a bit too much.

Of course, you can’t talk about the movie without taking about thatscene. After Tom saves Mrs. Waters, they share a meal. It’s one of those scenes that you may have watched without ever having seen the movie. It’s sensual, it’s hilarious, it’s a little disturbing. It’s a great cinematic moment.

It’s odd that when Director’s Cuts are synonymous with lengthening the film (especially watching this a few weeks after Snyder’s jumbo-sized Justice League is released), this Director’s cut trimmed seven minutes. Yet, there’s still a lot of fat that could be cut–there are a lot of crowd scenes that are just not necessary (there’s a hunting scene, in particular, that goes on for 4-5x as long as it needs to).

This isn’t anywhere near as good as the novel–it couldn’t be. But it’s a fun, heightened, take on the story with some great performances (and a few “meh” ones, too).

The History of Tom Jones, a Foundling by Henry Fielding: BOOK XVIII., xii. – Chapter the last.

Fridays with the Foundling
Tom Jones Original CoverAfter the hopeful note that we ended on last week, everything goes to pieces in the last two chapters—Mrs. Miller’s daughter/Nightingale’s wife dies in childbirth; Sophia can’t get over everything that Tom put her through, and dies lonely and miserable; Tom joins the Navy and dies of scurvy somewhere around Australia; Partridge becomes a successful playwright, Allworthy drinks himself to death, and Blifil becomes Prime Minister.

Okay, no. That’s not even close to it. Instead, we get something akin to Wayne’s World‘s “Mega Happy Ending.”

We start with Allworthy and Tom going to call on Sophia with her Father. Straight away Allworthy and Western leave the two alone. It takes the two a while to start speaking, eventually, Sophia breaks the silence and calls him most fortunate thanks to being freed. Tom rejects that, saying he can’t be fortunate as long as she’s upset. The ice broken, words start flowing.

Tom ensures she understands what happened with that letter—she gets it, but wants him to prove his devotion. But, she assures him,

You will now want no opportunity of being near me, and convincing me that your mind is altered too.

He wants to know how long it’ll take, she guesses maybe a year (but implies it might take longer). He calls that an eternity. She tells him to back off and not pressure her, and he does so and insists he will keep not pressuring her.

Which leads the two of them to kiss. Naturally, that’s when Western comes back in. He’s overjoyed to see this and asks when they’ll get married. Tom tries to get him to stop this, but Sophia overrides that. She’s an obedient daughter, she says—what does her father want her to do? Marry Tom the next day? Well, okay.

Tom’s stunned, Western demands Allworthy’s presence. Allworthy makes sure that she feels no constraint and then gives his blessing. The four of them go off to meet with NIghtingale and his father, but Sophia wants to keep the engagement quiet.

NIghtingale’s father and uncle trade war stories about their offspring’s impetuous and ill-advised marriage? Allworthy’s counsel works its magic and the two fathers accept the new spouses. The next day Sophia and Tom are married in a small, private ceremony.

And just like that,

Thus, reader, we have at length brought our history to a conclusion, in which, to our great pleasure, though contrary, perhaps, to thy expectation, Mr Jones appears to be the happiest of all humankind; for what happiness this world affords equal to the possession of such a woman as Sophia, I sincerely own I have never yet discovered.

But Fielding doesn’t leave us like that—like in those movies that at the end give you a freeze-frame of a character or two with a chyron summing up the rest of their life in a sentence or three, Fielding tells us what happens to the major characters—Blifil never sees his uncle again, becomes a Methodist (so he can court a woman) and plans on buying a seat in Parliament; Partridge marries good old Molly Seagrim and opens another school; Western becomes a doting grandfather to his two grandchildren (particularly his granddaughter); and so on.

Whatever in the nature of Jones had a tendency to vice, has been corrected by continual conversation with [Allworthy], and by his union with the lovely and virtuous Sophia. He hath also, by reflection on his past follies, acquired a discretion and prudence very uncommon in one of his lively parts.

To conclude, as there are not to be found a worthier man and woman, than this fond couple, so neither can any be imagined more happy. They preserve the purest and tenderest affection for each other, an affection daily encreased and confirmed by mutual endearments and mutual esteem. Nor is their conduct towards their relations and friends less amiable than towards one another. And such is their condescension, their indulgence, and their beneficence to those below them, that there is not a neighbour, a tenant, or a servant, who doth not most gratefully bless the day when Mr Jones was married to his Sophia.

So, that’s that. The ending—all of Book 18—felt rushed. But I’m not sure I could’ve taken much more. After all this, it was really just a simple story about an unlikely guy getting the girl—with a lot of insane twists, turns, and hoops to jump through along the way.

I should have more to say. And probably will soon. I’m not quite done with this series yet—see you next week.

The History of Tom Jones, a Foundling by Henry Fielding: BOOK XVIII., viii. – xi.

Fridays with the Foundling
Tom Jones Original CoverLast week we learned everything except who killed JR and what is the Colonel’s secret blend of herbs and spices. This week we see what happens after the beans are spilled (and learn a thing or two in addition).

Mrs. Waters has one more bit of commendation for Tom, telling Allworthy:

…it was then I accidentally met with Mr Jones, who rescued me from the hands of a villain. Indeed, he is the worthiest of men. No young gentleman of his age is, I believe, freer from vice, and few have the twentieth part of his virtues; nay, whatever vices he hath had, I am firmly persuaded he hath now taken a resolution to abandon them.

The attorney, Mr. Downey comes along at this point and Allwrothy gets him to spill the beans—why did he approach Mrs. Waters, who put him up to that, who put him up to getting the support of witnesses for the prosecution. He even gets Downey to admit that he knew Tom was Allworthy’s nephew, he’d told Blifil and had given Blifil a letter from his mother to Allworthy about it. Not surprisingly, Blifil neglected to pass along the messages. Which pretty much seals both of their fates in Allworthy’s eyes.

Western pops in, beside himself about this letter he’s found from Tom to Sophia—the most recent one. He wants these shenanigans finished and has locked her up again. Allworthy talks him down from that, promising to go talk to Sophia that day.

Mrs. Miller’s worried about what horrible things Mrs. Waters told Allworthy, and tries to defend Tom. Instead, Allworthy tells her what he’s been learning, closing with

O! Mrs Miller, you have a thousand times heard me call the young man to whom you are so faithful a friend, my son. Little did I then think he was indeed related to me at all.—Your friend, madam, is my nephew; he is the brother of that wicked viper which I have so long nourished in my bosom….Indeed, Mrs Miller, I am convinced that he hath been wronged, and that I have been abused; abused by one whom you too justly suspected of being a villain. He is, in truth, the worst of villains.

As he leaves to go talk to Sophia, Allworthy says something to his younger nephew about the letter from his mother, leaving “Blifil in a situation to be envied only by a man who is just going to be hanged.” While on the road, Allworthy reads the letter from Jones to Sophia, starts to understand what Tom feels about her, and gets choked up by some of what he reads about himself from Tom’s hand.

When he talks to Sophia, he spends a lot of time showing her that he’s on her side when it comes to Blifil.

I heartily congratulate you on your prudent foresight, since by so justifiable a resistance you have avoided misery indeed!

The scales are truly fallen from his eyes.

If I had married Mr Blifil—” “Pardon my interrupting you, madam,” answered Allworthy, “but I cannot bear the supposition.—Believe me, Miss Western, I rejoice from my heart, I rejoice in your escape.—I have discovered the wretch for whom you have suffered all this cruel violence from your father to be a villain.” “How, sir!” cries Sophia—“you must believe this surprizes me.”—“It hath surprized me, madam,” answered Allworthy, “and so it will the world.

This is so fun to watch Allwrothy catch up with the reader and narrator on this front.

Allworthy then goes on to try to convince Sophia to give Tom another chance—and tells her everything he learned about him that day. Sophia remains unmoved, however. I mean really unmoved.

At present there is not a man upon earth whom I would more resolutely reject than Mr Jones; nor would the addresses of Mr Blifil himself be less agreeable to me.

Things look dire for the two of them.

Squire Western, on the other hand, has a complete change of heart regarding Tom. He’s 100% Team Tom now.

After Allworthy gets back to Mrs. Miller’s, he sees that Tom is, too, and they meet again.

It is impossible to conceive a more tender or moving scene than the meeting between the uncle and nephew (for Mrs Waters, as the reader may well suppose, had at her last visit discovered to him the secret of his birth). The first agonies of joy which were felt on both sides are indeed beyond my power to describe: I shall not therefore attempt it.

A lot of flowery language flows between the two as they apologize to each other and take all the responsibility and blame for their recent problems on themselves.

Mrs. Miller tells Tom how she tried to explain things to Sophia who would not listen. Western comes in, assures Tom he’s very supportive of him now, all is good between the two of them.

The conversation which now ensued was pleasant enough; and with which, had it happened earlier in our history, we would have entertained our reader; but as we have now leisure only to attend to what is very material, it shall suffice to say that matters being entirely adjusted as to the afternoon visit Mr Western again returned home.

If that’s not enough, we get to learn the details of Tom’s release. Fitzgerald realizes that he was completely in the wrong about Tom and seeks to make amends, and gets Lord Fellamar on board, he wants to make things up to Tom, too!

Things continue to not go well for Tom’s younger brother:

…a message was brought from Mr Blifil, desiring to know if his uncle was at leisure that he might wait upon him. Allworthy started and turned pale, and then in a more passionate tone than I believe he had ever used before, bid the servant tell Blifil he knew him not. “Consider, dear sir,” cries Jones, in a trembling voice. “I have considered,” answered Allworthy, “and you yourself shall carry my message to the villain. No one can carry him the sentence of his own ruin so properly as the man whose ruin he hath so villanously contrived.” “Pardon me, dear sir,” said Jones; “a moment’s reflection will, I am sure, convince you of the contrary. What might perhaps be but justice from another tongue, would from mine be insult; and to whom?—my own brother and your nephew. Nor did he use me so barbarously—indeed, that would have been more inexcusable than anything he hath done.

Tom not only melts his Uncle’s heart with these words but lives up to them.

He goes to see his brother who is despondent—not that he’s treated Allworthy and Tom so poorly, but that it’s all falling apart. Tom encourages him that he’ll try to work things out with Allworthy, but in the meantime, Blifil needs to get his act together and take this like a man. Tom promises to treat him as a brother and to try to let bygones be bygones.

That’s a lot of stuff for four chapters of this book—and I didn’t get as detailed as I was tempted to. It doesn’t have the style (outside of a sentence or two scattered throughout) as the rest of the novel, but man, it’s fun to read now that everything is coming to light.

Next week, we finish the novel. I’m not sure how I’m going to be able to wrap things up, but I have a pretty good idea how Fielding will. Guess we’ll see.

The History of Tom Jones, a Foundling by Henry Fielding: BOOK XVIII., iv. – vii.

Fridays with the Foundling
Tom Jones Original CoverWe’re in the last book, nearing the end of the novel and therefore ehhhhhh-verything is going to be revealed. And things at Mrs. Miller’s are busy for Squire Allworthy this day.

Square, who the reader may remember as the less-religious tutor for Tom and Blifil is dying, and has got real religion. Now has been driven to confess to everyone he can think of to clear his conscience and hopefully make things right.

As part of this effort, he sends a letter to Allworthy, in part, he states:

Believe me, my friend, this young man hath the noblest generosity of heart, the most perfect capacity for friendship, the highest integrity, and indeed every virtue which can ennoble a man. He hath some faults, but among them is not to be numbered the least want of duty or gratitude towards you. On the contrary, I am satisfied, when you dismissed him from your house, his heart bled for you more than for himself.

Allworthy also gets a letter from Thwackum, having heard of the murder accusation, who goes on and on about Tom’s villainy—and tries to get Allworthy’s support for a job. Allworthy’s a little shaken by this, but not that much.

But wait, there’s more.

We then discover that Allworthy’s lawyer, Dowling, was one of the men Nightingale talked to at the alehouse when he got the truth from Fellamar’s goons about the attempt to press him into the Navy via this trumped-up charge. Nightingale assumed Dowling was there, like he was, to gather information to help Tom. Allworthy is stunned by this news. Blifil explains it away—over the outspoken skepticism of Mrs. Miller.

Patridge stops by right then to update Mrs. Miller, but Allworthy corners him and

asked him many questions concerning Jones, as to his health, and other matters; to all which Partridge answered, without having the least regard to what was, but considered only what he would have things appear; for a strict adherence to truth was not among the articles of this honest fellow’s morality or his religion.

Allworthy then gets everyone to leave and speaks frankly with Partridge, accusing him of being Tom’s father. Partridge denies it, ” he was no more the father of Jones than of the Pope of Rome”. It’s at this point that Mrs. Waters shows up, and things get really interesting.

Also, it should be noted that by now, that anything that Mr. Square has said has quite been forgotten.

Partridge calls on Mrs. Waters to be a witness—if anyone can state definitively that he’s not the father, it has to be the mother, right? But, no. She flat out states that’s not the case (which will greatly relieve Tom, I’m sure)

I’m not really going to try to summarize what says:

“I am not his mother; nor would I now think myself so for the world….So far what I confest,” said she, “was true, that these hands conveyed the infant to your bed; conveyed it thither at the command of its mother; at her commands I afterwards owned it, and thought myself, by her generosity, nobly rewarded, both for my secrecy and my shame.” “Who could this woman be?” said Allworthy. “Indeed, I tremble to name her,” answered Mrs Waters. “By all this preparation I am to guess that she was a relation of mine,” cried he. “Indeed she was a near one.” At which words Allworthy started, and she continued—“You had a sister, sir.” “A sister!” repeated he, looking aghast.—“As there is truth in heaven,” cries she, “your sister was the mother of that child you found between your sheets.” “Can it be possible?” cries he, “Good heavens!” “Have patience, sir,” said Mrs Waters…all suspicions were afterwards laid asleep by the artful conduct of your sister, in pretending ill-will to the boy, and that any regard she shewed him was out of meer complacence to you.”

The hits keep coming. The reason she showed up wasn’t to drop that bomb on everyone, but this—she’s been approached by someone thinking she was Mrs. Fitzgerald. As such, she might be interested in someone coming along to give financial aid for the prosecution of Tom. Who was this less-than-scrupulous man?

Mr. Dowling, of course. Things are not looking good for him.

This section really goes with Fielding’s promise to not give us a whole lot of fancy writing or anything with flair anymore—just the events. That’s all we got. Nothing clever, just a lot of exposition. And a lot of things to chew on. I really miss the flavor of the previous 17 books, but if he’d kept that up, Fielding would’ve taken at least 7 or 8 chapters to give us as much exposition as he did in these four.

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