Non-Fiction - The Irresponsible Reader

I had a few more things to say about the book after my original post…

The White Door

DETAILS:
Publisher: Truth Ablaze
Publication Date: August 15, 2024
Format: eARC
Length: 484 pg.
Read Date: July 7-20, 2024

Obviously, this will make more sense if you’ve read my original post about The White Door. And I should add that these are just thoughts that’ve come to mind as I’ve continued to chew on this book. I’m not making a full argument here, or anything like that. Some ruminations is all. (the conclusion is particularly weak, if you ask me, because I am just ruminating. )

One thing readers really like to do is to try to determine what they can about a novelist’s beliefs, points of view, and whatnot from the way things in their novel(s) are depicted. Frequently, some of the theories are pretty out there—and even those that are closer to reality are limited and have some noteworthy flaws.

That’s not the case with this book—Hibbs has already written a good number of non-fiction books showing his views on a number of ideas and topics. So readers of this novel have a different task before them (if they’re of a mind to wonder about these things)—how are Hibbs’ ideas depicted and brought to “life” in this novel? Are they at all? I haven’t read all of Hibbs’ previous work (yet), but I’ve read a number of his books and thought about them while reading the novel.

An obvious point here is that the protagonist, Seth, has an anxiety disorder, not unlike the one that Hibbs talked about in Struck Down but Not Destroyed: Living Faithfully with Anxiety. But there are plenty of other places you can see Hibbes’ previous writing.

In my original post, I said a couple of things that I want to return to. The first is:

…there are two doors (in places that have no business having doors, see McGuire’s Wayward Children series for examples). A white one and a black one—those who walk through them are changed. What, and how, they see is altered in ways that say a lot more about the doors than anything else.

The second thing is:

First of all, anyone who’s read much of Hibbs is going to recognize his thinking here. Narnia, Seth, and Cleft sound like they’ve studied Hibbs’ work (ignoring the anachronism there)—which is good. If only so you know that you’re supposed to think they’re on the right path. Other characters largely sound ilke they’re on their way to sounding that way, too.

Two of Hibbs’ books that came to mind were Finding God in the Ordinary and In Divine Company: Growing Closer to the God Who Speaks.

The part of In Divine Company* that came to mind in The White Door was:

We live in what I have called a worded world, a world that everywhere reveals something about the God who made it, a world that, in a sense, “speaks” about God.

* He also has a book called The Speaking Trinity and His Worded World that probably does a better job of explaining this point and expanding on it, but I haven’t read that one yet.

In Finding God in the Ordinary, Hibbs quotes John Calvin:

Whichever way we turn our eyes, there is no part of the world, however small, in which at least some spark of God’s glory does not shine. In particular, we cannot gaze upon this beautiful masterpiece of the world, in all its length and breadth, without being completely dazzled, as it were, by an endless flood of light. Accordingly, in Hebrews, the apostle aptly calls the world the mirror of things invisible, because the structure of the world serves as a mirror in which we behold God, who otherwise can not be seen (Heb 11:3).

Calvin influenced Hibbs on this point, and you can see it in the rest of that book. Let me bring up a few other short quotations from the book along those lines:

if we do not search for God in the ordinary, we do not perceive the world as it truly is. God has revealed that his entire creation manifests his character.

The whole earth, every crevice of creation, has been endowed by God himself with a revelatory component. We can choose to ignore this component if we wish, but then we will not be seeing the world as it truly is. We will be seeing a world of our own making.

if we do not search for God in the ordinary, we will miss very precious parts of life.

The tagline on the cover of The White Door is: “To enter is to see.” This is part of what I meant by “What, and how, they see is altered.” Both Roland (Cleft’s steward dog) and Cleft call those who’ve gone through the White Door “gazers”*

* I called them “seekers” in my original post. Oops. Why do I take notes, if I’m not going to look at them while writing?

These people gaze upon the world in a clearer fashion than they have before as if a film had been cleared off what they see. They see things in a new way—able to seek God in the ordinary, perceiving the world as it truly is. Not completely—and not necessarily all in the same way. Yet, their vision is better. They see things that others do not/cannot.

Now, walking through this door is in some way analogous of or is an allegory of regeneration. I have questions about it (as I talked about before), and I’m not sure if that’s because I misunderstood something or if Hibbs was unclear (I fully expect the former, but I think it’s the latter).* Regardless, that’s the case. Given “eyes to see and ears to hear,” these gazers see things that others don’t. In our world, it’s because darkened eyes don’t think of it, and renewed eyes need to be taught it (so we get books like Finding God in the Ordinary and teaching along those lines)—but when we know we can see the world, the skies, and nature in general declaring the glory of God—we, like those gazers, do see things others don’t.

* To paraphrase Mr. Simon, when I get something wrong, I’m the first to admit it, the last one to know-ow-ow-ow.

On the other hand, those who walk through the Black Door also have their sight altered. As you might imagine, it’s not as beneficial—but that’s all I’m going to say about that.

I really appreciate the way that Hibbs put “flesh” on his arguments from other books in this novel—not just for a good way to solidify it in the minds of his non-fiction readers, but to provoke his novel’s readers to consider how that piece of fiction might apply to their lives.

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, the opinions expressed are my own.
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(belated) PUB DAY REPOST: The White Door by Pierce Taylor Hibbs: Good vs. Evil and a Tolkien-Quoting Cat

By HCNewton

On August 16, 2024

In Fantasy, Fiction, Self-Published Authors Appreciation Week, Theology/Christian Living

So, I put 8/16 in my calendar for this publication date, or I’d have had this up yesterday. Still, I wanted to get something up to celebrate the Publication of this book (also, it gives me an excuse to correct some of the mistakes I made in my original post)

The White Door

by Pierce Taylor Hibbs

DETAILS:
Publisher: Truth Ablaze
Publication Date: August 15, 2024
Format: eARC
Length: 484 pg.
Read Date: July 7-20, 2024

What’s The White Door About?

A pull-quote on the cover calls this “Pilgrims Progress meets Stranger Things.” I’m not sure that Bunyan belongs in the conversation—maybe Lewis meets Stranger Things? This Present Darkness with better theology is closer yet.

There’s a great ensemble of characters featured in this novel, but let’s focus (as the novel does) on two—the first is Pastor Cleft Warrington. It’s evident soon after we meet him that he’s the kind of pastor you’d want—educated, compassionate, smart, and faithful. But there’s more than that to him—the small town in Pennsylvania that he pastors in has more going on than is visible to the naked eye. There are forces on the move—and he is one of the few aware of it.

The other character we focus on is Seth Logan—he’s a father of a couple of little kids and a writing professor. His wife is a steadying and supportive influence in his life, which he really needs. When we meet him, he’s unaware (like most people in this town) of the unseen workings around him. But all that changes when he comes across a stray cat one day while hiking.

I’m not sure how much else to say, but the cover blurb says little more—there are two doors (in places that have no business having doors, see McGuire’s Wayward Children series for examples). A white one and a black one—those who walk through them are changed. What, and how, they see is altered in ways that say a lot more about the doors than anything else.

The custodian (for lack of a better term) of the black door is named Skotos—he has been popping up in Dingmans Ferry now and then for quite some time. Cleft is trying to monitor his actions as much as he can. Cleft can’t say for certain what Skotos is up to—or what his aims are—but they are not for anyone’s benefit but his.

Those who walk through the white door get nicknamed “gazers,” because of their altered vision. They see things, realities, that others don’t–and cannot. Because of this power, they have a responsibility to their town (if not to more than the town) and its citizens. The gazers have allied with each other for this purpose and when they add members, they take them under their wings and help them understand their abilities and far more.

The Choice of the 80s

This is set in the 1980s, which is an interesting choice. And I’m not sure that it was necessary for the story. Sure, it eliminates the Internet in early or current form, so that’s an advantage—this would’ve been a difficult story to tell if characters could just check certain events online.

While there may be little about the events or the narrative that demands that time period, the smaller town feels more authentic in the 80s, I guess. There are plenty of little details that Hibbs provides to help it feel like that time.

The biggest thing that made me wonder about the choice of chronological setting (probably the only thing) was the way that Seth’s anxiety was depicted (and the way people reacted to him). I haven’t done any research on this—but I’m not sure that too many people in the 80s were talking about people with anxiety disorders or panic attacks quite the way these characters do. Particularly regarding adult men. Maybe I’m wrong, but I’d wager that was a stumble (as an example, see how strange it was in the late 90s for characters like Tony Soprano to deal with those things, and the ways they covered it up).

The Mix of Theology and Fantasy

Mixing Christian thinking, Christian belief, and fiction—particularly Fantasy—is a tricky thing. It can be done, and there is a tradition of it. But I can’t help wondering about the way that Hibbs does it. I enjoyed it thoroughly, but I had some questions and qualms.

The titular white door and the way it changes those who walk through it…both are great, full of symbolism and meaning. I really appreciated the effects produced in those who’ve entered it. But I have so many questions about it, too—why aren’t all the believers in town taken to it? Is it some sort of second blessing?* Why is it available for any random person walking by (although it is out of the way) to just walk through? Along those lines—Skotos’ victims…the way that Seth and his companions figure out what happened to them and the way they appeal to Paul’s writings to get there really misses the apostle’s point and even contradicts it. And that really troubles me.

* I know Hibbs wouldn’t go for that, but it kind of seems like one.

There are some other things depicted—some visions, another reality that’s visited (to put it as vaguely as I can), and things of that nature—that were just great. The pure fantasy stuff—or at least the things that he can talk about in purely fantastic terms—was great.

You take the blending of fantasy and theology out of this—leave us only with Skotos’ “magic” or whatever, the Deeper Magic of the Doors, and whatnot—I wouldn’t have a complaint at all. No church, no sermons, no Bible—just warring Good and Evil? The whole thing works. But Hibbs frequently stumbles when he combines them.

Now let’s set aside the Fantasy for a minute and just focus on the Theology. First of all, anyone who’s read much of Hibbs is going to recognize his thinking here. Narnia, Seth, and Cleft sound like they’ve studied Hibbes’ work (ignoring the anachronism there)—which is good. If only so you know that you’re supposed to think they’re on the right path. Other characters largely sound like they’re on their way to sounding that way, too.

Even the demonic (or at least really evil) character’s theology is rock solid. He rejects it—but he knows it. Watching him explain something, and then reacting to it, was really well done.

I have to add, that some of the gazers get animal companions—stewards—who can talk to the gazers. We see two of them in this book, Seth’s cat, Narnia, and Cleft’s dog, Roland. They are just fantastic. A Tolkein-quoting cat with a penchant for talking theology? That’s a critter I’d put up with my allergies attacking me to spend time with. Every bit with those animals are great. There are some other animals that show up later, too—I really dug them, too. But my spoiler policy prevents me from talking about them.

Some Word Choices

I’m going to throw this out there just to be thorough—and because I know a couple of my readers will think about it—maybe even be turned off by it.

The characters in this novel are not all Christians. And some of them are very recent converts who haven’t quite gotten around to cleaning up their language thoroughly. Hibbs has them use realistic words for people in those situations—a depiction of how the world is, not how he might want it to be.

That said, nothing too terrible is said in the book—nothing you couldn’t get away with in a PG movie (which isn’t the best barometer for some people, but it’s the easiest to convey) or a sitcom from the mid-80s.

Hibbs’ Writing

As a surprise to no one who’s read what I’ve said about Hibbs’ style and way with words before, I loved it. There are some sentences, some passages, and even some phrases that I just adored. If I had a final version and not an ARC, you’d be reading plenty of quotations in this post.

These characters and their emotional lives are richly drawn. The descriptions of little things as well as major events or scenes are the kind of thing that keep people reading regardless of plot and character.

There are two character deaths described that just blew me away. One happens just as the book begins and we see a grieving husband in the minutes after his wife’s death. It’s handled with sensitivity and care—and right from the get-go, you get attached to this character, his reactions feel just right. The other death that we spend an extended time on is handled differently, but perhaps even better. There are other deaths that don’t get this—or similar—kind of treatment. They’re handled the way that most fictional deaths are, and that’s fine. But the two we linger on? Hibbs gets everything right about those and I loved reading them (and will again).

I should add that this book isn’t full of character deaths—but there are some.

I’ve gotten off-topic a bit, but this is just some great writing. There’s a hint of poetry to so much of this energized by an eye for detail. Little things—like the description of Seth’s daughter’s laugh—are just beautiful, and some of the bigger things are done just as well.

So, what did I think about The White Door?

It’s been a long time since I read Christian Fiction regularly—sure, I read a few things by Christians (mostly local authors), but not a lot that calls itself Christian Fiction. In fact, I think this is the fourth book of that type I’ve posted about here. But when I heard that Hibbs was going to be bringing his first novel into the world, you know I had to give it a read. I’ve often said that his books are the best written theological/Christian Living/etc. books that I’ve read (published in the last 50 years, anyway), so of course I want to see what he does with fiction.*

* I should probably try his poetry, too. But it’s poetry, so don’t expect that anytime soon.

I’m so glad I did.

I have mentioned a few quibbles above—the downside of doing that is that it overshadows all the good that can be said. I can’t think of a way to do that without giving too much away. So my own limitation makes the book come across as worse than it should. Note the above paragraph, if nothing else.

It started slow, and I wondered for a while just what the book was going to be about (I didn’t bother reading anything about it before requesting a copy—I just knew it was the first novel for Hibbs, and that was enough)—but it kept me going—and it wasn’t long before I was fully invested (and that kept growing). By the time it was over, I wasn’t quite ready to walk away from these characters and this world.

The conversations that Cleft and Seth have together—or with other characters—about books, The Bible, language, and so on? They’re just great—and I could’ve read many more of them. There’s no justification in terms of character development or plot for us to spend more time with Seth (and Narnia) in Seth’s classes—but Hibbes could’ve given us more of them and I wouldn’t have complained. (I may have noted that he was padding the book with them, but I’d have enjoyed the padding enough to give him a pass)

Similar things could be said for Seth spending time with his family (with or without Narnia)—and so many other aspects of the book.

Every element of this novel works really well when considered on its own. Many of them work in conjunction with the others—it’s when all of them are brought together in these 484 pages that I think Hibbs trips over himself. It’s really a total is less than the sum of its parts kind of thing. But those parts are so worth your time and energy—and I wouldn’t be shocked to learn that I’m alone in some/all of my judgments.

I do encourage you to pick this up. It’s a good read, a refreshing, hopeful read—and I hope it’s the first of several novels from Pierce Taylor Hibbs.

Disclaimer: I received a copy of this eARC from the author, but the opinions expressed are mine and honest. And are what I would’ve said about the copy I bought—I’m just saying them a few weeks earlier.

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, the opinions expressed are my own.

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Mystery Science Theater 3000: A Cultural History by Matt Foy and Christopher J. Olson: They Riffed, so the Internet Could Snark

By HCNewton

On August 12, 2024

In Non-Fiction

Mystery Science Theater 3000:
A Cultural History

by Matt Foy and Christopher J. Olson

DETAILS:
Series: The Cultural History of Television
Publisher: Rowman & Littlefield Publishers
Publication Date: August 20, 2024
Format: eARC
Length: 182 pgs.
Read Date: August 6-8, 2024

What’s Mystery Science Theater 3000: A Cultural History About?

This is a retrospective of the show—its history, development (highs and lows), spin-offs, and latest formats. It’s also an examination and consideration of the impact the show has made to its viewers and on the industry of entertainment, and the ripple effects it has had on pop culture.

It looks at how MST3K was shaped by the upbringing of its cast and writers—focusing on the tone and style of the hosts—as well as the network (or lack thereof) that brought the show to the audience.

It wraps up with an Appendix listing twenty episodes that best capture the show for new viewers—between the riffs, the movies themselves, and hosting segments—with each host being represented. They truly picked some gems—good for new viewers and established fans to go back and revisit some highlights.

The Worst We Can Find

“Hey, wait a second, H.C.,” I can hear some of you thinking, “you talked about this book last July.” Well, no. But I can understand the confusion. That was actually the book, The Worst We Can Find: MST3K, RiffTrax, and the History of Heckling at the Movies by Dale Sherman.

I haven’t done this a lot, but every now and then I read a book that is someone taking all/part of their doctoral dissertation and reworking it/part of it for a wider/popular audience. In many ways, that’s what this felt like—Foy and Olson’s work was the technical/academic book for those of a more scholarly persuasion, and Sherman’s was the version for the wider audience. Except that Sherman’s was longer, and it usually goes the other way.

This is not a criticism of either book—at all. They both over their respective emphases and quirks. They’re both dependent on interviews and articles produced by others; both are written by fans who’ve dedicated a good deal of time to both the research and production of the book—propelled by a greater deal of time developing an appreciation of MST3K; and both are the kind of things that die-hard fans will sink their teeth into. One’s just a bit more highbrow than the other.

Dissecting Some Frogs

Analysts have had their go at humor, and I have read some of this interpretative literature, but without being greatly instructed. Humor can be dissected, as a frog can, but the thing dies in the process and the innards are discouraging to any but the purely scientific mind.

The idea has been variously ascribed, but it seems that E. B. White and Katharine S. White first put it into print. Whoever said it first, the idea floated through the back of my mind at more than one point while reading this book.

There were repeated explanations of various jokes throughout the book—and not one of them was necessary (if you ask me, anyway). Maybe one or two of them will help younger readers who are not familiar with the pop culture of the 90s or earlier, but I think context alone will take care of the questions a reader will have. And you understand the authors’ impulse to explain them and maybe even admire their attempt while rolling your eyes at the outcome.

Flirting With Semantic Satiation

The term Intertexuality appears so often in this book, that you can imagine Tom Servo and Crow riffing on it. But it’s not like there are a lot of synonyms available, and it’s a real focus of the authors and a strong point of the book. Still, the SOL crews would hammer them on it.

The consideration of how MST3K has trained a couple of generations in approaching intertextuality, media consumption, and responses to them is the intellectual core of this book. The show, in all its various incarnations, has shaped both the viewers and other shows, internet content, and general internet discussion in ways that are larger than the show’s ratings may suggest. The cultural footprint is oversized given viewership (the tapes did keep circulating, at least metaphorically).

I, for one, had given this very little thought until Fry and Olson pointed it out—along with their discussion of MST3K and its spin-off projects being at the forefront of newer delivery systems for media and programming. Given their humble beginnings, it’s really quite remarkable.

So, what did I think about Mystery Science Theater 3000: A Cultural History?

I’ve read two other books in this series (and keep meaning to read others), Friends and Gilmore Girls, comparing this to those, I’d say it captures the strengths of both and avoids what I recall as the shortcomings of the Friends volume and the spirit of the Gilmore Girls book. If nothing else, the diversity in these three installments demonstrates a strength of the series. You’re not going to get cookie-cutter approaches to the various series in consideration. Each author/team of authors is going to approach the show in question differently, reflecting the preferences and focus of the authors.

The only shortcoming I can think of (outside the attempted academic explanations of humor) is the lack of space given to Emily’s hosting/riffing style compared to the other hosts. I’m certain that this is a function of how few episodes she has appeared in, but it would’ve been nice to get a little more about her.

I was entertained by the book—both due to the authors’ style and the memories it conjured. I thought about the show and its legacy in ways I hadn’t before. I kicked myself for not taking part in the crowdfunding efforts I didn’t participate in. I was inspired to watch a couple of episodes I’d somehow missed—and just to make time for the show in general. Mostly this was an exercise in getting to know more about old friends, and seeing them in a different light.

I’m a sucker for anything MST3K related, so you know this worked for me. Do I know if you’ll appreciate this book if you’re not a fan or a media studies student? I doubt it’s for you. But if you’re either of those things—you’ll get something out of it.

What do you think, sirs?

Disclaimer: I received a copy of this book from Rowman & Littlefield via NetGalley—thanks to both for this.

4 1/2 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, the opinions expressed are my own.
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PUB DAY REPOST: Red Dead’s History by Tore C. Olsson: A Historian Looks at the U.S. Shown in the Game

By HCNewton

On August 6, 2024

In History, Non-Fiction

Red Dead’s History:
A Video Game, an Obsession, and America’s Violent Past

by Tore C. Olsson

DETAILS:
Publisher: St. Martin's Press
Publication Date: August 06, 2024
Format: e-ARC
Length: 288 pg.
Read Date: July 13-18, 2024

What’s Red Dead’s History About?

Like so many people around the world, the author got back into video games in 2020 as a way to fill the hours he wasn’t interacting with people in real life. Like so many others, one of the games that captured his attention was Red Dead Redemption II. Unlike so many people Tore C. Olsson is an American History professor, so while he was fun doing whatever it is exactly that you do in the game*, part of his brain was looking at the history and time being depicted in the game. Because if there’s one thing the game is known for, is being the most popular and influential game set in American History since The Oregon Trail from the 80s.

* It should be obvious that I don’t play video games at all, not even the one in question.

Olsson went on to make headlines—and pack lecture halls—by teaching a history course based on the games, and he’s now turned it into a book.

This is not a book about the game (although he talks about it a lot), it is not a point-by-point examination of the historical details (but it comes up a little), it’s primarily using the game, and the things shown/talked about/alluded to in it as a launching pad to discuss themes, movements, and particulars from post-Civil War America.

The focus for the book is Red Dead Redemption II, but Red Dead Redemption comes up from time to time—but not any of the other games in the franchise. Olsson’s discussion follows the geographic order and proportions of the game—starting with adventures in the West, moving to the Deep South (for the majority of the book), and then wrapping things up in Southern Appalachia.

Historical Accuracy of the Game

From the start, Olsson is clear, he’s not going to get into slicing and dicing the historical accuracy of Red Dead Redemption 2, but…he can’t help talking about it every now and then. He has a lot of good things to say about the history of the game (really, he wouldn’t have taught a class or written a book inspired by it without that), but the biggest note seems to be—if the game had been set 20-30 years earlier than it was, it would’ve been better.

There are particular points here and there where he will offer specific critiques and commendations—but that’s essentially the point he keeps coming back to.

Now, I don’t know enough about the storylines of Red Dead Redemption or Red Dead Redemption II to know why the developers insisted that the game takes place when it does—and it certainly seems like they did have an eye for historical detail—they just missed it. It might be a game continuity thing, there might be all sorts of explanations for it. I don’t know.

Now, Olsson isn’t sitting there like Neil de Grasse Tyson tweeting about the scientific inaccuracies in movies, the point of the book isn’t to critique the depictions of the era. But while he’s talking about the various topics, he will mention them briefly. It doesn’t take anything away from the game for him.

The West

The first section focused on is the one that the game is best known for (and, I’ll be honest, the only thing I thought the game had)—a strong take on the West. I’d like to say that I’d read a book about the subject of each chapter were Olsson to expand them, and that’s true in a perfect world, but I’m not sure I really would. But I’d be willing to.

I should note that it’s probably very easy to read several books on the topics of each chapter right now. And you never know, I just might.

This section covers things as nebulous as the concept of “The American West”—and when did it start dying/disappearing (if ever). Controversial topics like The Indian Wars, the amount of violence in the West (and some of the notable persons behind it), how Justice/Laws were enforced, and so on. Olsson also covers things you’d expect (especially if you actually know the game)—the construction of and use of the railways; cowboys; The Pinkertons; Butch Cassidy and The Sundance Kid.

I learned so much about all of these things—and I’m very tempted to go out in search of some of the books footnoted here.

The Deep South

As anyone who teaches American History—particularly in a place like Tennessee—is aware, talking about the Deep South in a post-Civil War era is a daunting task. But as that’s where the bulk of the gameplay takes place, the bulk of the book gets that treatment as well.

As with the rest of the book, Olsson talks about the game’s portrayal of this area and the topics, how media culture(s) depict of this area and the topics, and finally looking at the history of the area itself.

In this Part of the book, Olsson talked about such non-controversial topics as: The Paradox of Race; From Old South to New South; The White-Hooded Menace; The Tragedy of Lynching; In the Fields (largely post-War); Working on the Chain Gang; Mr. Jim Crow; The Lause Cause; New Orleans, 1899; and Votes for Women.

Obviously, there’s far, far too much to say about any of these topics than he has time for in a book of this size and scope—but what’s there is provocative (in a good way), thoughtful, and well-footnoted so curious readers (and there will be many after these chapters) can do some follow-up reading. Yes, that’s a sentence that applies to the book as a whole, but it seems apt to emphasize it here.

Southern Appalachia

This part feels very timely considering how much Appalachia, Appalachia, and portrayals of the area/its residents in the media have been in the last few weeks.

Olsson only gives three chapters to this part of the book (about 11%) as much as he might be kicking himself for that now. Like with Part I: The West, he starts by discussing “The Appalachian Myth.” Just what makes up this part of the country? Why has it captured the imagination the way it has? How much of what we think of when we think “Appalachia” is true now or ever was?

He then looks at the race to claim parts of it after the Civil War and how that shaped the culture and history of it. Then he spends a chapter looking at Blood Fueds—obviously focusing on the Hatfield/McCoy feud, what lies at its root—and the surprising ways it actually broke along family lines.

I was a little too tired while reading this section to get as much out of it as I think I ordinarily would’ve—and really should revisit it once the book is released, I think I missed some good stuff.

So, what did I think about Red Dead’s History?

I had some really good history professors and teachers over the years, so I really don’t want to say that Olsson is the professor I wish I had—but really, I don’t imagine many will read this book and not want to take a class or two from Olsson.

The writing is engaging, witty, and insightful. He has a real knack for making you care about something you really didn’t care about just a few pages earlier—for that matter, you may not have been aware it was a thing you could care about/be interested in just a few pages earlier. I’m not going to suggest you’ll agree with him all of the time, because you won’t. But you’ll almost certainly enjoy his perspective as well as his presentation of the facts.

I’m not really the target audience for this book—I figure that’s game players who want to dive in to get more depth about the context of the game. To learn the stories behind the game’s stories. Or those who now have an interest in American History and don’t know where to go get more information outside a stuffy-looking textbook. Given that, I think it says a lot when I tell you that I had a great time reading this, and am more curious the game than I had been before. Not so curious to actually play it (or buy the game, a console to play it on, etc.)—but enough to talk to my son who has played through it—and has spent a lot of time doing sidequests and whatnot, and maybe even to watch some gameplay videos online. And that’s more than I typically am interested in doing.

This is a great way to approach American History; it’s a good way to approach this type of media (games or otherwise); and it’s just an entertaining read regardless. It moves a little slower than a novel—but not much (for those who are daunted by non-fiction reads). Really, there’s not much to not commend about this book. You really should check it out.

Disclaimer: I received a copy of this book from St. Martin’s Press via NetGalley—thanks to both for this.

4 Stars

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Some Further Thoughts about The White Door by Pierce Taylor Hibbs

By HCNewton

On August 4, 2024

In Fantasy, Fiction, Self-Published Authors Appreciation Week, Theology/Christian Living

The White Door

by Pierce Taylor Hibbs

DETAILS:
Publisher: Truth Ablaze
Publication Date: August 15, 2024
Format: eARC
Length: 484 pg.
Read Date: July 7-20, 2024