Tag: General Fiction Page 13 of 45

A Few (More) Quick Questions with…Ian Shane

In Ten YearsI’d fully intended for my post about In Ten Years by Ian Shane to go up this morning along with this Q&A. But as is so often the case with a book that I absolutely loved, I just don’t like what I’ve managed to write about it—and even then, I’m only half-done with my outline.

But I want to start talking about this book and hopefully convince some of my readers to read itor at the very least, to buy it. It comes out on August 17, but don’t wait until then to order it. So, let’s start with the synopsis from Shane’s website, so you’ll have a general idea what we’re talking about in a couple of the questions. Then I’ll dive in with this great Q&Awell, the Qs are passable, the great stuff comes in the As.

Jock Jack and socially awkward Liz weren’t likely to become best friends, but they’ve had each other’s back since college. On a night both of their romantic lives implode, they make a pact; if they aren’t married in ten years, they will marry each other. With a year left before their deadline, Jack and Liz make a mad dash to find “The One” while navigating a minefield of modern dating complications.

Despite their friends’ efforts to convince them that it’s a terrible idea, Jack and Liz devise an unconventional life partnership plan. However, a face from the past and hidden jealousies and feelings neither one will ever admit threatens their friendship.


Your male protagonist, Jack, is a former college hockey player, and now plays with a bunch of other men in their thirties. I don’t think I’d ever read a hockey scene before—as far as I can tell, you capture both the feel of a game and feel of being on the stakes realistically. Is this first-hand knowledge, or the product of research? How do you decide to let this be Jack’s “thing”?

First off, I’m a huge hockey fan. Skill level be damned; if I find a hockey game on TV, there’s a better than average chance that the next three hours of my life have just been planned. Growing up in southern Indiana, there wasn’t a huge youth hockey movement there, so I never played the game. However, a good friend of mine in college, Turner, did. I had pieced together things he talked about over the years and wrote a draft of the pick-up game scene. I sent it to Turner, and he told me my description was about ninety percent accurate. He gave me some notes on what I needed to change.

I live in Denver now, and it’s a huge hockey town. The University of Denver has a rich tradition of winning championships. It just seemed too perfect to have him be a hockey player.

You’ve called this “a contemporary When Harry Met Sally,” was that the goal, or did that just come out once you started writing? How did you land on doing your take on the “if we’re not married by X…” story?

The idea for the story hit me when I found an article online about marriage pacts and platonic marriages, and I thought it was good fodder for a story. I originally planned for In Ten Years to be a novella, just focusing on the present-day storyline. The more I thought about the story, the more of a background of who these people were and how they became friends. As I was writing their backstories, I knew that there would have to be three eras of their lives, just like When Harry Met Sally, so I decided to run with it. I even name-checked the movie in the first part just for the fun of it.

I also wanted to put in some of the more modern means for dating, which didn’t exist when When Harry Met Sally came out. There’s a chapter devoted to Tinder and one that makes fun of speed dating.

Speaking of When Harry Met Sally, what’s your favorite Nora Ephron work (novel, screenplay, essay, etc)?

Not to sound like an uneducated rube, but I’m not that well versed in her work . . . so I’ll stick with When Harry Met Sally.

It’s hard to beath WHMS anyway, no matter how versed you are.

You used dual perspectives here, for the first time, I believe. What were the specific challenges of telling your story that way? How was it writing from the female Point of View? Are you going to be returning to one/both of those in the future?

Yes, this is my first time. Not too long before I wrote In Ten Years, I read Nick Spalding’s hilarious book, Dry Hard, and I loved the multiple narrations. I really wanted to give it a try. It was challenging to arrange the story so Jack and Liz could alternate chapters. Some chapters could have easily been told from either’s point of view, but others had to be from a specific character. I pantsed this book more than plotting it, so it was challenging to make sure I had the proper balance.

Writing from the female point of view was a bit challenging. My first draft was designed to be as light on Liz as possible, and then I would present it to a female beta and get some feedback. The response was . . . polite. She gave me some pointers on things women would never say.

I also ignored the paradigm that two different characters would not think and talk alike. I figured since Liz and Jack had been a massive part of each other’s lives for almost twenty years, their phraseology would blend.

I absolutely loved this dialogue. How do you approach a scene (especially a Liz/Jack scene)? How many rewrites does it take to get something right? Do you sit around talking to yourself so you can hear it? Or do you just know?

Thank you very much. Dialogue is where I start with a book. I treat the early writings almost like a screenplay. I love witty banter. As I’ve mentioned before, I’m a huge fan of Aaron Sorkin, and I want to bring that kind of level dialogue to my writing. As I’m writing dialogue, I write responses as I wish I would say in real life, but it wouldn’t be the right thing to say for most people I talk to. The case with Jack and Liz is that they have been around each other for so long, they bypass social convention and just say it like it is.

I’ve also been known to talk out dialogue as it’s forming in my mind. Before the pandemic, I took public transportation to work, and I would be inspired to work out dialogue with many people around. I would put on my headphones, record on my phone, and act like I was on a call.

As far as rewriting, it takes time to figure out the right words. Again, going back to my Sorkin devotion, I want the words to play like music. I’ll read it aloud, and I’ll listen to it with Word’s “Read Aloud” tool to get the rhythm right. It’s amazing how you can punch up a line of dialogue just by making a minor adjustment.

You’ve got a memoir coming out shortly, can you tell us a little about that? Do you have anything else in progress?

Being the guy who wrote two novels centered around music, it should come as no surprise that my memoir will be based on songs that have been important to my life with stories from my life. As the pandemic started, I was having a hard time writing fiction. Hearing nothing but COVID was stifling my mojo. In Ten Years had already been written and I was going to release it last June, but the last part of the story was supposed to take place in the spring of 2020. I shelved In Ten Years until I could figure out what I wanted to do with it. I took a lot of time researching elements that happened in the years in the backstory, so it wasn’t as simple as just shifting the dates.

A very close friend suggested that if I can’t write fiction, I should write non-fiction to keep the muscle memory. It started a blog series titled, Sundry Notes of Music. It started off like Songbook by Nick Hornby, which was approached by a music critic, then it evolved into my version of Al Young’s musical memoir, Drowning in the Sea of Love. Sundry Notes of Music will have stories about lost loves, my first trip to Europe, and how I started writing my first book.

I’m also plotting a sequel to my first novel, Radio Radio, but that’s way into the future.

Thanks for your time and for In Ten Years—I loved it, and hope you have a lot of success with it.

Thank you so much for reading it and the kind words.


The Irresponsible Reader On…Self-Published “General” Fiction

Self-Published Authors Appreciation Week

A few hours before Witty and Sarcastic Bookclub talked to me about taking part in the Self-Published Authors Appreciation Week I’d posted about the last self-published book I had on my schedule this summer.* Which made coming up with something for this week a little tricky. Masters of timing, that’s us.

* With the exception of one that I have scheduled for the end of the month, I have to add just in case the author sees this—I’m not forgetting you, Mr. Shane.

From the first moment that people did the strange thing of asking me to talk about their books on my blog, I’ve been impressed by the quality of a lot of what’s been published by authors going out on their own, taking all the risks, shouldering all the responsibility and doing all the work to get their words, their dreams, their blood, sweat, and tears. This should be celebrated—it’s definitely appreciated, as we’re trying to show this week.

I haven’t had time to read anything new, and therefore don’t have anything new to blog about, so I’m going to highlight some of the self-published works that I’ve blogged about over the last few years—just a sentence or two. Hopefully enough to make you click on the link to the full post. Beyond that, it’d be great if I inspired you to add a few of these to your TBR. Also, be sure you check out the other posts over at the SPAAW Hub.

Today we’re going to be looking at General Fiction (for lack of a better term)—there’s some Lad Lit, a dash of historical fiction, some humor, a couple of things I don’t know how to categorize beyond “Fiction”, and a bit more. Hopefully, you can find something that tickles your fancy.

bullet Dispatches from a Tourist Trap by James Bailey—Jason (see below) and his mother move from Seattle to a small town in the middle of Washington to stay with her parents as she establishes a life away from her husband. Hilarity and conflict ensue. (my post about it)
bullet The First World Problems of Jason Van Otterloo by James Bailey—an epistolary novel (through emails) from a 13-year-old whose life is turned upside down in 2003 Seattle. A lot of heart and a few laughs. (my post about it)
bullet The Glamshack by Paul W. Cohen—A lifestyle reporter’s obsessive love for a woman and the havoc it wreaks on his life. (my post about it)
bullet Not Awkward by Matthew Hanover—a young man attends the funeral of his ex’s father and gets roped into staying during shiva in the days leading to his wedding. Nah, not awkward at all. (my post about it)
bullet Not Dressed by Matthew Hanover—Hanover’s (seemingly) effortless charm makes this “romantic comedy of how love goes wrong—and right—when you’re a twenty-something still figuring out how to adult” a real winner. (my post about it)
bullet Not Famous by Matthew Hanover—Hanover’s first novel is about a guy who falls for a socially awkward musician. It will steal your heart. (my post about it)
bullet The Flight of the Pickerings by John Grayson Heide—a heart-warming story about an older couple dealing with dementia and the end of their life together get their world turned upside down when their rebellious teenaged grandson comes to live with them. (my post about it)
bullet Didn’t Get Frazzled by David Z. Hirsch, MD—a bildungsroman following a 20-something through his 4 years of medical school: from Gross Anatomy to the verge of residency. (my post about it)
bullet XYZ by William Knight—A mature, old-school programmer has to start his career over at a 21st Century Startup as his family life falls apart in every way imaginable. Clearly a comedy. (my post about it)
bullet Coffee and Condolences by Wesley Parker—A widower tries to begin recovering from the deaths of his wife and children by reconnecting with his step-sister and maybe finds love. Parker just released Headphones and Heartaches, I haven’t had a chance to get to it yet, but you should jump on it.(my post about it)
bullet The Summer Holidays Survival Guide by Jon Rance—an out-of-shape teacher tries to prepare for a half-marathon while surviving the summer with his three kids, a marriage on the rocks, and his father (with dementia) moving in. (my post about it)
bullet The Crescent and the Cross by Kurt Scheffler— the story of The Battle of Tours (in 732) and events leading up to it, told through the lives of people close to Charles Martel and Charles on the one hand and a couple of the leaders of the Muslim forces involved in the Arab invasion of France. (my post about it)
bullet Postgraduate by Ian Shane—When your life falls apart, why not take your college radio show and turn it into an Internet radio show? And then, why not attend a reunion with the old college radio gang, including “The One That Got Away” (because you foolishly dumped her)? (my post about it)
bullet KA-E-RO-U Time to Go Home by B. Jeanne Shibahara—I’m so glad the blurb contains a one-sentence description because I couldn’t write one: “Desert-dweller Meryl travels to Japan, returns a WWII flag, and brings home an understanding of life that opens her heart for the unexpected.” (my post about it)
bullet Lingering by Melissa Simonson—It’s sort-of SF, sort-of a Thriller, but not really either, so I put this here. This is a novel about grief, about dealing with death—while telling the story about an effort to design an AI to mimic a dead loved one in order to help a survivor cope. (my post about it)

If you’re a self-published author that I’ve featured on this blog and I didn’t mention you in this post and should have. I’m sorry (unless you’re this guy). Please drop me a line, and I’ll fix this. I want to keep this regularly updated so I keep talking about Self-Published Authors.

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.

Top Ten (and a bonus) Books from My Childhood

It’s been a few years since the last time I posted this, so hey, here we go, in lieu of me posting something I’m dissatisfied with (and don’t have the energy to fix), how about a re-run of something I did enjoy?


I was bemoaning how long my current read was the other day and how it was going to leave me without a post for today, and my ever-so-clever daughter suggested, “Why don’t you list the Top 10 Books from your childhood?” That sounded pretty fun, so I figured that I might as well. It turned out to have been better than I thought, so kudos to her.

Ranking them really would be impossible, but then 11 came to mind really without any effort, and I couldn’t axe one of them, so there’s a bonus entry to the list. All of these I read more than I can count — if they’re part of a series, these were the ones that I came back to most often. The links are to Goodreads pages because I can’t find good official pages for all the books/authors (a true sign of my age, I guess).

Enough of that, on with the trip down Amnesia Lane:

The Castle of LlyrThe Castle of Llyr

by Lloyd Alexander

The Chronicles of Prydain taught me most of what I needed to know about Fantasy (augmenting The Chronicles of Narnia‘s lessons). Fflewddur Fflam here is at his best, I think it’s here that I fell in love with Eilonwy, Taran’s more of a real hero than before, and you get plenty of Gurgi (who I just have to mention because thinking of him makes me smile). There’s peril, the characters grow more than they have before, a hint of romance . . . it’s not the most important book in the series, but I think it’s pivotal.

Danny Dunn and the Anti-Gravity PaintDanny Dunn and the Anti-Gravity Paint

by Raymond Abrashkin and Jay Williams

I didn’t know until today that this was the first in the series, I always figured it was mid-series. It’s the only one of the series that I owned — thankfully, the library had a few more — so it’s the one I read most. It was also my favorite — I just loved the stuff at the edge of our solar system and Prof. Bullfinch and Doctor Grimes making musical instruments from their hair — stupid as all get out, but it worked for me.

The Mystery of the Dead Man's RiddleThe Mystery of the Dead Man’s Riddle

by William Arden

While Encyclopedia Brown (see below) got me reading mysteries, it was The Three Investigators — Jupiter Jones, Bob Andrews and Pete Crenshaw (btw, the only thing there I had to look up was Pete’s last name — not bad for a series I haven’t touched since the late 80’s) got me hooked on reading detective series. The Dead Man’s Riddle was one of my favorites — and I think the first or second I read — something about the Cockney slang kept bringing me back to it. I read what I do today because of this series, really.

SuperfudgeSuperfudge

by Judy Blume

I remember Tales of a Fourth-Grade Nothing being funnier, but this was a better story — the Fletchers leaving NYC, Peter maturing, Fudge being a real pain, not just a cute nuisance. Blume taught me a lot about how to read non-genre stuff, probably paving the way for Hornby, Tropper, Weiner, etc.

The Last of the Really Great WhangdoodlesThe Last of the Really Great Whangdoodles

by Julie Edwards

What a great world, what a great magic system . . . I’m not sure I can express what this book meant to me as a kid, and the copious warm-fuzzies the memory brings up. I remember that it was in the pages of this book about a magic kingdom that I first learned about DNA and RNA (and what those letters meant) — thanks, elementary school science classes. The creatures’ names in this are great (and, as an adult, I can “hear” Andrews saying them in my mind for an added layer of fun). There’s a great deal of whimsy here, a sense of play that permeates this — even when it gets silly. The kingdom’s motto, “peace, love and a sense of fun” really sums up the spirit of the book.

Me and My Little BrainMe and My Little Brain

by John D. Fitzgerald, Mercer Mayer (illus.)

Sure, the series was supposedly about Tom, but J. D.’s the real hero of the books. He has a conscience, a better moral compass than his brother — and is probably just as smart. This is the book that lets him shine as he ought to have all along. All the books had their strong points, and were fun, but this ruled them all.

The Phantom TollboothThe Phantom Tollbooth

by Norton Juster, Jules Feiffer (illus.)

Such wordplay! What a great, twisted way to teach how important words and ideas are. Seriously, just a wonderful book. The humor is so off-kilter, any appreciation I have for puns came from this book (and it set the standard that a pun must achieve for me not to groan). If you haven’t seen the documentary about it, The Phantom Tollbooth: Beyond Expectations, get on it. (I contributed to the Kickstarter for it, I should add).

The Voyage of the Dawn TreaderThe Voyage of the Dawn Treader

by C. S. Lewis

I remember the bookstore where I bought this, the date and month that I bought it, and reading a good chunk of it before I got home. I read this one more than the rest of the series (Prince Caspian a close second). I just love this one — you get Reep at his bravest and funniest, some really odd creatures, an epic story, and Eustace’s redemption (back when I did crazy things like this, I almost got a tattoo of Eustace as Dragon). Who could ask for more?

Alan Mendelsohn the Boy from MarsAlan Mendelsohn, the Boy from Mars

by Daniel M. Pinkwater

Pinkwater has funnier and stranger books (both before and after this one), but there was heart, there was depth — there was length! — to this story about a kid who didn’t really fit in until he made a friend who didn’t want to fit in. This is another one where I can peg the place and time I bought it. Science Fiction-y in a real world (didn’t know you could do that!), comic book geeks as heroes, and real non-sanitized-for-kids emotions. There’s no way this wouldn’t be a favorite. More than the rest on this list, I’m thinking of finding my old copy and taking it out for another spin (because I just read the next one a couple of years ago).

The Westing GameThe Westing Game

by Ellen Raskin

If I had to pick one off this list (and I don’t), this would probably be my favorite. I re-read it two years ago, and it was one of my favorite experiences that year with a book. The characters are great, the story was so clever, the writing so crisp. There’s nothing wrong with this book at all.

I saw a hardcover reprinting of this on Monday, and had to fight to resist buying a new copy. Kind of regretting that now. [Note: I went back a couple of days later and bought the hardcopy. It looks very nice on my shelf]

Encyclopedia Brown Boy DetectiveEncyclopedia Brown, Boy Detective

by Donald J. Sobol

Summer after second grade, we were on a forever-long road trip and I was bored, so I demanded my parents buy me something to read. I must’ve been a real snot about it, because at the next town, they did. I got two books, this one and Sugar Creek Gang Screams in the Night (not the best in the series, but it was good enough to read several times). It blew me away — I loved the puzzles, the characters, the idea. I wanted to be a P. I. This was my first mystery book, and it clearly set the stage for most of what I’ve read since (about a third of what I read).
Were you a fan of any of these as a kid? What were some of your faves? Have you read them lately?

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.

The History of Tom Jones, a Foundling by Henry Fielding: BOOK XVII., ix. – BOOK XVIII., iii.

Fridays with the Foundling
Tom Jones Original CoverNightingale spends a couple of days hunting for something to exonerate Tom, but when he finds two of the witnesses, it’s not good news. He found two of the men who were with Fitzgerald, but were so far away during the altercation to hear what happened. They stress, however, that Tom struck first.

Nightingale’s faith in Tom is staggered, but Tom wins him back, just as Mrs. Miller arrives and reports her utter lack of success, too. While those two are still there, Tom gets news that a lady wishes to speak with him. He has no idea who it could be, but wants to see whoever it might be. Mrs. Miller and Nigthingale leave so she could be shown in.

It’s Tom’s, um, acquaintance, Mrs. Waters from Chapter 9. She’d spent a lot of time with Fitzgerald, both on the road and after the fight with Tom. She’s more than confident that he’s about to recover, and she continues,

“By the most extraordinary accident in the world I lodge at the same house; and have seen the gentleman, and I promise you he doth you justice, and says, whatever be the consequence, that he was entirely the aggressor, and that you was not in the least to blame.”

Which sounds pretty good for TOm, right?

Thus the melancholy occasioned by the report of Mr Nightingale was pretty well effaced; but the dejection into which Mrs Miller had thrown him still continued. The account she gave so well tallied with the words of Sophia herself in her letter, that he made not the least doubt but that she had disclosed his letter to her aunt, and had taken a fixed resolution to abandon him. The torments this thought gave him were to be equalled only by a piece of news which fortune had yet in store for him, and which we shall communicate in the second chapter of the ensuing book.

And so we turn to the last Book of the novel, and Fielding bids his readers good-bye.

We are now, reader, arrived at the last stage of our long journey. As we have, therefore, travelled together through so many pages, let us behave to one another like fellow-travellers in a stage coach, who have passed several days in the company of each other; and who, notwithstanding any bickerings or little animosities which may have occurred on the road, generally make all up at last, and mount, for the last time, into their vehicle with chearfulness and good humour; since after this one stage, it may possibly happen to us, as it commonly happens to them, never to meet more.

As we are so close to the end, it’s straight-narrative now. No more asides, clever little observations, or anything—we’re just going to wrap things up and get all the story told.

Which is a shame, because I’d have truly loved a few paragraphs of digression after the revelation of Chapter 2 sets in. After Mrs. Waters leaves, Partridge comes in and confesses he overheard most of their conversation, then asks if it’s true that Tom and Mrs. Waters actually went to bed together. Tom admits it to be true but doesn’t see why Partridge is so upset.

I have not breath enough left to tell you now, but what I have said is most certainly true.—That woman who now went out is your own mother. How unlucky was it for you, sir, that I did not happen to see her at that time, to have prevented it! Sure the devil himself must have contrived to bring about this wickedness.”

Yup. Partridge recognized Mrs. Waters, Jenny Jones herself.

Tom reacts the way almost everyone would to find out he slept with his mother—he’s horrified. Partridge isn’t much better—if only he’d seen her earlier he could have saved Tom. While they’re in shock, Tom gets a letter from Mrs. Waters, saying she has “learned something concerning you which greatly surprizes and affects me”—undoubtedly, she’s learned the same thing as Tom, he assumes. She also assures him that Fitzpatrick will live.

Black George decides that this is the time to drop by. He offers Tom help or money, but Tom declines, his problems are far bigger than that. George describes that Sophia and her father have reconciled, mostly due to the wedge driving between Sophia and her aunt. This pleases Tom, immensely, but does him little good.

Mrs. Miller and Allworthy are on better terms, and Mrs. Miller continues to defend and promote Tom in his eyes. They receive news that Fitzpatrick is recovering nicely and has claimed he started the altercation, leaving Tom utterly free.

Allworthy then gets a letter from Mr. Square, and it upsets him greatly we won’t find out what it said until the next chapter, however.

Great plot movement, make no mistake, and we’re clearly in the end game when it comes to plot. But I missed the fun of Fielding’s prose, being straightforward like he is being, takes away some of the charm of the book.

Still…wow. A whole lot happened—and a whole lot more needs to in the next couple of seeks. I just hope we get past the incest stage, but I have no idea how Tom’s going to get out.

 

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