Moon Called by Patricia Briggs is the first installment of an on-going series (there are currently five subsequent books). Like many first books in the Urban Fantasy genre, there is a good deal of exposition in order to describe the major supernatural beings that inhabit this world. However, the author handles it so smoothly that the reader never loses sight of the unfolding plot.
Mercedes Thompson, better known to the citizens of the Tri-Cities area as Mercy, is not your ordinary young woman. She loves vintage cars and owns her own garage, sure, but that’s not what makes her different. No, Mercy is a shapeshifter that takes the form of a coyote and was raised by werewolves. She regularly crosses paths with other creatures, such as her former boss (a gremlin), an old client (a vampire), and the local witch who cleans up evidence of activities that might reveal the existence of magic to the mundane world.
In pursuit of justice for a young werewolf taken into her care just days before his death, Mercy exacerbates tensions between two wolf packs and takes on nefarious lone wolves who work for a shadowy organization doing medical experimentation on other werewolves. She is also key to discovering the deadly secret that links the various factions to each other. Along the way, Mercy has to navigate the rivalry between a former lover and a potential suitor, each of whom is a powerful player in their respective wolf pack.
There is also a graphic novel adaptation of Moon Called that comes in two volumes.
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If you are an introvert, you've got to read Quiet: The Power of Introverts in a World That Can’t Stop Talking. Even if you are more of the extroverted persuasion, it could help you understand the third to half of our population who prefer a “quieter” approach to life. Susan Cain (who, in another lifetime, was a high-powered corporate lawyer and somehow knew she was a fish out of water) admits that she has been working on this book since 2005, but has really been thinking about it all of her life.
We in the USA live in one of the most extroverted countries in the world, one where the subtle strengths of an introvert are not often valued. From the time you were a child you were probably told to speak up in class, make large groups of friends, and join lots of group activities. As an adult, you may work in an open office with no private space and attend meetings in which your quiet voice is not often heard.
This book is filled with fascinating research into how the “extrovert ideal” came to dominate in Western culture. Ms. Cain traces the time in our history when personality with a capital P, rather than character, came to be the most valued trait. The extrovert ideal began to blossom as people moved into teeming urban settings where, unlike life in the farming communities from which they had come, an individual person was just one of the crowd. It became necessary to “sell yourself.” Books like How to Win Friends and Influence People by Dale Carnegie became popular. Later in the book, she notes how individuals of Asian descent, whose cultures emphasize the qualities of humility and harmony with the whole, may have trouble navigating the extreme extroversion required in our places of education and business.
Ms. Cain looks at current brain research and speculates on how evolution may have required the two aspects of behavior as balancing strengths for human survival. She discusses introverted children in the home and classroom, and partnerships in which one member is an extrovert and the other an introvert. Ms. Cain also suggests ways for introverts to manage their lives to ensure their requirements as an introvert are met.
This is an empowering book for the quiet, reflective, and introspective among us. As the author says at the end, "We know from myths and fairy tales that there are many different kinds of powers in this world...The trick is not to amass all the different kinds of available power, but to use well the kind you've been granted." (p.266)
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In the last two months of 2011 and the first month of 2012, the book discussion group that I have the privilege to facilitate here at the Crescent Hill Library read three books in the following order: Little Women by Louisa May Alcott, American Bloomsbury by Susan Cheever, and March by Geraldine Brooks. What began as somewhat of a scheduling whim became literary magic, as these books, when combined, assist each other in completing their stories and providing the necessary details to fully appreciate the intricacies of the relationships among both the fictional and real characters as well as enhancing the storylines themselves.
Little Women, which is counted among the finest works of American literature, chronicles the lives of daughters Meg, Jo, Beth, and Amy March during the American Civil War as they contend with all those issues that one faces when growing up, while at the same time supporting their mother, Marmee, in a trying domestic situation and one another while their father is serving with the Union Army. Based loosely on Ms. Alcott’s own life and family, this novel slightly rings of sentimentality from time to time, but the life lessons it conveys and philosophical concepts it examines bring a depth to the book that leaves the reader with a good deal to contemplate.
The nonfiction work American Bloomsbury is a fascinating look into the intermingled lives, both private and public, of those great intellectual and literary minds that were drawn to the Massachusetts town of Concord in the mid and latter 1800s; included were such giants as Nathaniel Hawthorne, Ralph Waldo Emerson, Louisa May Alcott, and Henry David Thoreau , and it is through this examination that certain aspects of Little Women come together and are illuminated. Despite having a somewhat tabloid feel at times, this work brought forth aspects of the lives of these historical figures that made them seem far more human and within reach, as opposed to simply occupying their hallowed space in literary celebrity, existing only in marble and bronze.
And then we come to March, which I consider to be fan fiction of the first order, as Ms. Brooks provides the reader with the story of none other than Mr. March, the mainly-absent father of the March family in Little Women. Suffice to say, Ms. Brooks paints a picture of Mr. March, the American Civil War, and the pre-Emancipation South that challenges the reader in a number of ways. Furthermore, Ms. Brooks blends the fiction of Little Women with the nonfiction of American Bloomsbury, resulting in an incredibly engrossing tale.
Individually, all three books are fine reads for a number of reasons, but when they are read as a series, the result is truly educational, entertaining, and enlightening, a perfect selection for the single reader or book discussion group.
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Set during the Gold Rush, The Sisters Brothers by Patrick DeWitt is narrated by a tenderhearted and remarkably self aware hit man, Eli Sisters. Eli struggles with his weight, matters of the heart, and the conflicting desire to venture into a simpler line of work. His brother Charlie on the other hand is an impenetrable killing machine who wakes up sick beside an empty bottle more often than not.
The story begins with the odd pair setting out on a job for a man known only as The Commodore. The Sisters boys are directed to head up to Oregon to meet up with a lookout then hunt down a prospector and return with his secret formula. They start their trip in a bit of a quarrel with Charlie being appointed the lead man on the trip then getting the better horse and all.
There are many points of hilarity as the brothers encounter both obstacles and pleasures on their journey. Readers will find themselves laughing and stopping to reflect, sometimes in the same paragraph, at the elegant yet deadpan dialogue that's easily imagined as an indie western screenplay.
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Escaping the Delta: Robert Johnson and the Invention of the Blues puts to rest the romantic idea of the bluesman as illiterate troubadour. Author Elijah Wald’s book shows that the true pioneers of the blues were Vaudeville-trained female singers like Ma Rainey, Bessie Smith, and Louisville’s own Sara Martin. These women recorded at least a decade earlier than most of the Mississippi bluesmen, but they have been ignored by contemporary scholars or reassigned to the jazz bin. Escaping the Delta restores them to blues history and recasts the music as a story about African-American aspirations at the beginning of the 20th century.
“For its first fifty years, blues was primarily black popular music,” Wald explains. “Like rappers or country-and-western stars, the top blues singers were assumed to come from poor backgrounds and to understand the problems and aspirations of the folks on the street or out in the country, but they were also expected to be professional entertainers with nice cars and fancy clothes, admired as symbols of success.”
Wald was inspired to reexamine the story of the blues after he performed at the dedication of a grave marker for Robert Johnson, the most celebrated bluesman of the pre-war era. Johnson was rumored to have sold his soul to the Devil in exchange for his extraordinary talent. He died at the age of 27 having recorded just 29 songs; some of them, like “Love In Vain” and “Hellhounds On My Trail,” classics that have been covered by the Rolling Stones, Bob Dylan, Eric Clapton, the White Stripes, and many others. However, Wald was shocked to find that many of the elderly African-American members of the Mount Zion Missionary Baptist Church, where Johnson is buried, didn’t know anything about the singer.
Johnson was only a minor recording star when he died in 1938. He gained international fame in the 1960s when fans of the folk revival began buying a reissue of his music called “King of the Delta Blues.” Johnson’s musical stature is totally a creation of critics, musicians, and scholars who were born decades after his death. Wald exposes the part that record company marketing and romanticism (if not outright racism) played in the modern perception of the blues and the intention of its artists. By telling the story from the perspective of the African-American record buyer Wald provides injects a new voice into the discussion of one of America’s most important art forms. The result is a fascinating and entertaining book.
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