CAHOKIA JAZZ and THE CHILD THAT BOOKS BUILT: A LIFE IN READING By Francis Sufford

The Child That Books Built (2002) isn’t just a merry walk down memory lane.  Francis Spufford was just three years old when he was joined in the world by a baby sister, Bridget, who, by a freak of nature, was terminally afflicted by cystinosis, an exceedingly rare disease resulting from her parents’ matched genetic coding.

While his parents’ energies were concentrated to save Bridget’s life, young Spufford,  confronted by what he refers to as the “fragility” of the world, retreated into a secure world of make-believe, of fictional stories. And so begins detailed reminiscences through 1960s children’s literature (Peter Dickinson, Alan Garner, Jill Paton Walsh, Penelope Farmer, Leon Garfield) as well as praise of favorites like Sendak’s Wild Things, Carroll’s Wonderland, Tolkien’s Shire, and Narnia, a particular Spufford favorite.

Books can be a retreat from Reality and Sufford’s tour of the books that meant the most to him during this difficult time is compelling.  GRADE: B+

TABLE OF CONTENTS:
1 Confessions of an English Fiction Eater p. 1
2 The Forest p. 23
3 The Island p. 64
4 The Town p. 108
5 The Hole p. 149
Acknowledgments p. 211Cahokia Jazz by Francis Spufford: murder & mystery in the Jazz Age

Fast-forward 20+ years and consider Francis Sufford’s latest novel, Cahokia Jazz (2023), set in a 1920s America in a different time-line.  Alternate history crime novels need time to develop their worlds so Cahokia Jazz lurches slowly into action with a murder on top of a skyscraper.  Typical hard-boiled beginning.

But what if the smallpox virus that was imported to the Americas by Europeans during the “Age of Discovery” had been a milder variant of that virus — one that merely sickened the Indigenous population, rather than decimating it? (Historians estimate that up to 95 percent of Native Americans died of European diseases, chiefly smallpox.) What if, in this alternate reality, the country that came into being was one where Indigenous people were a force that wielded political power?

Cahokia Jazz features Cahokia Police Detective Joe Barrow who occupies the brooding moral center of this twisted story.  Barrow is the man who leads readers through the maze of this mystery and makes us care about who is generating — and profiting from — all this chaos.

Like every hard-boiled detective who’s ever walked the mean streets of pulp fiction, Barrow is both within and without the criminal world. Burrow’s a cop who yearns to throw his badge away and play jazz piano.

If you’re in the mood for an alternate history murder mystery, Cahokia Jazz hold plenty of secrets to keep you involved to the very last page.  GRADE: B

TABLE OF CONTENTS:
1 Confessions of an English Fiction Eater p. 1
2 The Forest p. 23
3 The Island p. 64
4 The Town p. 108
5 The Hole p. 149
Acknowledgments p. 211

OUTER RANGE, SEASON 2 [AMAZON Prime Video]

The first season of Outer Range showed up in April 2022. At first, Outer Range seemed concerned about the Abbotts, Royal and Cecilia (Josh Brolin and Lili Taylor), ranchers who were fighting encroachment on their land. The Abbott family displayed dysfunction early on. But the clincher was the massive spooky hole in their west pasture. We learned the hole was a portal, but a portal to what, to where, and to whom was unclear.

This second season of 7 episodes begins with the search for Abbott granddaughter Amy (Olive Abercrombie).The Abbotts, while searching, are also about to lose their ranch because son Perry (Tom Pelphrey) has jumped the bail posted with his parents’ mortgage, after having been charged in the death of one of the rival Tillersons. Josh Brolin set the tone in the stabilizing role that Royal provides.  Lewis Pullman portrays one of my favorite characters, Rhett Abbott.

The black hole looms large. If you’re in the mood for an unconventional Western with Sci-Fi aspects, give Outer Range a try. GRADE: Incomplete but trending towards a B+

FRIDAY’S FORGOTTEN BOOKS #793: THE ONE By Matthew Hughes

“Luff Imbry is probably my favorite creation. Modeled on Kaspar Gutman, the ‘Fat Man’ Sydney Greenstreet played in The Maltese Falcon, he is a con man, thief, forger extraordinaire, aficionado of a myriad art forms, and a sophisticated gourmet.” (p. ix)

Matthew Hughes developed Luff Imbry and his cunning criminality of the Future over the years with short stories, Forays of a Fat Man (you. can read my review here), and a novel, The Other (you can read my review here). I, and a number of Hughes fans, enjoy the intelligence of Imbry despite his less than lawful pursuits.

The One, just published this week, is a sequel to The Other with Luff Imbry intent on vengeance for his near-death experience in The Other. But Imbry soon learns the nature of the Universe is about to morph from one operating on reason and technology to a new era where magic rules. And, fortunately, Imbry seems to have some ability to become a thaumaturge (aka, Wizard+).

As with all Matthew Hughes books, there are mysteries to investigate, dangers to untangle, and puzzles to solve. The One is the one book you should be reading! GRADE: A

SENOR PROM [2-CD Set]

It’s prom season so I thought this 2-CD set of classic songs would bring back a lot of memories. Love “All I Have to Do is Dream” by The Everly Brothers! Does anyone remember Shelley Fabares? Her “Johnny Angel” was a huge hit. And who can forget “To Know Him is to Love Him”– hijacked for another purpose in Sister Act.

Do you remember your prom? I went to three proms over two years. GRADE: A

TRACK LIST:

Ben E. KingStand By Me2:58
The Everly Brothers*–All I Have To Do Is Dream2:17
Poni Tails*–Born Too Late2:17
Bobby VeeDevil Or Angel2:17
Brian HylandSealed With A Kiss2:38
Pat BooneLove Letters In The Sand2:12
Bobby VintonRoses Are Red (My Love)2:36
Sam CookeYou Send Me2:42
The PlattersSmoke Gets In Your Eyes2:39
Lenny WelchSince I Fell For You2:53
Shelley FabaresJohnny Angel2:15
The Righteous BrothersYou’ve Lost That Lovin’ Feelin3:40
The Four FreshmenGraduation Day3:01
Ritchie ValensDonna2:21
The ShirellesSoldier Boy2:37
Mark DinningTeen Angel2:38
Paul & PaulaHey, Paula2:27
The Paris SistersI Love How You Love Me2:07
Little Caesar And The Romans*–Those Oldies But Goodies3:20
Tune Weavers*–Happy, Happy Birthday Baby2:25
The Four LadsMoments To Remember3:14
Fleetwoods*–Mr. Blue2:21
The DiamondsSilhouettes2:44
Connie StevensSixteen Reasons1:55
Dickey LeePatches2:54
The Teddy BearsTo Know Him Is To Love Him2:20
Frank Wilson & The Cavaliers*–Last Kiss2:18
Brook BentonIt’s Just A Matter Of Time2:25
The DanleersOne Summer Night2:12
Connie FrancisWhere The Boys Are2:40
The FirefliesYou Were Mine1:53
The LettermenWhen I Fall In Love2:26
Tommy EdwardsIt’s All In The Game2:34
Rosie & The OriginalsAngel Baby3:30
Phil Phillips With The TwilightsSea Of Love2:23
The CrestsSixteen Candles2:50
The Angels (3)Til2:25
The SkylinersSince I Don’t Have You2:35
Tab HunterYoung Love2:24
Troy ShondellThis Time2:32
Brenda LeeI’m Sorry2:40
Jimmy ClantonJust A Dream2:30
Johnnie & JoeOver The Mountain, Across The Sea2:11
Jimmy CharlesA Million To One2:27
Paul AnkaPut Your Head On My Shoulder3:15
Jim ReevesHe’ll Have To Go2:16
Earl Grant(At) The End (Of The Rainbow)2:18
Cathy Jean & The Roomates*–Please Love Me Forever2:50
Jody ReynoldsEndless Sleep2:25
The CrescendosOh Julie2:41

WEDNESDAY’S SHORT STORIES #174: FUTURE CRIME By Ben Bova

“Writers Harlan Ellison and Ben Bova filed a lawsuit against Paramount Television, ex-Paramount exec Terry Keegan, and ABC-TV, alleging that Future Cop was plagiarized from their own pitch for a TV series, which was based on their 1970 short story ‘Brillo.’ The lawsuit was settled in 1980, awarding Ellison and Bova $182,500 in compensatory damages and $154,500 in punitive damages. The story’s title was allegedly a pun by Bova, as a robot policeman could be referred to as “metal fuzz”, like Brillo soap pads.” —Wikipedia

“Brillo” is the most well known of Ben Bova’s short stories. The story of a human cop and a robot resonated with John Campbell, legendary editor of Astounding (later Analog), who had never purchased one of Harlan Ellison’s stories, purchased “Brillo” and the rest is history.

I also liked “Vince’s Dragon,” a story about a low-level gangster who partners with a dragon to commit arsons. Loved the ending!

Ben Bova was a wonderful and prolific SF writer as well as a highly regarded SF editor. Future Crime is a great book to introduce Bova to new readers. GRADE: B+

TABLE OF CONTENTS:

Foreword — 1

City of darkness — 7

Vince’s dragon — 133

Brillo / Harlan Ellison and Ben Bova — 149

Out of time –195

Test in orbit — 215

Stars, won’t you hide me? –237

Diamond Sam — 255

Escape! — 283

BOB DYLAN IN HIS OWN WORDS: Interviews & Contributions [DVD]

“This film is not sanctioned by the Artist.” That warning should alert you to the fact that these nine videotaped interviews with Bob Dylan in the 1970s and 1980s might not agree with Bob Dylan’s current thinking. Released in 2015, this 100 minute DVD presents Dylan talking about the music industry, religion, and dealing with his fans in a series of interviews of various quality.

I’ve read a couple biographies of Bob Dylan, listened to over a dozen of his albums, seen Dylan in concert (with The Band) and continue to listen to his music on a regular basis. People freaked out when Dylan won a Nobel Prize, but I consider him deserving of this honor. In 2022, Dylan sold his entire catalog of songs to Universal Music Group/Sony at sale price that was a sizable nine figure amount, north of $200 million.

I’m not sure I learned anything new watching Bob Dylan In His Own Words but it was shocking how quick he aged from interview to interview. GRADE: B-

REVOLUTIONS IN AMERICAN MUSIC: THREE DECADES THAT CHANGED A COUNTRY AND ITS SONGS By Michael Broyles

Michael Broyles believes three decades in American History profoundly changed American Music. The three key decades are the 1840s, the 1920s, and the 1950s.

I was most inthralled by Boyles’s presentation of the 1950s (except he cheats a little by making references to musical happenings in the 1940s).

“By 1945 many of the big bands had disbanded or were on life support, suffering from multiple blows caused by World War II. Gasoline rationing and a shortage of rubber made travel nearly impossible for an ensemble of twenty-plus musicians. Even staffing a band was difficult, with many musicians in the armed forces….

This bands that she how survived the war faced a new reality. The mood of the country had changed. The public no longer favors the jitterbugging, toe-tapping hot sound of Benny Goodman, but the fuller, heavier, she sound of Guy Lombardo or Freddy Martin….The public wanted to be soothed, and the big-three record companies, Columbia, RCA, and Decca, obliged. Sentimental Tin Pan Alley songs prevailed, sung by velvety singers with lush instrumental backing.” (p. 221)

In 1948, Columbia Records announced they will be issuing 33-1/3 rpm records in addition to 45 rpm records. Decca and RCA soon followed. Two more inventions, television and tape recorders, became powerful and essential tools to revolutionize both classical and popular music in the 1950s.

“Sam Philips, owner of Sun Records, allegedly said, ‘If I could find a white man who had the Negro sound and the Negro feel, I could make a billion dollars.'” (p. 253)

Sam Philips found Elvis Presley and the rest is History. Presley was the first Rock ‘n’ Roll superstar and changed the trajectory of popular music in the U.S. until the British Invasion in the Sixties.

Broyles makes the case that the 1840s introduced the minstrel show and the new dance craze, the polka, to America. It replaced the waltz and led to Sousa’s marches, then ragtime and ultimately Jazz.

The 1920s brought African American music into the music scene and Black musicians were able to make a living despite white singers covering their songs. Radio arrived and provided a new outlet for music. Phonographs became affordable and popular. Records in the 78 rpm format became common. “The 1920s blended race and technology to create the far-ranging changes in American musical culture, from creation to performance to audience, which was no longer limited to the soundscape of the event.” (p. 358)

If you have an interest in the History of music in America, I highly recommend Revolutions in American Music. GRADE: A

TABLE OF CONTENTS:

Introduction: A Personal Statement — xi

CHAPTER 1: Three pillars and the nature of revolution — 1

The 1840s:

CHAPTER 2: Minstrelsy : an American musical contribution and America’s curse — 13

CHAPTER 3: Polkamania and Polk — 46

CHAPTER 4: Classical music arrives. — 65

The 1920s:

CHAPTER 5: The twentieth century : music technology collapses time and space — 89

CHAPTER 6: The Jazz Age — 111

CHAPTER 7: Blues, hillbilly, and crooners — 149

CHAPTER 8: The ultramodern revolution and music appreciation. — 191

The 1950s:

CHAPTER 9: After the war — 221

CHAPTER 10: Johnnie Ray and the rise of rock ‘n’ roll — 241

CHAPTER 11: The summer of ’55 : rock ‘n’ roll’s turning point — 264

CHAPTER 12: Rock ‘n’ roll : culmination and collapse — 289

CHAPTER 13: Anonymity and its ways : classical music in a postwar world. — 320

EPILOGUE — 363

Notes — 365

Illustration Credits — 401

Index — 403

DOCTOR WHO [Disney+]

Yes, the 15th Doctor has morphed from a woman to a Black man. The new Doctor Who is Ncuti Gatwa (you might remember him from Sex Education). After watching two new episodes of Doctor Who on Disney+ I’ve come away with an affection for both Ncuti Gatwa and his new Companion, Ruby Sunday, played by Millie Gibson (you might remember her from Coronation Street).

The 15th Doctor showed up in last year’s “The Giggle” where David Tennant passed him the torch. The true premier was the Christmas episode called “The Church on Ruby Road” where infant Ruby is left on the doorstep of a church on Christmas Eve. Twenty years later, Ruby Sunday finds herself the target of an incredible series of “accidents” that are finally solved by The Doctor. If you’re a Doctor Who fan, you’ll enjoy this new series with veteran screenwriter and television producer Russell T Davies running things. GRADE: Incomplete but trending towards a B+

JON BATISTE CONCERT

Last night Diane and I drove over to the State University of New York at Buffalo’s Center for the Arts to hear multiple Grammy winner and former bandleader of The Stephen Colbert Show, Jon Batiste. The Center for the Arts was sold out and the performance delighted us.

Are you a Jon Batiste fan? GRADE: B+

SET LIST:

  1. TELL THE TRUTH Play Video
  2. Hello, Billy Bob Play Video
  3. Raindance Play Video
  4. FREEDOM Play Video
  5. I NEED YOU Play Video
  6. Worship Play Video
  7. Piano Momen Play Video
  8. If You’re Happy and You Know It([traditional] cover) Play Video
  9. Butterfly Play Video
  10. When the Saints Go Marching In([traditional] cover) Play Video
  11. WE ARE Play Video
  12. CRY Play Video
  13. Master Power Play Video
  14. I NEED YOU / Night Time Is the Right Time / I NEED YOU Play Video
  15. Encore:
  16. Blackbird/ Killing Me Softly With His Song Play Video
  17. It’s All Right, Wonderful World, When the Saints Go Marching In

FRIDAY’S FORGOTTEN BOOKS #792: DICKINSON: SELECTED POEMS AND COMMENTARIES By Helen Vendler

“I feel not a whit sad at the fact of death, but massively sad at leaving friends behind, among who you count dearly. I have always know what my true feelings are by whatever line of poetry rises unbidden to my mind on any occasion; to my genuine happiness, this time was a line from Herbert’s ‘Evensong,’ in which God (always in Herbert, more like Jesus than Jehovah), says to the poet, ‘ Henceforth repose; your work is done.'”

The great poetry critic Helen Vendler died April 23, 2024 at the age of 93. Over the years, I’ve read several of Vendler’s books on poetry and always came away delighted and inspired by her insights and commentaries. That paragraph above comes from a letter from Vendler to her friend Roger Rosenblatt (you can read more about their friendship here) shortly before her death.

“In choosing the 150 poems for inclusion here I wanted to edit many different aspects of the poet’s work as a writer, form her first-person poem to the poems of grand abstraction, from her ecstatic verses to her unparalleled depictions of emotional numbness, from her comic anecdotes to her painful poems of aftermath. I have included many of the familiar poems, but I have wanted to makes space, too, for daring poems that have rarely been anthologized or taught in school, and so have not reached a large general audience. There are poems of varying achievement here, the lesser ones included to show the conventional or occasional Dickinson, the great ones to sustain her right to fame.” (p. 3)

To honor Helen Vendler and one of her favorite poets, Emily Dickinson, I want to urge you to check out Dickinson: Selected Poems and Commentaries (2012). Vendler shows how Dickinson’s poems work to achieve their effects. Do you have a favorite poet? GRADE: A

TABLE OF CONTENTS:

A Note on the Text — xiii

Introduction: Dickinson the writer — 1

Selected poems and commentaries:

23. In the name of the Bee –17

32. The morns are meeker than they were — 19

90. An altered look about the hills — 32

122. These are the days when birds come back — 35

124. Safe in their alabaster chambers — 38

129. Our lives are Swiss — 43

134. Did the Harebell loose her girdle — 45

138. To fight aloud, is very brave — 47

165–I have never seen “Volcanoes” — 50

181. A wounded deer leaps highest — 54

187. Through the straight pass of suffering — 57

194. Title divine, is mine — 60

204. I’ll tell you how the sun rose — 64

224: An awful tempest mashed the air — 67

232. He forgot – and I – remembered — 69

236. Some keep the Sabbath going to Church — 71

238. How many times these low feet staggered — 75

240. Bound a trouble – and lives will bear it — 78

243. That after horror – that ’twas us — 84

256– The robin’s my criterion for tune — 86

259. A clock stopped — 89

269. Wild nights – wild nights! — 93

276. Civilization – spurns – the leopard! — 95

279. Of all the souls that stand create — 98

284. The zeros taught us – phosphorus — 101

288. My first well day – since many ill — 104

291. It sifts from leaden sieves — 107

294. A weight with needles on the pounds — 110

306. A shady friend – for torrid days — 112

312. I can wade grief — 115

314. “Hope” is the thing with feathers — 118

319. Of bronze – and blaze — 121

320. There’s a certain slant of light — 126

325. There came a day – at summer’s full — 130

330. He put the belt around my life — 135

337. Of nearness to her sundered things — 138

340. I felt a funeral, in my brain — 141

341. ‘Tis so appalling – it exhilarates — 144

348. I would not paint – a picture — 148

351. She sights a bird – she chuckles — 151

355. It was not death, for I stood up — 154

359. A bird, came down he walk — 157

360. The soul has bandaged moments — 161

365. I know that he exists — 165

372. After great pain, a formal feeling comes — 168

373. This world is not conclusion — 173

383. I like to see it lap the miles — 177

401. Dare you see a soul at the “white heat”? — 180

407. One need not be a chamber – to be haunted — 184

409. The soul selects her own society — 187

420. There are two ripenings — 191

423. The first day’s night had come — 194

425. ‘Twas like a maelstrom, with a notch — 198

430. A charm invests a face — 202

439. I had been hungry, all the years — 205

444. It would have starved a gnat — 209

446. This was a poet — 212

448. I died for beauty – but was scarce — 216

450. The outer – from the inner — 219

466. I dwell in possibility — 222

479. Because I could not stop for death — 225

515. There is a pain so utter — 231

517. A still – volcano – life — 234

519. This is my letter to the world — 237

534. It feels a shame to be alive — 239

528. ‘Tis not that dying hurts us so — 243

533. I reckon – when I count at all — 246

550. I measure every grief I meet — 250

558. A visitor in Marl — 255

578. The angle of a landscape — 258

584. We dream – it is good we are dreaming — 261

588. The heart asks pleasure – first — 254

591. I heard a fly buzz – when I died — 266

615. God is a distant – stately lover — 269

620. Much madness is divinest sense — 273

633. I saw no way – the heavens were stitched — 275

647. To fill a gap — 278

664. Rehearsal to ourselves — 280

675. What soft – cherubic creatures — 283

686. It makes no difference abroad — 286

696. The tint I cannot take – is best — 289

700. The way I read a letter’s – this — 293

706. I cannot live with you — 297

708. They put us far apart — 304

729. The props assist the house — 307

740. On a columnar self — 311

347. It’s easy to invent a life — 314

760. Pain – has an element of blank — 316

764. My life had stood – a loaded gun –318

772. Essential oils – are wrung — 323

778. Four trees – upon a solitary acre — 326

782. Renunciation – is a piercing virtue — 330

788. Publication – is the auction — 333

790. Growth of man – like growth of nature — 336

796. The wind begun to rock the grass — 339

800. I never saw a moor — 343

830. The admirations – and contempts – of time — 345

836. Color – caste – denomination — 349

857. She rose to his requirement – dropt — 352

861. They say that “time assuages” — 355

867. I felt a cleaving in my mind — 357

895. Further in summer than the birds — 361

905. Split the lark – and you’ll find the music — 367

926. I stepped from plank to plank — 369

930. The poets light but lamps — 371

935. As imperceptibly as grief — 373

962. A light exists in spring — 378

983. Bee! I’m expecting you! — 382

994. He scanned it – staggered — 384

1010. Crumbling is not an instant’s act — 386

1038. Bloom – is result – to meet a flower — 389

1064. As the starved maelstrom laps the navies — 392

1096. A narrow fellow in the grass — 396

1097. Ashes denote that fire was — 400

1100. The last night that she lived — 404

1121. The sky is low – the clouds are mean — 409

1142. The murmuring of bees has ceased — 411

1150. These are the nights that beetles love — 415

1163. A spider sewed at night — 418

1218. The bone that has no marrow — 424

1243. Shall I take thee, the poet said — 427

1263. Tell all the truth but tell it slant — 431

1268. A word dropped careless on a page — 434

1274. Now I knew I lost her — 437

1279. The things we thought that we should do — 441

1279. Art thou the thing I wanted? — 446

1325. I never hear that one is dead — 449

1332. Abraham to kill him — 452

1347. Wonder is not precisely knowing — 455

1369. The rat is the concisest tenant — 458

1393. Those cattle smaller than a bee — 461

Long years apart – can make no — 465

1408. The bat is dun, with wrinkled wings — 467

1428. Lay this laurel on the one — 470

1474. The road was lit with moon and star –475

1489. A route of evanescence — 479

1511. The fascinating chill that music leaves — 481

1513. ‘Tis whiter than an Indian Pipe — 485

1539. Mine enemy is growing old — 489

1577. The Bible is an antique volume — 491

1581. Those dying then — 496

1593. He ate and drank the precious words — 498

1618. There came a wind like a bugle — 500

1668. Apparently with no surprise — 504

1715. A word made flesh is seldom — 506

1742. In winter in my room — 511

1766. The waters chased him as he fled — 515

1771. ‘Twas here my summer paused — 518

1773. My life closed twice before its close — 520

1779. To make a prairie it takes a clover and one bee — 522

Primary Sources Cited — 527

Acknowledgements — 529

Index of First Lines — 531