THE GARNER FILES: A MEMOIR – JAMES GARNER AND JON WINOKUR (2012)

Marilyn Armstrong:

Jim, we already miss you!

Originally posted on SERENDIPITY:

By James Garner and Jon Winokur – Release date: October 23, 2012

garnerfiles

From the first time I saw James Garner on TV as Bret Maverick, I was ever so slightly in love. I watched the show faithfully whenever Garner starred in the episode. They tried adding more Mavericks, but for me, there was only one. Apparently that’s how most viewers felt — when Garner was gone, the show was gone.

When I saw him in “The Americanization of Emily,” our relationship was sealed. I was a fan  for life. Although I have not seen every movie he ever made, I’ve seen most of them. I’ve liked some, loved most. Whenever one of his movies shows up on cable, it goes on the DVR. Fortunately Garry is a fan too.

Now, about the book. If you had the impression that Jim Garner is a plain-spoken guy with strong…

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THE NANNY TRIAL – A TRUE STORY OF AMERICAN JUSTICE

For those of you who follow “big trials,” there was a huge one in 1997 in Boston. Garry was working and covered the trial, along with a zillion other reporters from all over the country.

We became as engrossed by the story as everyone else. Garry was in the courtroom every day. Each night over dinner, we talked about the day’s testimony. Garry gave me his opinion on who was telling the truth and what it might mean.

So what happened? A young British woman — Louise Woodward — was nanny for a baby who died of what was apparently shaken baby syndrome, a finding which has since been disputed. The jury convicted her of second degree murder that carried a sentenced of 15 to life.

Judge Zobel was unhappy with the verdict and reduced the conviction to involuntary manslaughter. He stated “the circumstances in which the defendant acted were characterized by confusion, inexperience, frustration, immaturity and some anger, but not malice in the legal sense supporting a conviction for second-degree murder,” adding: “I am morally certain that allowing this defendant on this evidence to remain convicted of second-degree murder would be a miscarriage of justice.” His overturning of the jury verdict produced a storm of controversy.

I don’t think the Judge Zobel believed she was innocent, merely that justice would not be better served by sending her to jail. I doubt the baby’s parents agreed.

scales of justice

Our legal system is designed to be flexible, to allow human considerations to occasionally trump legal ones. Sometimes it means no one is entirely satisfied with a trial’s outcome. The wild cards are the judges who have enormous discretionary powers … which they mostly don’t use. Although judges can always set aside a jury verdict, it rarely happens in the real world. This is the only time I’ve seen it happen, other than in a movie or TV show. Zobel was an unusual judge.

Woodward’s sentence was reduced to time served (279 days) and she was freed. Assistant District Attorney Gerald Leone appealed the judge’s decision to the Supreme Judicial Court of Massachusetts.

Woodward’s lawyers also appealed, asking the court to throw out her manslaughter conviction. The court affirmed the guilty verdict by a 7-0 vote. However, in a 4-3 split decision, the higher court rejected the prosecution’s appeal against reduction of the conviction to involuntary manslaughter.

On 16 June 1998, Woodward was returned to the United Kingdom. She studied law, changed her mind and became a dance teacher. A story that leaves me saying “huh?”

Side Effects

The conviction had an unanticipated side effect by causing the defeat of pending legislation in Massachusetts which would have restored capital punishment. I was glad. Garry not so much. It’s one of the few areas of the law on which we disagree.

The death penalty is not a liberal vs. conservative issue. I’m against it because I think if killing is wrong, making it legal doesn’t make it right. Garry believes some people deserve it, a point of view that’s hard to argue with (but I do anyway). We have agreed to disagree on this specific issue. It’s a matter of conscience.

The U.S. has a unique system of justice. Mostly, our magic works, sometimes not. Law is a human institution. It’s imperfect, but all things considered, it’s pretty good. I don’t know where you would find a better one.

10 MOVIES OF WHICH I NEVER TIRE

These are my favorites. They aren’t all my favorites, but they represent a good chunk of the films I want to watch again. And again. The most obvious element they share are brilliant scripts.

For me, first and foremost, it’s always about the words. I give extra points for wit and humor, even more points for inside jokes, cleverness, and quotable dialogue. All of these movies have these qualities. I also give extra credit for a great score and amazing cinematography and all of these have those elements too.

I have watched each of these many times. I keep discovering new things to love about them. Of course, there are plenty of other movies I love and not enough space or time for me to write about them all.

I guarantee, you can’t go wrong with any of these ten great ones.


 

THE LION IN WINTER

The Lion in Winter (1968 film)

The Lion in Winter (1968 film) (Photo credit: Wikipedia)

Awesome performances by everyone, from Hepburn and O’Toole, to Anthony Hopkins in his first screen role. Wonderful script and matchless screen chemistry. It’s not accurate history … but the interaction of the members of the family is surprisingly close if you want to examine only the emotional content. In the end, it’s all about the performances.

From top to bottom, every performance is extraordinary. Hepburn got an Oscar, one of three wins for the film. Many more nominations plus three Golden Globes. All well-deserved.

THE AMERICANIZATION OF EMILY

Cover of "The Americanization of Emily"

Paddy Chayevsky‘s script is among the best movie scripts of all time. Add superb performances by James Garner and Julie Andrews in her first dramatic role. The whole movie would be worth it just for Garner’s monologue on war. But there’s so much more. It’s funny, sharp, downright brilliant.

The cast knew they’d never have a better job. All of them list this movie as the favorite or as one of the top one or two of their professional lives. Roles like this don’t come along often in any actor’s career. The actors showed their appreciation by working their hearts out. Everyone is at the top of his or her game.

TOMBSTONE

This is one of those movies that I like better each time I watch it … and I watch it often. We can recite dialogue with it. It’s got everything you want a western to have: passion, revenge, violence, humor and brilliant cinematography. It’s Val Kilmer’s best performance and arguably Kurt Russell’s shining moment.

This is my go to movie if I need a revenge and violence fix. It manages to have a satisfying body count without the gore. I like that in a movie.

A MIGHTY WIND

Maybe it isn’t one of the all time greatest films, but reminds me of some of the best of times in my life as well as music I dearly love.

It’s funny, often laugh-out-loud hilarious, a loving parody. It’s a warm-hearted and nostalgic look at a time many of us look back on with great affection. The music manages to be humorous and good — a difficult act to pull off.

CASABLANCA

Not the most original choice, but it’s so good and it has worn well despite the years. We saw it on the big screen not long ago. Wonderful. It’s pure mythology, but it’s the way we wish it had been. I need heroes.

Three Oscar wins — Best Picture, Best Director, Best Screenplay plus nominations for just about every member of the cast. Seeing it on the big screen was like seeing it for the first time and gave me an even better appreciation of the brilliant script.

BLAZING SADDLES

It’s hard to pick only one Mel Brooks movie, but if I have to choose, this is it.

It was a tough choice. “Young Frankenstein,” “High Anxiety,” and “History of the World, Part I” are right up there too. “Blazing Saddles” wins because it’s got some of the all-time great movie lines. That’s HEDLEY Lamar!

STARMAN

Science fiction movies usually disappoint me because they aren’t science fiction, but westerns in space using spacecraft for horses, featuring millions of dollars of special effects, but no script. This is all acting. A fine script, wonderful performances, romantic, touching and believable. A great performance by Jeff Bridges. And I almost forgot to mention the haunting score.

It’s the best kind of science fiction … concept and character based. Unforgettable. It’s by far the best movie John Carpenter ever made and ranks as one of the best science fiction movies ever made by anyone.

THE THREE AND FOUR MUSKETEERS (1973 – 1974)

I know they were issued as two movies, but they were filmed as one. The stars of the film(s) sued the studios since they had only been paid for one movie, and they won. Nonetheless, both movies play like a single film in two parts. You can’t watch one without the other. They keep remaking it, but none of the others come near this version. It’s fast, funny, and surprisingly true to the books.

Dumas would have been pleased. I love the sword fights. I used to fence in college, and this has some of the best choreographed fencing I’ve ever seen. It’s not the elegant fencing you usually see, but brawling — the way men really fought — not to get points for good form, but to win without getting sliced up.

THE SEVENTH SEAL

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Not everyone is quite as enthralled with the 14th century as I am. The Black Death, the split papacy, the brigands, the inflation, the complete depopulation of regions … and the crazed religious fervor that gripped the western world is not everyone’s idea of a fun movie.

And I’m not a big fan of Ingmar Bergman. I admire his work, but mostly find it too intense and depressing. This is the exception. Probably it’s the history buff in me, but better than any other movie I’ve ever seen (except for the obscure “A Walk With Love and Death”), it portrays the mood and feeling of this strange century that was the end of everything and the beginning of everything else.

The black and white photography is breathtaking, the performances (yes, the movie is in Swedish with subtitles — deal with it) are wonderful. The Knight is playing chess with death every night and as long as he keeps playing and doesn’t lose, his little band will survive.

If you haven’t seen it and aren’t completely allergic to foreign movies with subtitles … and especially if you have a taste for medieval history, you should see it.

It’s one of just a handful of movies about which Garry and I disagree. He doesn’t argue about its quality. It’s just too dark for his taste. Which considering some of the movies he loves, that seems a bit out of character. Every once in a while he will watch it with me. I keep hoping he’ll change his mind.

OH! WHAT A LOVELY WAR

OH WHAT A LOVELY WARI saw “Oh! What a Lovely War” in the theater when it was released in 1969 and never forgot it. Based on the long-running British stage production, it’s World War I – in song, dance and irony. Its catchy score sticks in your brain. The songs are those sung by the troop during that long war. The cast includes everyone who was anyone in British stage or screen during the 1960s. The credits are a who’s-who of English actors.

Says the movie at the beginning: “The principal statements made by the historical characters in this film are based on documentary evidence, and the words of the songs are those sung by the troops during the First World War.”

Did General Haig, when looking at the staggering loss of life on both sides, really say: “in the end, the Germans will have 5,000 men and we will have 10,000, so we will have won.”? Apparently he not only said it, he meant it.

The war is told with music and dancing. Songs are mixed with pithy comments by generals, kings, Kaisers and occasionally, soldiers. It’s a long movie — 144 minutes — and I can promise you that you will have a far better and more visceral understanding of World War I after watching it … even if you already know your history. It was the war to end all wars. Until the next war. And the one after that.

DON’T DRINK THE KOOL AID – THE JONESTOWN MASSACRE

There has been an inexplicable upsurge of interest in this subject. So here’s a piece of weird and rather horrible American history that is rarely mentioned anymore. Perhaps everyone would just as soon forget it … but maybe it’s better if we don’t lest it happen again …


If you are my age or near it, you remember the Jonestown Massacre. Even if you are younger, if in 1978 you were old enough to watch TV news, you could hardly forget it. Now that fundamentalism is enjoying a rebirth with well-known political and religious leaders (who ought to know better) urging others to murder or mayhem, it’s probably a good time to remind everyone where this kind of thing can lead.

There is nothing remotely amusing about this story. It was horrible when it happened and time hasn’t made it less so.

The Road to Jonestown

The phrase “drink the Kool-Aid” has become common parlance in American business and politics. Roughly translated, it means “to blindly follow.” It usually carries a negative connotation. The “Kool Aid” references go all the back to the 1950s when it was the typical drink for children on suburban summer afternoons. The origin of the saying is something else — darker, and different. It has become the kind of bland rhetoric about which we don’t give a thought, but its roots lie in horror.

Before we talk about Kool-Aid, let’s take a brief trip down memory lane to that particularly awful episode of American history.

Jim Jones, cult leader and mass murderer, was a complex madman. A communist and occasional Methodist minister, he founded his pseudo-church in the late 1950s. He called it the “Peoples Temple Full Gospel Church,” known in short as the “Peoples Temple.”

The lack of a possessive apostrophe was intentional. The name was supposed to be a reference to “the people of the world.” While Jones called it a church, it was closer to a warped version of a Marxist commune. Initially, it combined a hodgepodge of Christian references that Jones used in his diatribes … supposedly sermons.

It was never a real church. The Peoples Temple was a straight-up cult. It required a level of commitment and financial support from members plus a degree of obedience that’s the defining quality of a cult.

Jones was the cult’s leader — and a homicidal maniac. But he had positive attributes. Jones and his wife Marceline were in favor of racial integration. They adopted a bunch of kids from varying backgrounds and were the first white family in Indiana to adopt an African-American boy. Other adopted children included three Korean Americans, a Native American, and a handful of white kids. They also had a child of their own.

Jones called his adopted kids the “Rainbow Family.” He made a name for himself desegregating institutions in Indiana. Before you get all dewy-eyed about this, note this story ultimately climaxes in the murder of all the Jones children by their parents.

The Peoples Temple continued to expand through the 1960s. Jones gradually abandoned his Marxism. His preaching began to increasingly focus on impending nuclear apocalypse. He even specified a date — July 15, 1967 — and suggested afterwards, a socialist paradise would exist on Earth. Where would the new Eden be?

Jones decided on Redwood Valley, California and before the expected apocalypse, he moved the Temple and its peoples there. When the end-of-the-world deadline passed without a holocaust, Jones quit pretending to be a Christian and revealed himself as an atheist who used religion to give his own opinions legitimacy. Jones announced that “Those who remained drugged with the opiate of religion must be brought to enlightenment — socialism.” Prophetic words since Jones was a drug addict who preferred literal to metaphorical opiates.

As media attention increased, Jones worried the Peoples Temple’s tax-exempt religious status was in danger. He was paranoid about the U.S. intelligence community — probably with justification.

jonestown massacre anniversary

Jim Jones, cult leader

In 1977, Jones moved the Temple and its people to a different site that Jones had been working on since 1974. It was located in Guyana and he modestly named it “Jonestown.” It was a bleak, inhospitable place. Built on 4000 acres with limited access to water, it was much too small and seriously overcrowded. Temple members had to work long hours just to keep from starving.

Nonetheless, Jones decided his people would farm the land of his utopia. He had put together several million dollars before getting to Jonestown (he confiscated all his followers’ money), but wealth was not distributed. He barely used any of the money for himself and lived in a tiny, bare-bones shared house.

All Hell Breaks Loose

U.S. Congressman Leo Ryan visited Jonestown in November of 1978. Rumors of peculiar goings-on were leaking out of Jonestown. Ryan decided to investigate rumors of abuses in Jonestown. Ryan didn’t travel alone. He took a contingent of media people including NBC News correspondent Don Harris and other reporters, plus relatives of Jonestown residents. He assumed that this would protect him — a major miscalculation.

During his visit to Jonestown, Congressman Ryan talked to more than a dozen Temple members, all of whom said they wanted to leave. Several of them passed a note saying: “Please help us get out of Jonestown” to news anchor Harris.

If the number of defectors seems low considering the more than 900 residents of Jonestown, remember they had not been allowed to talk to most of the “fellowship.” The number of those who wanted to leave could have been much more. We’ll never know.

Ryan began processing the paperwork to repatriate Temple members. In the middle of this, Ryan was attacked with a knife by temple member Don Sly. This would-be assassin was stopped before Ryan was hurt. Eventually the Ryan party decided to leave. They and the Jonestown defectors drove to the airstrip and boarded planes.

Jim Jones had other plans. He sent armed Temple members — his “Red Brigade” — after the Congressional party. These creepy “soldiers of the Temple” opened fire on them, killing Ryan, a Temple defector,  three members of the media, and wounding eleven others. The survivors fled into the jungle.

jonestown massacre anniversary

When the murderers returned to Jonestown and reported their actions, Jones promptly started what he called a “White Night” meeting. He invited all Temple members. This wasn’t the first White Night. Jones had hosted previous White Night meetings in which he suggested U.S. intelligence agencies would soon attack Jonestown.

He had even staged fake attacks to add a realism, though it’s hard to believe anyone was fooled. Faced with this invasion scenario, Jones told Temple members they could stay and fight imaginary invaders. They could take off for the USSR or run into the jungles of Guyana. Or they could commit mass suicide.

On previous occasions Temple members had opted for suicide. Not satisfied, Jones had tested their commitment by giving them cups of liquid that supposedly contained poison. Which they drank (???). After a while, Jones told them the liquid wasn’t poison — but one day it would be.

Jim Jones had been stockpiling poisons — cyanide and other drugs — for years. On this final White Night, Jones was no longer testing his followers. It was time to kill them all.

Don’t Drink It!

After the airstrip murders outside Jonestown, Jim Jones ordered Temple members to create a fruity mix containing a cocktail of chemicals that included cyanide, diazepam (Valium), promethazine (Phenergan — a sedative), chloral hydrate (a sedative/hypnotic sometimes called “knockout drops”), and Flavor Aid, a beverage similar to Kool-Aid.

Jones told his followers they should commit suicide to make a political point. What that point was supposed to be is still a matter of considerable debate. Temple member Christine Miller suggested flying members to the USSR.

Of course, Jones was never really interested in escape. There was only one answer that he would accept. Death and lots of it. He repeatedly pointed out to his followers that Congressman Ryan was dead (and whose fault was that?)  which would surely bring down the weight of American retribution. An audiotape of this meeting exists. It is just as creepy as you’d expect.

Then it was time for the detailed instructions which — still baffling to me at least — the followers did as they were told. I will never understand why. Probably that’s a positive sign indicating I’m not insane.

Jones insisted mothers squirt poison into the mouths of their children using syringes. As their children died, the mothers were allowed to drink poison from cups. Temple members wandered out onto the ground where eventually just over 900 lay dead, including more than 300 children. Only a handful of survivors escaped — primarily those who happened to be away on errands or playing basketball when the mass suicide/massacre took place.

Jones did not drink poison. He died from a gunshot to the head. It’s unclear if it was self-inflicted. Jones probably died last or nearly so and likely preferred the gun to cyanide. He had witnessed the horrendous effects of death by cyanide and preferred something quicker.

What’s With the Kool-Aid?

In the wake of the tragedy at Jonestown, the phrase “drink the Kool-Aid” became a popular term for blind obedience, as Temple members had apparently accepted their cups of poison without objection. According to various accounts, the primary beverage used at Jonestown was actually Flavor Aid (sometimes “Flav-R-Aid”) — although both Kool-Aid and Flavor Aid were used.

Kool-Aid was better known than Flavor Aid. Kool-Aid was introduced in 1927 in powdered form. When Americans thought about a powdered fruity drink mix (other than “Tang”), “Kool-Aid” came immediately to mind.

So, although Kool-Aid and Flavor Aid were both present at Jonestown, the phrase “(don’t) drink the Kool-Aid” has become entrenched in popular lingo.

Personally, I never touch the stuff.

BRING IT ON …

Trick Questions

A Pulitzer-winning reporter is writing an in-depth piece – about you. What are the three questions you really hope she doesn’t ask you?


This must be the interview which celebrates my having won the Blogging Pulitzer, right? No? Has there been a mass shooting in town — and I’m the shooter? The Blackstone has angrily overflowed and washed my house away?

Garry Clean Harbors-SMALL

The aliens have landed and are shacking up in the guest room? The aliens tried to land, but couldn’t find a suitable spot to set down, the driveway being full of cars?

The President is visiting us because he’s run out of foreign countries with which the U.S. is, was or will be at war?

Really — I’m past the age where I have anything left to hide. What could anyone ask about which I haven’t already written and published in a post?

So bring it on. We are media savvy in this household. Ain’t nothin’ you can ask that we can’t answer!

IN GLORIOUS BLACK AND WHITE

Thoughts on colorful movies shot in B&W by Rich Paschall, Sunday Night Blog

If I asked you to list your favorite movies, what would they be?  Star Wars, Lord of the Rings, Transformers?  Maybe Batman, Spiderman, X-Men, Iron Man or Captain America?  Is it a 3D Surround Sound, computer enhanced spectacular? Or just fast and furious?  Do special effects and color make a movie great? Or might it be a brilliant script and amazing performances?

If you’re under 30, does your list include anything in black-and-white?  If you’re under 20, have you seen a black-and-white movie?

That’s right, black-and-white movies, like black-and-white photographs, have no colors, just shades of gray covering the gray-scale. It may seem to some that black-and-white movies were only made because color was not perfected until later, but that’s not true. Long after color was standard for all kinds of film, some directors chose black-and-white.

Some shot in black-and-white to evoke a feeling of another time and place. Raging Bull, the break-out performance for Robert DeNiro in 1980 was shot in black-and-white to evoke the era of Jake La Motta, the boxer and film’s subject.

Steven Spielberg’s 1993 Academy Award winning Schindler’s List was done in black and white not only to make it feel like a World War II movie, but also to emphasize the darkness of the subject matter. American History X, Broadway Danny Rose, Stardust Memories, The Elephant Man, all were made in black-and-white for effect, for mood, for a certain cinematographic grittiness. If you never heard of any of the aforementioned, in 2012, the Academy Award for Best Picture went to The Artist, filmed in black and white to recall another age.

casablanca-poster

Here are my top 5 black and white movies. These are required viewing before you report back next week: Casablanca is definitely number one. I know some will tell you that Citizen Kane is the best movie of all time. I watched it. I liked it. I have no need of seeing it again. I could watch Casablanca over and over.

Set during World War II, it’s the story of an American (Humphrey Bogart) who fell in love with a beauty (Ingrid Bergman) in Paris.  Forced to flee when the Nazis invaded, he is stood up at the train station by the woman he loves as the rain pours down. He winds up running a casino in Casablanca amidst a cast of shady characters … when guess who shows up? The movie includes one of the great movies songs of all time, As Time Goes By. And before you ask, Bogart never said, “Play it again, Sam.”

As a child, Psycho scared the heck out of me in the theater. It was one of many Alfred Hitchcock classics filmed in black-and-white. Anthony Perkins gave a deliciously creepy performance as the proprietor of the Bates Motel. If you have seen any other version of this classic, you wasted your time. See the original! Perkins reprises the role a number of times in sequels after he was typecast as a weirdo psychopath. Too bad; he was a solid actor.

When the Music Box Theater in Chicago was restored and started showing vintage movies, I took my mother to see Sunset Boulevard. We had both seen it on our wonderful 19-inch, black-and-white television. This was a chance to see a restored print in a restored theater. Writer William Holden is found dead, floating in a swimming pool. The story plays out mostly in flashback.

Silent film star Gloria Swanson, appropriately plays a former silent film star and manages to chew up the scenery in a fabulous performance. A list of Hollywood notables make cameos, including H.B. Warner in the Paramount film, song writers Ray Evans and Jay Livingston (who wrote music for the movie), and Cecil B. DeMille. As Norma Desmond would famously say, “I’m ready for my close-up, Mr. DeMille.”

highnoon2

High Noon is everything a western should be. The town marshal is going to resign — on his wedding day — when bad news arrives. A dangerous outlaw is coming to town, and the new marshal has not yet arrived. The old marshal appears to be no match for the younger guy he had earlier put in jail. Gary Cooper distinguished himself as the sheriff willing to face down the bad guy even if it costs him his life. An A-List of Hollywood stars passed up the chance to make this movie for which Cooper won the Academy Award.

The movie genre that used black-and-white, light and shadows for maximum effect was (is) the detective story. The shine of a street light through a window that throws a shadow on the floor which contains the lines of the window frame and perhaps the detective’s name help to create the scene. Black-and-white emphasizes composition, shadow and light, contrast and mood in ways color can’t.

Top movie of this type is The Maltese Falcon with Humphrey Bogart chasing his partner’s killer and the elusive Maltese Falcon. It costars Peter Lorre and Sydney Greenstreet, both of whom will turn up a year later with Bogart in Casablanca. The ending has one of the dumbest movie speeches, but paradoxically, one of the great closing lines. Altogether, it’s a great movie.

JIM BUTCHER: COLD DAYS

skin game jim butcherJim Butcher’s new Harry Dresden adventure will be out in a few days. It’s been a long wait, but it’s nearly over. Thought it might be a good time to remember the last book — which was one of my favorites and which I just reread to remind myself of what came before, the better to enjoy the new book: The Skin Game.


It was a long wait between books last time too. All I could do was wait, which I did with the proverbial bated breath. I love Harry Dresden’s world and with Harry, Chicago’s resident wizard. Look him up. He’s in the Yellow Pages. I read Cold Days on Kindle then listened to the audiobook.

James Marsters is a great narrator, the voice of Harry Dresden. One of the books used a different narrator and fans were seriously upset. I wasn’t as bothered as some others, but I prefer Marsters. Moving to this from Ghost Story where Harry was neither alive nor dead was rough for Harry fans. In Cold Days, Harry is back, in the flesh. Less careless of life having lost it … but as Winter Knight, he is powerful in new ways. Just as well because his foes are stronger than ever and aren’t going away

Cold Days is satisfying. Harry gets pulverized, attracting violence like iron shavings to a magnet. I am consoled knowing Harry will survive what would kill an ordinary mortal. He has already survived death itself. Earlier books ended with more resolution than these last few books. Now, each book is an episode in a continuing story line heading toward a Dresdenesque apocalypse.

Jim Butcher extracts Harry from impossible predicaments in which he faces overwhelming odds, then adroitly weaves these events into the storyline, taking Harry and the series into the next book. He wastes nothing. No phenomenon is accidental. Everything is part of a giant jigsaw puzzle, a piece of a picture to be finally revealed.

My world has more than enough evil to keep an army of wizards busy, but the evil in my reality consists largely of grey bureaucrats, corporate executives and smarmy politicians. Fighting them is like trying to punch a hole in jello. You can’t beat them; they have no substance. In Jim Butcher’s world, the bad guys are solid, big, and seriously bad-ass. Harry fights evil for me. He takes his lumps and then some, but he’s out there battling for justice and good, even when it seems he’s taken the wrong turn.

Despite appearances, Harry is never bad. He is stubborn, overly wedded to his own opinions. He does not heed advice which has cost him dearly. He persists in believing he knows best, not only for himself, but for friends and is taken aback when friends object. Sooner or later, he will get the point. He is changing. He is painfully aware of his mortality and fragility. He knows he’s made terrible mistakes he can never set right. He’s become more a planner, less inclined to charge headlong into danger unless it is the only possible course. Mindless violence is no longer his default setting.

This is good. There are six more books to come. Time to work out the unfinished relationships. Harry’s awesome world is my metaphysical escape from the life’s woes. Harry’s woes are much  more entertaining than mine. Maybe in my next incarnation I will have magic.

Including spine

Don’t miss this installment — and don’t  read the new book until you’ve read at least a few of the earlier episode (all of them is better!). It’s rich, complex and I promise it will grab you and take you for a ride you won’t forget.

The Dresden Files: