If Chins Could Kill

I was sent Bruce Campbell's autobiography, If Chins Could Kill: Confessions of a B-Movie Actor, by the inestimable Lucky Bob, who encouraged me to read it someplace where I wouldn't be concerned about laughing out loud. I am never concerned by such things, and I am already regarded by many people here as not fully sane. But the end of October seems to have reduced my ability to laugh out loud, even in private, at least for a while. So I didn't laugh out loud that much at the book.

But in any other month… well. This is a great book, a great read, funny and warm and full of passion. Mr. Campbell did what most people don't think they can really do—he followed his dream. He wanted to be an actor, because being an actor isn't really very much like working. Or at least that’s how it seemed. For Bruce Campbell, at least, acting turned out to be very much like work, hard sometimes, unpleasant, crazy, not especially remunerative. But throughout it he was what he wanted to do, what he had always dreamed of doing, and so the hardship and the struggle were never so bad, and what might have been grueling work seemed much more fun.

You may not have heard of Bruce Campbell. He admits this much on the back cover. But he also points out that his book isn't just for his fans. It's for anyone who wants to know what life in Hollywood is like for the majority of actors, for the working stiffs who come in every day and do the small roles and don't command $20 million per picture, who don't feed the tabloid machine and don't go testify before Congressional committees about their dimwit political opinions and don't headline summer blockbusters. There are lots of such people, far more than there are big stars, and to some degree Campbell is speaking for all of them.

If Hollywood is a hard place to make a living, but a kid from suburban Detroit with a big chin can make it, then what's to scare the rest of us off from trying our hand at what we really want to do? That's the message that underlies the whole book, and what a great message it is. Bruce Campbell may not be a household name, and you don't get the impression he wants to be anymore, but the friends he ran with as a kid all went out to Hollywood to make their way, and one of those friends (who appears throughout the book) is Sam Raimi, the fellow who made those little movies called Spider-Man and Spider-Man 2. I don't know if you've seen those; they're only the best superhero movies ever made. Clearly you can do well doing what you really want to do.

I could philosophize a while here about how this was exactly the right book for me to read right now, and it was. But I'll spare you. I may not have laughed out loud every other page, but I wouldn't have laughed out loud at much the last couple weeks; doesn't mean I don't appreciate the humor. And whether you're a fan of Evil Dead or Army of Darkness or Brisco County, Jr. (or The Hudsucker Proxy, one of my favorite movies of all time) or not, Bruce Campbell is a funny man, a down-to-Earth guy with a great story to tell and a great way of telling it. You're going to like this book. Go read it.

O Pioneers!

I bought this book, along with Goodnight, Nebraska, earlier this year when I was planning a long trip to Nebraska and wanted some background reading. That trip—the Nebraska Hedonism Tour, which was to begin with an old friend's wedding and included stops at nearly all of the state's dozen wineries and which I was greatly looking forward to—fell through when the trip I'm currently on came up. Consequently O Pioneers!, by Willa Cather, languished on my bookshelf for a while. It being a bit of Classic American Literature such as you might read in high school, it might have languished there for a long time (high school literature and I have had a bad relationship ever since Mrs. Foust's interpretation of Silas Marner), so before I left home I placed it among a pile of books to have my folks send me out here when I ran out of other reading material.

I've never read Willa Cather before. She was apparently quite the interesting character in her own right. O Pioneers! follows, in bits and pieces, the life of Alexandra Bergson of Nebraska and her family, of how the high plains were tamed by the hand of man and the plow. Actually, in this case, it's the hand of woman that does much of the work. Cather's Alexandra is a strong-willed woman who makes her way by her own wits. She may not get her hands dirty with the farm work, but she is one of the first large-farm managers in history and in an era when women weren't expected to manage anything and even their rights to property were suspect. Parts of the critical commentary that lead off the book—as it must lead off all "classic" literature as if readers cared what some literary critic has to say about a book who's value is adequately proved by its staying power—describe it as one of the first important pieces of feminist literature, as if somehow O Pioneers! is less about the strength of ingenuity, the American spirit, the truth that all individuals have power and worth, and instead is some sort of proto-chick lit, Bridget Jones on the High Plains.

But I digress. Had I read O Pioneers! in high school I might have hated it, because it is somewhat slow. Cather's narrative jumps years at a time, sixteen years at one point, and glosses over the most interesting bits, the specifics of how Alexandra and her wit and her brothers and their work managed to make something out of the harsh terrain of the Nebraska plains: one chapter ends with Alexandra convincing her brothers to go along with her scheme, and the next begins with the statement that the scheme has worked brilliantly.

Of course I may be interested in how they got from A to B, but Cather knows better that the story doesn't hang on how exactly the transition occurred, only that it did, and how it affected the characters and the country and the people around them. This doesn't mean the narrative is fast paced. But the book is short and it moves along, the characters are well-drawn if always somehow a bit distant, and the writing is not heavy or difficult (the book was written in 1913). I read the whole book in about four days without spending undue time doing so.

The editor's occasional footnotes and endnotes can be annoying, and seem entirely random. One page has four footnotes, elaborating on the local flora Mrs. Cather names without description. Another page has more local flora treated in the same way by the author, but without the footnotes, as if the editor though we poor readers would be flailing about wondering what a snow-lily was but wouldn't be bothered by the mysterious marsh-trumpet. None of the footnotes add a thing to the story and their inconsistency is more annoying than anything. When possible, it's best to find copies of classic literature that are simply presented as they are and not beaten into submission by editors and critics; this is not always possible when purchasing books online, which is why bookstores are still so much more fun.

Ultimately the book brought to mind the truth that we have no more real frontiers in America, and that being in such control of the land as we are we as a people tend to forget what it took to get us to where we are. Alexandra Bergson's America was not a global Colossus bestriding the seven seas, and the simple questions of existence, of food and shelter and survival, were much more in her mind and the minds of her fellow Americans than they are in ours today; reading the book reminds us of that. For that reason if for no other O Pioneers! deserves a wider audience.

Understanding Iraq

I bought Understanding Iraq, by William Polk, at the beginning of this year when I expected to deploy there. That deployment fell through, and there is no Understanding Djibouti. So I read this book instead. We could all use a little understanding.

Unfortunately, I can't review this book and adhere to my "no political content" policy, so I won't try. The book is interesting; it is slim and well-paced and written by an old hand with no need to prove his academic credentials to anyone, so it's easy to read. That said, the author, a trained historian, has very well-defined political opinions, and it is hard not to see that from the first section of the book, on ancient Iraq. It's tempting to say his opinions are formed by years of study, and of course to some degree they must be—and the author has spent a significant amount of time living and working in Iraq and so knows the place well apart from his study—but two people can look at the same set of facts and draw different conclusions. Readers inclined to Mr. Polk's point of view will find this book a quick read and a useful resource in discussions of the topic. Readers on the other side of the aisle will not be so inclined.

The Prophet and The Messiah

I don't know how to review this book, The Prophet and the Messiah, by Chawkat Moucarry, which is I have not reviewed it before now. The book was written by an Arab Christian who has made a career teaching Muslims and Christians about each other. That such a job is both vitally important and woefully neglected is undeniable. The book was written to reach people the author cannot reach himself.

It is certainly a good book and absolutely worth a read by any Christian, any Christian at all whether he or she engages with Muslims or not. There are too many myths, too much shouting, too much demonizing and burying of truth in our society. Shouting pundits and crying televangelists do nothing to bridge the yawning gap between our faiths and in fact simply make it wider. We American Christians foment hatred and false truths about Muslims just as surely as Middle Eastern Muslims do so about us.

The book is valuable especially to Christians working in evangelism. Moucarry does not begin his discussion by claiming Islam is wrong and its practitioners evil, as so many evangelists do. It's hard to minister to a people you think to be demons, doubly so when you don't understand where the people are coming from. Muslims are justifiably proud of their faith, and any attempt to evangelize to them that starts with "you're wrong and here's why" will cause offense and close ears and minds and hearts, and is a waste for both parties.

Moucarry starts by discussing the differences between Islam and Christianity; this discussion is clearly geared toward a Christian audience and seeks to put to rest the myths Christians tend to hear about Islam. He then goes on to discuss the myths Muslims are taught about Christianity, at some length, and where they come from and why they are myths and, to some degree, how Christians can explain these things to Muslims without offending them. He then goes into specific doctrines of Islam that Christians can question validly, and why similar doctrines of Christianity are defensible against questioning by Muslims. Finally he treats the question of the truth of Islam, of whether there is genuine revelation in the faith and what we might learn from it.

It can be a difficult book to read, especially in the early going when Moucarry cites Islamic false claims about Christianity in one chapter and only in the next chapter gets around to laying out the truth. Reading with an open mind is absolutely vital, and a Bible is a necessary resource. But difficult though it may be, the book is a worthy read and I recommend it highly.

November Novel Update

It's been quiet lately at work and I've been doing a bit more reading in the evenings than the last week or so. One of the books I started was Bruce Campbell's autobiography, which has been great fun. And lately I've been engaged in a fierce (well, not really) debate about the correct taxonomy of one of the common trees on this base, Conocarpus lancifolius, which doesn't have an English common name but is called ghalab by the Somalis. It's quite a nice tree but there's a dearth of agreement as to what, exactly, it is. I'm going to post a couple pictures shortly along with a long and rather dry explanation of the naming controversy, which is not as yet settled (I've brought in the New York Botanical Gardens and the University of Florida Herbarium to help, and may have to try to get myself a wood sample to bring home). This is fair warning.

And I've been pecking away at my 50,000 word novel for National Novel Writing Month. I haven't quite managed the word count I'm going to need to reach 50k, and what with the safari coming up the last week of the month I'm thinking I need to at least give myself the first four days of December. Just to be fair, you know.

As of this writing I have 2778 words, not counting the title. I cheated, though, because the main character--acutally, it appears he's going to be peripheral--is named Ivan Marion Cartwright Harrison Templeton van Arden Telemann Romanostovich-Spastiziczisikowski. That's ten words right there. Of course, he goes by Van and his full name is only reported once.

This book has not led in any of the directions I considered in the last post. It's clearly straight farce. The action takes place in the city of Porktown, which is a state capital. The climate is uniformly warm and breezy because of the high proportion of state legislators and advertising agencies that call the place home, such that none of the characters are actually sure what time of year it is (it's the month of Checkuary). One of the other characters is named Melllllllody, although she doesn't pronounce the extra six L's (unlike her mother Ellllizabeth). Like all fifteen year old girls dream of doing, Melllllllody ran away from home and took work on the tugboats and garbage barges that ply the Dreary River, which runs into Gabba Gabba Bay at Porktown. The character I now suspect of being the central character in the story so far doesn't have a name. He goes about in a tweed smoking jacket and blue velvet cape and calls himself The Reporter. Clearly he's some sort of superhero, although at present his only superpower seems to be predicting traffic accidents.

Remember when I said, it doesn't have to be good? Right. I do take my own advice, even if no one else does.

Write a novel in a month?

My esteemed friend mentioned over on his blog that November is National Novel Writing Month, the goal being to write a 50,000 word... um... piece of fiction, in the month of November. This boils down to 1667 words per day, which is significantly less than I did on Lauderdale on good days. But "good days," on Lauderdale, were days in North Carolina on the porch where the only thing I had to do all day apart from writing was fix and consume meals. I could put in 10,000 words on such a day if things were going well.

Now I have a job that keeps me busy from 0730 to 1700 or so. I should at least be able to get 1667 words a day at the speed I type. But what to write about? I've decided this is the perfect opportunity to explore science fiction, cyberpunk, or noir, all three of which I've considered trying my hand at.

Since the goal of National Novel Writing Month is not to produce a good novel, but just to write for the sake of writing (something too few people do), it seems a great opportunity to give one of those genres a shot. And I think everyone else should, too. So I'm challenging my readers--well, my readers who blog, and my other readers who have any sort of emotional connection to the little silhouetted tree there on the right and didn't just give birth, and my other readers who think it sounds fun--to join me, and apparently also Scanime, and at the end of the month we'll see just exactly how ridiculous the things we've come up with are and pass them around and have a good laugh. Come on, you know it sounds like fun. Admit it. Even if you don't hit the 50,000 word mark, you can at least try, right? Right. So it's settled then. And since the 1st is already almost over for me you all have a head start.

Remember, it doesn't have to be any good. It just has to be.

Memoirs of a Geisha

I wasn't sure whether I was going to like this book. I don't know why I wasn't sure, I just wasn't. But it was insanely popular and they made a movie out of it. Arthur Golden is no doubt a reasonably wealthy author now (he should help out his brother Al with that Temple football program...) and he managed it by completely ignoring that old saw "write what you know."

So of course I was interested in what the book was like, but as I said I wasn't sure I'd like it.
And the truth is were it not for the stationary bikes in the gym I might not have gotten past the first ten chapters or so. It was the only thing I had that I could read there (the rest of my books at the time were all larger format) so I read it.

It does start a bit slow, at least to me. This is the problem I'm having with Lauderdale right now, in fact, is figuring out how to increase the pacing in the early part of the book without sacrificing the myriad setups to later events. I'm actually rather happy to see that Memoirs has a bit of the same problem, but it seems that millions of Americans were willing to keep reading without benefit of a stationary bicycle, so perhaps there's hope for Lauderdale, too. Not that I'm done working on it, of course.

After the first fifty pages or so, however, I was sufficiently absorbed by the characters that I was quite happy to continue reading. This is true skill, taking characters with whom most readers have nothing in common and making them not just interesting (of course they'll be interesting), but sympathetic as well.

Truth is, I rather enjoyed the book. I'm still a little confused by that. Not much actually happened; there was very little action. I had an inkling what certain of the characters were going to do before they did it, sometimes quite some ways out. But that didn't make the book any less enjoyable.

I'll be putting the movie on my Netflix queue, if only to see how the filmmaker portrays Gion. But the book was good. It was well worth the read; I'm glad I picked it up, and glad I set aside my doubts.
But I'm also glad for the stationary bike.

Plainsong

I picked up Plainsong from the local library. I was attracted by the pretty picture of stormclouds on the front and the fact that it been nominated for but not won an award (I have nothing against awards, and would like to win one myself some day, but as a general rule I find that I don't enjoy award winning books, especially Pulitzer winners, so I don't generally pick those up). One ought not to judge a book by its cover, of course, but books contain lots and lots of words and the only way to know if one is any good is to read the whole thing, which is untenable, standing there in the library. So yes, I buy books based on whether I like the cover or not. Of course I buy books for other reasons, but I daresay a huge majority of people sometimes buy books because they like the covers.

The picture of the author, Kent Haruf, on the second page makes Mr. Haruf look almost exactly like one of the people I work with. Scary, actually. Anyway, that's beside the point.

The point being that this book was outstanding. And I'm almost surprised I can say that. Mr. Haruf has a very particular writing style, very spare and simple (almost no adverbs at all, which you may have noticed I use rather a lot), never a longer word where a shorter one will do, hardly a comma to be found, sentences that might be called run-on if you were in fourth grade. For example:

He went out into the hall again past the closed door and on into the bathroom and shaved and rinsed his face and went back to the bedroom at the front of the house whose high windows overlooked Railroad Street and brought out shirt and pants from the closet and laid them out on the bed and took off his robe and got dressed.

I could never write a sentence like that. Not because I wouldn't deign to run a sentence on so (this one here is going to be plenty long), not because I would be afraid of neglecting my friend the comma, but because I simply couldn't pull it off; I'm not good enough. Maybe someday.

Plainsong is written like that. Haruf tells you plainly what his characters did. And, he tells you what they said. That's a key point—the narrator here tells you what characters said. The characters don't say these things themselves, not in the immediate sense. Of course you have no doubt as to the narrator's veracity; it's just that there's no proper dialogue. Such as like here:

…Presently she stopped cranking the machine and put in another master.
What brings you here so early? she said.
Crowder wanted to talk to me.
What about?
Russell Beckman.
That little shit. What'd he do now?
Nothing. But he's going to if he wants to get out of American history.
Good luck, she said. She cranked the machine once and looked at the paper. Is that all that's bothering you?
Nothing's bothering me.
Like hell it isn't. I can see something is. She looked into his face, and he looked back without expression and sat smoking. Is it at home? she said.
He didn't answer but shrugged again and smoked.

I don't know how to tell you how amazed I am that I liked this. Loved it.

I set down and stopped reading The Shipping News because I didn't like the writing style Annie Proulx used in the book. The Shipping News won the Pulitzer. It was a great book, loved by millions. I didn't get past chapter two. Haruf's conventions in the writing of Plainsong are no less idiosyncratic and certainly I would have expected not to tolerate them. Instead I loved them. But for the fact that it's been done I'd try it myself. I don't know how or why, but this spare writing makes the book that much more beautiful.

And that's what the book is, beautiful. There are not many characters, not many important ones anyway. They all lead their own lives; none is central. Of course the story would hardly work if they didn't all connect, and they assuredly do. One of the advantages of setting a book in a place like Holt, Colorado (a town not at all unlike Goodnight, Nebraska) is that characters are plausibly all connected one to the next, because the town is just that small. Of course Victoria and Guthrie will intersect. How can any two people in the town not?

The story is itself beautiful. It's also hard; the characters do not have it easy. Things get worse before they get better. People hurt one another, not meaning to. And other people do mean to hurt one another, and succeed, and in the succeeding betray their own worst impulses and hurt themselves. But amidst the hardship and hurt there is love, there is the discovery of new relationships. People grow up. Some people change in ways they never thought they would, or would have to.

What Haruf has done here is no small feat: he's gotten everything right. The whole book feels right, the setting, the characters, their trials—it all smacks of life and it draws you in. And he did it while ignoring one of the most common writing conventions. I still don't know how he pulled it off, but I'm glad he did. This is one of the best books I've read this year.

God's Smuggler

It's rare I read two books at once that are both outstanding, but I got lucky this time I suppose. I must thank AMS again for sending this one to me, as otherwise I might never have heard of it.

If you haven't heard the story, it's fairly simple. God's Smuggler, a fellow known as Brother Andrew (who at the time of publication for obvious reasons didn't care to announce his name to the world), felt called to do missionary work behind the Iron Curtain during some of the hottest parts of the Cold War. He delivered Bibles to the struggling churches in the communist countries of Eastern Europe at a time when the Church was under attack and distributing religious materials apart from the aegis of the state was a criminal offense likely to be punished by a long prison term if not summary execution. This is his story of that period of time.

I can't possibly do this book justice in a review. Like Brother Andrew himself the book is absolutely filled with the Spirit; you can feel the presence on every page. It is an amazingly uplifting read; this man has given himself over entirely to the Spirit, to God's will, and has done remarkable things because of it. It is an inspiration to read the story and I'm going to have to get my own copy so I can read it again, and again and again. This is a book every Christian should read, and more it's a book anyone curious about Christianity should read. Brother Andrew's story is nothing less than proof of the real power of God in the modern world.

The book is sitting in my room. I feel bad about that; it doesn't want to be sitting here collecting dust, it wants to be in someone else's hands right now. I might bring it to church on Sunday and pass it on for a few weeks, but I'm sure the book's owner wouldn't mind at all if I mailed to it to one of my readers…

Business

I read two different books, very different, having nothing whatsoever to do with one another and concerning entirely different topics. I'm going to try to relate them here because it amuses me to do so. The first was The Alchemist, by Paulo Coelho. This book showed up in the library and it had a pretty picture on the cover and was fairly thin, and those were both important at the time so I took it home. I've been reading it for some time, though it is not only thin but has huge margins and double spaced text. The cover gush says that this is the sort of book that "changes the lives of its readers forever."

Of course right now I'd accept the small change of being able to sleep through the night. But that's beside the point.

Incidentally, for those who feel they might like to read The Alchemist at some point, this post is laden with spoilers and gives away the ending, so you should skip it.

This is a nice little tale, magical realism and all that, about prophetic dreams, fulfilling your destiny, and finding the fullness of your life along the way. It's all well and good. Listen to your dreams. Believe in omens. Follow your path and you'll be satisfied in life.

Who sets the path, though? Is there but one path for each of us? If the only way to find satisfaction is to do precisely what fate has laid out for you, then why bother living? Fatalism makes life into little more than a board game; what point is living each day if you have only to follow the signs to happiness? Why not just condense life down into a simple choice, presented to your soul the day you are born: will you live the life of fate, or not?

I don't think this was Coelho's point, but talk of fate and destiny always raises in me these questions. What point is free will if every choice but one is wrong, every path but one a dead end road to failure? This reduces all of creation to a grand experiment, the Earth to an infinitely complex maze with us as rats. Navigate each turn correctly and you get the cheese; otherwise you're damned. How does Grace enter into such an experiment? Why should it?

I'm not much for fate or destiny. God may have a plan for us, but I don't believe He damns us for failing to get it right. If so, well, I'll be… you know.

The Art of Headless Chicken Management, by Elly Brewer, was intended to be a funny look at inept managers, at how some people escape the peter principle and rise far above the level of their incompetence. It was amusing, of course. All who've worked in the business world—and make no mistake, the AF is the business world in nearly every respect, save the need for profit—will recognize the Headless Chicken Manager and can surely point to at least one example thereof. So it goes.

Are the Headless Chicken Managers (HCM) following their destiny? Are incompetent boobs who succeed in spite of themselves while making life more miserable for their colleagues and subordinates really doing the right thing? They seem to be happy. They seem to be quite full of themselves, in fact. So they must be following their destiny to be so happy.

That, or all us underlings are not in our correct path and need to listen harder to the omens. This seems a bit of a stretch; there are far more underlings in the world than managers, Headless Chicken or otherwise.

Thinking on this I considered that I've no desire whatever to be the sort of person, ten years from know, who would understand the jokes in The Art of Headless Chicken Management. I'd rather have left that world far, far behind, a distant memory of a dark period. I don't honestly care how I manage this.

Oh, I know. Every field has its HCMs. Every job has a boss and every boss, being just as dumb as you are, seems even dumber (the peter principle again). This sounds to me suspiciously like fate: you can't escape this horrible plight, so why bother trying? In fact, this sounds worse than fate. At least with fate, you get one correct path to happiness, one slim source of hope; the "it's like that everywhere" mantra offers none. I reject that notion, too.

Given the choice between destiny and hopeless misery, I, like the hero in The Alchemist, would choose destiny. In following said destiny our hero undergoes terrible hardship. When he seems to be just at the end of his journey, he is set upon, robbed, and beaten. The robber leaves him with naught but a few sentences to chew on: Don't be so stupid. I had a prophetic dream once, but I wasn't dumb enough to follow it across deserts and oceans. Look where it got you. And in that sentence the robber tells our hero about his prophetic dream, and the hero realizes that his fortune, his destiny, all along lay right where he came from, under the very tree he'd been sleeping at when he had his own dream.

So. I may not buy into the fate thing, but sometimes there's meaning in the words of others that they didn't intend. Life is hard. It isn't fair, and sometimes you get robbed blind and beaten up just trying to make your way. But if you keep your head on, you may find something valuable even in the beating. Strength and wisdom come through hardship, not a life of ease (a life of ease may grant you bullheaded stupidity, which can look like strength or wisdom and is enough to get you elected, but it's a pyrrhic victory). And strength and wisdom are what help you to make wise choices and good decisions. Wise choices and good decisions will get you far enough in life to have the opportunity to think about fate, and destiny, and God's chosen path. And once you have the capacity to do that, what does fate matter?

The Holy Duckfire

This is sort of a disturbing article--Two Men Charged In Duck Beating--on a couple of levels (one of which is, it's illegal to beat a duck to death with a stick but not illegal to go bowhunting for a buck that can't be brought down with a single arrow; how do we determine where cruelty starts and stops?). But the most disturbing level is this one:

Murcia-Rosa told investigators that he and two friends were fishing in a lake at Parrots Landing Apartments in the 1100 block of Sussex Drive when several ducks swam to the pieces of bread they used as bait.

Parrot's Landing is the apartment complex that Hank Lauderdale lives at in Lauderdale. The ducks in the canal there feature prominently in one of the episodes in the story. One of the minor characters sacrifices a duck in a Santeria ritual. But he isn't cruel about it.

Still. The whole thing's a little weird.

Congo

This week's reading them was The Congo. I wrote a very--very very--long review of these two books, which I've shelved as being about a great many topics apart from the books, and I'll post pieces of it as time goes on. So here's a much quicker
review.
The first book was The Congo from Leopold to Kabila: A People's History, by Congolese academic Georges Nzongola-Ntalaja. The book was more academic than I'd expected and as such I wouldn't call it a fun read. But it was certainly informative. Nzongola is a true believer in the power of democracy, truer I think than most American politicians. That bias (if you can call it that) is evident throughout the book, and Nzongola clearly believes that if real democracy can be brought to the Congo the place will settle down. But the country's history is rapine followed by more rapine; the place has never known a government that didn't consist of wealthy thugs stealing money from the treasury while ignoring the needs of the population--never. Not once since it was created in the 1880s. And it does not know that now. Having searched around on the internet for recent writings from Nzongola (the book was published in 2003, after Laurent Kabila's assassination but before this summer's election was on the calendar), it is clear he does not believe Joseph Kabila, or the elections as constituted this year, will bring democracy to the country. It is hard for me to see much hope for the place, but Nzongola does, and closes the book by reaffirming his belief that it is possible for democracy to come to Congo, and when it does it will bring peace to the country. We can only hope.

Facing the Congo by Jeffrey Tayler was a somewhat different book, a travelogue. Mr. Tayler, finding himself (as I do) bored and dissatisfied with life, decides he has a need for adventure, and that he will find himself somewhere on the Congo River. He determines to fly to Zaire (this was in 1994, while Mobutu was still in power and before the name had changed), take a barge upriver to Kisangani, the highest navigable point on the Congo, and from there purchase a pirogue (a Congolese dugout canoe), and a hire a guide, and pirogue down the river alone all the way to Kinshasa. Suffice to say he has not even made to Kinshasa and he is already wondering whether this is a good idea. It isn't, of course, it's absolutely a dreadful idea, but Tayler proceeds apace and survives to write about his trip. Of the two books, though Nzongola's is an outstanding work and very thought-provoking, this is of course far away the more readable and more interesting. More than that, as travel writing goes, Tayler's trip makes all other so-called "adventure travel" look like a Sunday drive with Miss Daisy. I highly recommend it.