Back in my teaching days, I handed a student a copy of T. H. White’s The Once and Future King and told her I thought she might like it. She did. So much, in fact, that she volunteered to write a review for the school newspaper.
The review went something like this: I loved this book. It was just so…Guinevere was terrible. She was just so… It was so sad…It’s a wonderful book. I just love it.
Unfortunately, the review was never published, because instead of turning into ideas and thence into sentences and finding its way onto paper, it remained a clump of molecules of emotion lodged somewhere in the vicinity of the student’s corpus callosum. Only a few tiny bits escaped as babble.
The reason was no mystery: The writer was too close to her subject. She lacked distance, detachment. She needed, as Wordsworth said when defining poetry, to recollect her powerful emotion in tranquility.
Lack of detachment is a common condition. I’ve suffered from it for weeks.
Several days ago, I posted part of a paragraph from Terry Shames’ first novel, A Killing at Cotton Hill, and illustrated it with a photograph of four white-faced Herefords. That was all.
That’s still all. I’m too close to the book. I wouldn’t dare try to review it now.
If I did, it would come out like this:
I love this book. It’s just so…There’s this wonderful sentence on the second page about hovering cows…That’s exactly what cows do…I can just see those cows…The person who wrote that sentence knows cows…And the dialogue…It’s just so…I just love it.
As soon as I saw it, I fell in love with that cow sentence.* I’ve read well past page two, but I can’t erase hovering cows from my mind. So I’ll say no more about A Killing at Cotton Hill.
I can report that yesterday evening I attended a reading at BookPeople celebrating the release of Terry Shames’ second book, and the second Samuel Craddock mystery, The Last Death of Jack Harbin.
Terry spoke, read an excerpt from the book, and finished up by taking questions from the audience. To prevent the possibility that this part of the post turn into babble, I’ll simply list some of the notes I jotted down:
- Terry is from Lake Jackson. She graduated from the University of Texas and then worked for the CIA. [KW: I have your attention now, right?]
- Both of Terry’s books were finalists for the Killer Nashville Claymore Award.
- The Last Death of Jack Harbin is about a veteran who comes home from war damaged in body and in spirit. The book is about what people do with their guilt.
- Library Journal gave Jack Harbin a Starred Review. [KW: And they don’t hand those out to every book that comes along.]
- Scott Montgomery, BookPeople’s Crime Fiction Coordinator, says Jack Harbin “subtly works on you”–that you don’t realize its depth until you’ve finished–and you’ll still be thinking about it a week later.
Because of the hour, as well as my lack of detachment, this is as far as my not-quite-review will go. Suffice it to say that I enjoyed Terry’s reading, that I love A Killing at Cotton Hill,** and that The Last Death of Jack Harbin has gone to the top of my To Be Read list.
For more about Terry Shames and her books, read Terry’s “What’s Next for Samuel Craddock” and “MysteryPeople Q&A with Terry Shames,” both on the MysteryPeople blog.
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* The sentence isn’t really about cows. It’s about Samuel Craddock. But I am fond of white-faced Herefords, and the image Terry painted is so vivid, the cows overshadow the protagonist, at least in my mind.
** I forgot to take my camera to the reading, so I’ve illustrated with a photograph I took myself. The fur on the right of the book shouldn’t be there, but it was easier to just take the picture than to move the cat.
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