The Knock: A Collection of Childhood Memories

by Carolyn Watkins
Mindstir Media

book review by Kate Robinson

“I quickly learned that military kids must be flexible.”

As an inspirational memoir and a tribute to military families, this picture book for middle-graders stands out with its down-to-earth reflections by the author and tender watercolor illustrations by Lindsey Erickson that evocatively enhance the nature of the text. Watkins’ honesty about her real-life experiences fosters readers’ ability to have fruitful parent-child discussions about these emotional matters of separation and possible loss. The author stresses that her family could have shared their feelings more: “Perhaps Mom and I could have talked more about our feelings. I have now learned that sharing feelings makes it much easier to cope with them.” Likely this is why her book includes notes for parents and educators in the end matter with questions, points to consider to bolster these necessary conversations, whether at home or in the classroom. This guidance could help children feel safe to express their feelings and work through any emotional difficulties caused by missing the absent military parent or by fearing for their life.

Children with working parents everywhere face significant challenges in modern life, but arguably none more so than children in military families, who face impermanence far more often and far more keenly than children in families whose parents and caretakers engage in other professions: “When I grew up in the 1960s, my family’s life was filled with departures and transfers and moves… Our dad was in the U.S. Army and was often away for long periods of time,” the author states. The many poignant images of Watkins’ family life and her strong storytelling voice amply illustrate the courage, persistence, and moral compass needed by homebound parents and relatives to maintain a stable household for kids when a parent is deployed to a faraway destination for extended duty, or when a family makes frequent moves to various military assignments.

The experiences and research of others lend additional weight to the ideas expressed in Watkin’s book. For example, poet and memoirist Dr. Nancy Owen Nelson, whose father was a career military man, describes her early years as “one of constant change and uncertainty,” and has explored in verse and prose how difficult patterns in adult life can be attributed to the constant movement of military families. And in a paper titled “Psychiatric Effects of Military Deployment on Children and Families,” authors James and Countryman (2012) cite “recent findings with deployed service members with children have shown problems with sleeping, higher stress levels and anxiety, declining grades, an increase in maladaptive child behaviors, and increased rates of child maltreatment.”

Watkins’ experience thankfully shows how supportive and strong her mother appears during her father’s deployment to Vietnam and during his long recovery after the family receives the dreaded knock on the door. Fortunately, in the Watkins family’s case, “the knock” was not a death announcement but notification of serious injury. While this was still a worrying and profound time, it was also a relief to family members because this meant their husband and father would eventually come home. Watkins’ narrative also effectively conveys how a supportive family network is forged when her maternal grandmother arrives to help out and how her presence solidifies the children’s security during her son-in-law’s deployment.

RECOMMENDED by the US Review

Babylon Laid Waste: A Journey in the Twilight of the Idols

by Brigitte Goldstein
Pierredor Books

book review by Nicole Yurcaba

“My thoughts wandered back to the time, so long ago, it seemed, at Frau Maibach’s pension and my discovery of the writer Franz Kafka.”

In 1946, Misia Safran, a highly talented, recognized writer and Jewish émigré, receives an alarming letter that claims her grandmother is still alive in a care facility in Berlin. Misia at first questions the reality of returning to a war-ravaged and ideologically divided Germany to save her grandmother, but despite her parents’ objections, she connects with a people-smuggling ring and acquires forged identity papers that launch her on a journey into the heart of the defeated Third Reich. However, Misia’s travels to Berlin are quickly interrupted. Just as her adventures using the false identity of Beate Hauser begin, Misia finds herself captured by the U.S. military and at the mercy of Major Emil Zweig in a camp for female Nazi war criminals.

Unwilling to reveal her true identity and true mission, Misia forms a relationship with Franticek Kafka—the dark, mysterious, self-confident former Jewish prisoner who intuits that Misia is a Jew posing as a German. As Misia struggles to make sense of her circumstances and to reconcile with herself for taking on the treacherous task of following the mysterious letter’s claim, she also embarks on a whirlwind romance with Franticek and dances into a dangerous realm where personal vendetta crosses with justice for the Jewish people.

At this book’s core is Franticek, a camp survivor and Hebrew speaker. He is also a Viennese Jew who once lived with the Wagnerian opera star Lenka Ostrova, a Bohemian-Jewish woman who scrubbed with a toothbrush the Viennese streets as Nazi-sympathizing hecklers laughed. This book’s invocation of the great German-speaking Jewish novelist and short story writer Franz Kafka as a parallel for Franticek adds even more complexity to his role and identity. In his May 29, 1914, diary entry, the novelist Kafka wrote, “I stare rigidly ahead lest my eyes lose the imaginary peepholes of the imaginary kaleidoscope into which I am looking, I mix noble and selfish intentions in confusion… I invite heaven and earth to take part in my schemes, at the same time I am careful not to forget the insignificant little people one can draw out of every side-street and who for the time being are more useful to my schemes.”

Like the beads in the real Kafka’s metaphorical kaleidoscope, Franticek’s character is fantastical, self-sufficient, and individualistic. He is heroic, mysterious, educated, and the lone wolf whose life circumstances have made it difficult for him to connect with others, an undecipherable myriad of traits and skills. Misia observes that Franticek “embedded his story within the overall fate of his people” because “his experience, as he presented it, was emblematic of that of all tormented Jews.” Furthermore, his torments mirror those of not only war-destroyed Europe and the Jewish people but also that of Misia, who states, “And to that end, I had no choice but to hitch my fate to the goodwill of this strange man who called himself Kafka.”

Misia struggles with balancing her real identity and her fake identity as Beate Hauser, and she often finds herself in an internal game of who is really who. However, for Misia, it’s not only a matter of names but also a question of Jewish-American identity, which often forms an incredible chasm between her and Franticek, especially as the latter embarks on his vendetta which involves the slaying of the former Wagnerian opera star Elfriede Kling. These chasms make Misia an impressionable but willing-to-question student for Franticek, especially in the field of clandestine survival in enemy territory, an area that often causes Misia moral anxiety and makes her question the person that she has become, particularly in her acceptance of violence.

Misia—because of her emotional and personal strength, her resilience, her adaptability, and her intellect—becomes an admirable heroine for readers searching for a strong female lead. As the world marks Holocaust Remembrance Day during the 2020 Coronavirus pandemic, this book becomes a much-needed read for the current times because of its message of survival, its recollection of history, and its focus on the importance of memory. As society transitions into new and often frightening forms due to lockdowns, stricter regulations, technological overreach, and changing, challenged narratives from various political regimes, this book offers insights to historical events that are all too fresh in the minds of those who survived those events and their aftermath.

RECOMMENDED by the US Review

The Book Killers: Weak Point of View

The Book Killers: Stilted Writing

In this ongoing series, Christopher Klim, author and senior editor of the US Review of Books, takes a look at common errors that undermine books.

The word stilted is defined as stiff, self-conscious, and/or unnatural. In a book, this concept is just as unwelcomed. For example…

It was a starry night. An owl flew low beneath the moon. Joe loved Jane so much that he thought his heart might burst. But nothing would stand in their way now. He swept her off her feet and carried her through the threshold of their lives together.

“Stop right there,” said the shadowy figure coming from behind the light post.

“No, not you!” Jane gasped.

“Have you forgotten about your husband?” the stranger barked.

“Sir, you must reconsider your approach,” Joe said.

The above passage forms a parade of clichés, passive verbs, hackneyed concepts, repetitions, invariable sentence structure, overly formal speech, and talking heads. Neither entertaining nor enlightening, these issues combine to stultify the reader. Let’s discuss a few of these problems.

Clichés, passive verbs, repetitions, overly formal speech, and even hackneyed concepts boil down to laziness on part of the writer. To complicate their existence, writers may become comfortable with these phrases and scenes during multiple readings to the point where a false sense of confidence in the prose arises. This is why cooling off periods—days or weeks if allowable between revisions—are vital to identifying problematic writing. Try to think of these issues as placeholders that will be replaced with stronger phrasing and construction. If the writer is not surprised or energized by his/her words, then no one else will be.

Talking head syndrome occurs when the characters provide information that either they should already know (i.e. “Hello, I’m Bob, your uncle.”) or barely relates to the conversation. This happens when the writer tries to relate narrative information through the character’s mouths. It is always obvious, and it saps momentum and authenticity from the work. In the example above, the entire dialogue should be replaced.

Invariable sentence structure, which is typically a repetition of subject-verb sentences without changes in presentation or structure, reveals the writer’s skill level or lack thereof. Fluctuations stimulate the reader’s mind. Changing sentence structure also is used in relation to the tone of the story. For example, short and quick sentences work for action scenes and humor, especially punch lines. Longer sentences can be found in romantic prose. Leading and trailing phrases form a variety of transitions. The list here is long and can be observed in any good literature and nonfiction narrative.

Many early writers are so eager to get their ideas on paper that they overlook the words themselves. On face value, that statement seems like a paradox, but it is only the normal course of a writer’s development. Skilled writers won’t accept stilted writing in their work, and during the revision process, they learn to identify their particular bad habits and eliminate them.

Here’s a cliché: All writing is rewriting. It also happens to be an axiom of the process.

Next in the The Book Killers series: Unfocused Openings

Previously in The Book Killers series: Inferior Word Choice 

A Critical Investigation into Precognitive Dreams: Dreamscaping Without My Timekeeper

by Paul Kiritsis
Cambridge Scholars Publishing

book review by Jonah Meyer

“Quite simply, while passive observation of past and future events may, under certain circumstances, be possible, direct participation in them is impossible.”

In this detailed and wide-ranging book, the author is primarily concerned with the phenomenon of precognitive dreams—that is, the study of dreams which contain a premonition or subconscious inkling of something which has yet to be but does, in fact, take place in the future. The future, as it were, may be less than 24 hours later, days or weeks later, and may even range into years. The closeness in resemblance between the event, object, person, etc. in the dream and its real-life waking counterpart can vary widely, from a vague symbolic resemblance to more extreme cases of actual equal identification. Additionally, sometimes dreams of precognition can be on a personal level (which is the more common type, such as one dreaming a relative will pass away and then precisely that happening in real life), or of a collective nature (such as precognitive dreams involving natural or man-made disasters, airplane crashes, and the like).

Intertwined with the author’s engaging analysis and exploration of the primary subject matter at hand, he positions the phenomena—and why we generally, in the Western world are reticent to accept such a concept as precognition via dreaming—in the larger context of a comprehensive analysis of scientific thought and general worldview assumptions over the millennia (including especially our accepted understanding of time and space), focusing primarily on the history and tendencies of science and Western thought over the past few centuries. Necessarily, various intellectual disciplines and scientific pursuits are examined, along with many key players in the various fields, in positing the author’s argument that there are large cultural forces at work which have over time led us, collectively, to a place where any such mention of the questionable realms of telepathy, extra-sensory perception, precognitive dreaming and the like are at once dismissed by society at large as paranormal gobbledygook and as downright blasphemy by mainstream intellectual heads of thought in the “accepted” sciences.

Perhaps the most enjoyable section of the book appears a bit less than halfway through, where Kiritsis shares with the reader detailed results and commentary on an experimental study he conducted on the subject of precognition in dreaming. Fifteen subjects (five males, ten females) were provided with participation forms gathering personal information and detailing a simple set of steps for their transcription of dreams alongside the identification of any self-perceived associated waking-life experiences. Participants were asked to self-manage their own trials for four or five consecutive days and returned the data to the author via email. “Subsequently,” writes Kiritsis, “the correlational quality of each dream-associative waking experience set was determined using a unique categorization system with precise diagnostic valuations for very powerful correlations (‘excellent’), powerful correlations (‘good’) and some correlation (‘average’).” The complete report was then subjected to statistical analysis. For each entry, summaries of the dreams were described by the subjects, followed by the corresponding real-life experience(s). Based on certain relevant criteria, the resemblance (if any) between the dreams and characteristics of events unfolding in reality for the dreamer were examined, and each example placed into one of the three above-mentioned corresponding categories.

Kiritsis happily notes that there was indeed some consistency across the 51 precognitive dream fragments collected in his 2014 study, wherein the primary and most potent extrapolation one can glean is that “precognition isn’t the prerogative or exclusive dominion and property right of mystics and seers. In fact, it is enabled by our neurocognitive hardware and woven into our dream tapestry—an ordinary feature of human consciousness.” In other words, despite the naysayers and skeptics, the author maintains such dreaming is actually happening, to one degree or another, all the time for much of the population. We simply often fail to make the connections because we are not on the lookout for them.

While the marketplace is saturated with plenty of books on dreaming, dream interpretation, and interpretation of symbols and artifacts that are present in dreams, Kiritsis’ book is unique in that the focus is specifically on the study between events, objects, people, conversations, etc. that people have reported having dreamt about, with a later manifestation of the same phenomena in waking, day-to-day life. Kiritsis has dedicated his research to such precognition dreaming, and the resulting book, without doubt, provides a unique, well-researched academic study of this most interesting of windows into the human psyche.

RECOMMENDED by the US Review

The Latecomers

by Rich Marcello
Moonshine Cove Publishing, LLC

book review by Carol Anderson, D.Min., ACSW, LMSW

“When its members are in harmony, there is nothing in the world they can’t do together.”

This is a wondrous story that encompasses the here and now with the time-honored connection of mystery and spirituality. We learn about Maggie and Charlie who embody the boundaries of life with the expansion of the soul. In their journey through trials and tribulations, they share the depth of eternal love. Written in the first person by both protagonists, the story focuses on symbols and sacredness, their beloved friends in the moai, and includes the goddesses and the spirits that accompany them. When Charlie goes on retreat to a beloved center, the story offers a glimpse into the necessity of dealing with his restlessness, a restlessness that Maggie saw through her paintings of him. The journey into the mysticism of life regarding their findings from a secret book of symbols, as well as magical plants, leads the group of five on a path of helping others.

Beautifully written, the narrative is poetry as prose, as the words caress the reader in this journey of life and love, aging and generativity, joy and loss, and with a spirituality that exudes from the very first page. The power of stories within the story is creatively done. The book also nicely connects the symbolism of their own works of art, a retreat center, a door that has embedded symbols, a pendant, a symbol on a rock, cave drawings, and tattoos. All are works of art—art as passion, metaphor, and spirit. The deep detail, from that of a dusty room to the descriptions of the beauty of the outdoors, offers another example of the depth of this book. With Marcello’s lyrical writing of an exceptional story, this book is sure to be on the reader’s top list of books for the year.

RECOMMENDED by the US Review

The Book Killers: Weak Point of View

The Book Killers: Amateur Covers

In this ongoing series, Christopher Klim, author and senior editor of the US Review of Books, takes a look at common errors that undermine books.

In book selling basics, the author attracts the reader and the first page sells the book, but nothing allows a potential reader to disregard a book like an unprofessional cover. The US Review encounters poor book covers on a regular basis: drab, confusing, amateurish designs or some combination of the three. So let’s take a look at book cover basics.

1) The main title should be visible from twenty feet away. This is accomplished through a combination of font, size, and color contrast. A title that is viewable from a distance in a bookstore is as easily read when reduced in size for on-line sales.

2) Title visibility applies to the spine as well. For most of its commercial shelf life, a book will be placed spine out. The title should be as large and as high contrast as possible.

3) Make the subtitle informative. While I’m not a fan of employing subtitles, except for nonfiction, book series, or very short main titles, the subtitle should be essential to the book’s message. Overall, the title and subtitle combination should not be overlong. The best titles are brief—something a typical person can remember and tell another.

4) Don’t forget the back matter. The back of the book is where business takes place. Most retailers won’t sell your book without a standard bar code in the lower right corner or a clearly visible price and genre designation.

5) Keep the book summary to 100 words or less. It’s true. A book can be explained in one short sentence. The New York Times Bestseller List bestseller list has been doing this for decades. Avoid putting a book on the back of a book. (FYI, the author bio is not a back cover essential. While it must be included in the book, it’s easily located on either the last page, inside flap, or back cover.)

6) Gather authoritative endorsements. People want to read quotes regarding the book, but not from the author, publisher, or author’s friends. Build authority for the book with commentary from recognizable experts (i.e. known authors, celebrities, or subject-related practitioners), as well as feedback from professional book review publications.

7) Employ thematic artwork. Artwork that definitively relates to the content describes the book in advance. There is a reason why romances feature a rapturous women and science fiction titles present glossy hi-tech images on their covers. The correct audience is subconsciously drawn to it. Furthermore, the color palette used evokes different emotions. Horror titles make good use of black and red. Young adult romances paint the cover in virginal white and pink. Also, men and women are attracted to different colors for different genres. The psychology of color is an advanced science, which leads us to the final element of cover design.

8) Hire a professional. Most authors are not visual artists, but a professional book designer or even a talented artist should have an innate or trained sense of image and color. Book designers can be contacted through the Internet. At the very least, struggling artists can be found locally. Check their portfolios to see if their work matches the sensibilities of the prospective book. Fees will range from nominal to pricey, but a good cover is worth it. Photoshop’ed self-made covers constructed on the cheap (and often like kindergarten artwork) are easier to spot than a title from twenty feet away, and they will debase the entire book.

The much-used aphorism “You can’t judge a book by its cover” is philosophically correct, but in reality, more people do this than don’t. A great cover sells the book as well as the author sells the book. When considering a cover design, visit a bookstore for trends and ideas within the genre. Taking the time, as well as hiring a professional, gives a book that likely took months if not years to write the jacket and marketing potential it deserves.

Next in The Book Killers series: Inferior Word Choice

Previously in The Book Killers series: Poor Structure

Broadway General Manager: Demystifying The Most Important And Least Understood Role In Show Business

by Peter Bogyo

Allworth Press

book review by Dylan Ward

…general managers oversee all the financial and business concerns of a show. Even more, they are the linchpin of the entire production, upon which every aspect of the show must rely.”

A lover of theater since the age of five, Bogyo, a veteran Broadway general manager, is no stranger to show business. Having worked with notable heavyweights such as Cicely Tyson, Stephen Sondheim, Carol Burnett, and Richard Dreyfuss, Bogyo holds an esteemed reputation in the industry. Now he graciously shares his expertise with an honest, inside look into a critical but misunderstood role. His objective here is to answer the question of what precisely a general manager does in an unvarnished book he wishes he had when first starting out. He explores the myriad ways in which a general manager “interacts with people at every level of the production.” Beyond that, Bogyo examines with precise detail the inner workings of theater and production management and the complexities these entail. He literally walks us step-by-step through the day-to-day functions and requirements for developing, organizing, and administrating a major stage production from birth to end.

The author’s intended purpose here is not for this to be a memoir but rather a reference or guide with firsthand knowledge of the behind-the-scenes operations and management of show business. His book becomes instantly invaluable, a gift bestowed with his mastery and comprehension on the subject. It is a book written for the theater student, the aspiring theater manager, the future producer, or even a new producer just beginning. Of course, it is also a book for the theater lover who simply enjoys reading about insider secrets of stage productions.

Bogyo begins by recounting briefly his roots and the surprisingly simple way he got his start in management as a company manager. For Bogyo, company managers are “the hardest working and the most underappreciated [sic] people in theater.” He then informs us of the necessary personality traits and key interests one should possess to be successful as a general manager. He then segues into the nuts and bolts of how large-scale productions are pieced together and run, which fills the bulk of his book. He plainly lays out complex breakdowns of operating budgets and salaries, along with the sometimes staggering numbers of production costs. Just reading this makes one appreciate the work and stress that goes into producing these shows. Above all, he highlights the demands that come with a career in theater management and the importance of a trusting “marriage” between producer and general manager in an industry “built heavily on relationships and reputation.”

Several chapters alone are devoted to specific examples and breakdowns of contracts for various roles in the production, such as actor, director, designer, and of course, general manager. Where necessary, Bogyo infuses cursory overviews of historical context and facts to aid us in understanding present-day productions. While fans see and relish the glamor of stage performances, it is the unseen business behind the curtain that Bogyo brings to light, one that must be coordinated like a well-oiled machine. He also candidly points out that a general manager requires “extensive knowledge” and must “possesses a breadth of experience” to ensure prosperity in this role and give audiences a winning show.

While Bogyo’s narrative is revealing, frank, and altogether informative with excellent tips, it never feels weighty or dry. Nothing is wasted here, and everything is carefully selected to craft this book. One should pay especially close attention to the note sections throughout, where Bogyo gets more personal about his experiences. They are fascinating and worth reading and emerge as the gems of his book. These real-life cases fall into a range of funny, serious, or baffling. One such example is a confusing email correspondence with a producer that was misconstrued by a particular subject line. Another recounts the unfortunate situation of a major star unable to perform due to a bad back. Then he reveals the practical use of certain contraceptives with wireless microphones. These and others demonstrate Bogyo’s capacity and knowledge gained that helped shape his talents, skills, and intuitions to oversee multi-million dollar productions at every turn.

Included throughout is a wealth of information as well as charts, instructions, and terminology. In addition, a glossary is helpfully supplied at the book’s end. With each page, Bogyo’s fondness and upmost respect for the profession become clear. Though the narrative is accessible and digestible, it doesn’t quite have the personal touch one finds in Michael Reidel’s Razzle Dazzle. But Bogyo’s book does share a candidness and depth similar to William Goldman’s The Season coupled with the straightforward practicalities of Michael Shurtleff’s Audition. Bogyo manages to condense years of experience into a reliable, singular book. It is essential reading for anyone to learn and understand the ins and outs of “the life of a show.” Though it will primarily appeal to specific audiences, Bogyo’s empirical and fascinating look at life in the theater can be admired by anyone.

RECOMMENDED by the US Review

That Famous Fig Leaf: Uncovering the Holiness of Our Bodies

by Chad W. Thompson

Cascade Books

book review by Nicole Yurcaba

The body was not designed to be enjoyed apart from the spirit that resides inside.”

This work explores the history and psychology of the body and its connection to the mind and, more importantly, the spirit. By examining church leaders’ stances, psychological and sociological studies, biblical studies, and a large swath of literature, this book researches society and religion’s seemingly imposed dichotomy between the body and the spirit, and it poses why no dichotomy should exist whatsoever. By exploring how members of Western society predominantly shape their attitudes towards their bodies during childhood and adolescence, this book examines how an oversexed society loses respect for itself and its members through body objectification and how through an understanding of where these ideas develop and the disconnect that often occurs between body image, body acceptance, and faith, believers in any faith can accept their bodies and their sexuality as inseparable from their spirit.

This book offers insights for those struggling with tough questions. With its focus on modern-day questions and attitudes towards teaching children about their bodies, about emphasizing to teenagers the importance of accepting their bodies as theirs and God’s, and about carrying positive body attitudes throughout one’s life as one grows in his or her faith, this book becomes a must-read for anyone interested in the history and the research behind many Western attitudes towards nudity, sex, and the body. Supported with a variety of both religious and secular research, this book provides fresh insights about age-old questions and struggles. It is a must-read for those who prefer a more academic approach to faith and spirituality, but it is also recommended for anyone seeking to provide insights to young adults and teenagers about coping with body issues, sexuality, and faith.

RECOMMENDED by the US Review

The Beginning of the Affair: What the US Review Sees in Book Starts

Again and again, we notice a pattern at the start of a successful book. Great nonfiction, a genre designed to inform, employs a compelling narrative to connect with the reader, while great fiction, a genre for storytelling, informs the reader about life. Each genre delves into the others’ skill set to engage and teach with equal measure. The nexus between the two is universal truth, and after only a few pages, the reader must desire to uncover the truth in a book.

“With the truth, you need to get rid of it as soon as possible and pass it on to someone else.”Jean Baudrillard

The question in any book is equally about what the author has learned as much as what the reader needs to discover. If the author has done the work, both aspects are featured up front—as in immediately at the start of the book. A successful nonfiction effort presents the lesson plan and suggests what the reader will take away, while fiction launches the journey and hints at a possible ending. For both, the essence of the book is either overtly mentioned or found in the subtext (i.e. tone, setting, pacing, etc.). The author is in control from the start—not the second, third, or fourth chapter. This might seem obvious, but too often while reading a book for review, we encounter directionless narratives. While we’ll eventually uncover its main thrust, the average reader will not, having moved on long before it reaches that point.

“Life will not bear refinement. You must do as other people do.”Samuel Johnson

Every book has a singular purpose. This is why editors, booksellers, and the media are constantly asking for a tagline: What is the single sentence description of the book? They know that a reader won’t pick up a book unless it is well defined and promises the aforementioned truth. The book’s opening pages affirm that this truth will be fulfilled. By this point, the reader has traveled a long way on the journey and is probably hooked. Whether it’s an excellent biography on Benjamin Franklin or a tawdry human-dinosaur sex romp—yes, those books exist—the purpose and direction are established with lightning speed and often within the first few paragraphs.

“There is no such thing as chaos. It’s just a pattern you haven’t learned to recognize yet.”Albert Einstein

The complexity of an opening narrative widely ranges from genre to genre and from author to author, but the work required from the author hasn’t changed in centuries. Readers, who comprise the most intelligent segment of society but are overwhelmingly not writers, have been trained to sniff out the truth or utility of a book in short order. A book that quickly establishes its predominant narrator, tone, and story question/thesis holds the reader for the duration, as well as the next book by the same author.

“[Writers] achieve clarity in a preponderance of words, as opposed to the poundage of the pages. Smart writers are greedy with words.”Write to Publish, Christopher Klim

Thomas Paine’s Rights of Man

by Christopher Hitchens

Grove Press New York

book review by Christopher Klim

“To begin with, a summary of Paine’s astonishing life and career is to commence with a sense of wonder that he was ever able to emerge at all.”

Now that radical elements are attempting to erase history, Thomas Paine might laugh in his grave. As the singular most important figure in the birth of modern democracy, the promoter of human liberty, and the author of an American bestseller only eclipsed by the Bible, Paine should have a monument in Washington, DC at least as big as the “founding fathers,” but he has been mostly forgotten—and that occurred before he even left the planet.

Born the son and later apprentice of a corset maker, Paine stumbled into London after escaping death at sea during the outside of The Seven Years War between England and France. There his Quaker roots crossed paths with the freethinking denizens of the city. He fumbled through professions and a marriage, while expanding in radical thought. In 1774, he appeared in Philadelphia alone with a modest letter of recommendation and a recent acquaintance with Benjamin Franklin. Two years later, he published a half million copies of Common Sense—a pamphlet that challenged British authority and monarchy in plain and ingenious language. Often referred to as the greatest American bestseller, Common Sense was either read by or to read to nearly every colonists and became the catalyst that altered history.

Later, with The Rights of Man and The Age of Reason, Paine influenced generations forward and still does today. This latter work, which challenged the papacy, rejected the fantastical elements of belief in God, and even criticized George Washington, caused a backlash among his peers and isolated him from society. After a stint abroad fanning the flames of The French Revolution, the father of two national freedom movements spent time in prison, narrowly escaped execution, and returned to America in anonymity to die nearly a pauper in the New York. Like a true zealot, Paine had alienated himself from even his staunchest supporters in the end.

With his usual wit, economy of words, and deft deployment of facts, Hitchens paints a wonderful and honest portrait of Paine centering around The Rights of Man—a brilliant discourse on the nature of humanity and that rights are inherent to man and not bestowed by any earthly authority. It is existential and timeless as it is practical and current. Hitchens never minces words or arguments, and it’s clear that he is passionate about his subject matter. If Paine was a singular gift to humanity, then Hitchens’ handling is reverent and as needed now as much as ever.

RECOMMENDED