CUJO by Stephen King
The scariest books are the ones where you can imagine yourself in the protagonist's shoes, where the premise is understandable and relatable. By that measure, Cujo is one of horror master Stephen King's most terrifying novels, as he sets aside the supernatural in favor of a frighteningly realistic situation: what if you and your child were trapped in your car by a rabid dog?
King wrote this novel in the throes of alcohol addiction and has admitted he remembers almost nothing about writing it, which is a shame, because it's pretty good. With uncharacteristic restraint—the book is barely 300 pages long—he establishes all the major characters, puts the pieces on the board, and unleashes the monster, the titular St. Bernard. In a manner reminiscent of his later novel Misery, he does a great job capturing the claustrophobia and panicked mindset of someone who's trapped with no way out. His depiction of the rabid Cujo, including some slightly clumsy narrations from the dog's point of view, effectively makes the dog a terrifying force of nature.
While some dislike the book's ending—I won't spoil it for you, but it's not a happy one—I actually thought it was fitting, both for the characters and for the story being told. Equal parts ironic and tragic, it worked for me, even if some would have preferred a tidier conclusion.
This isn't King's finest work by any measure, but it's a good thriller and worthy of your time. He may not remember writing it, but I'll remember reading it.
FANTASTIC MR. FOX by Roald Dahl
As the kids and I slowly but surely make our way through the works of Roald Dahl, I thought this slim story would take just a couple weeks to get through. While it wound up taking longer—book time tends to get sacrificed on busy nights when the kids are already going to bed late—this was a serviceable bedtime story, one that felt more like a dragged out picture book than a novel.
The simple story is about the Foxes and their nemeses, a trio of farmers name Boggis, Bunce, and Bean. The Foxes, who live underground on the farmers’ land, routinely eat their chickens, much to the farmers’ chagrin. After one particular confrontation, Boggis and Bunce and Bean decide to get rid of the Foxes once and for all, attempting to dig up their home. So the family, led by the clever Mr. Fox, must evade the farmers and then, having done so, find some way to get food before they starve. When Mr. Fox stumbles upon a way to get into the storehouses of Boggis and Bunce and Bean without their knowledge, the reader knows a happy ending is assured.
This book is less imaginative than the previous Dahl books we read—no wondrous chocolate factories or magic glass elevators or giant peaches to be found—and much simpler. Even at a mere 80 pages, it felt a little long-winded for the amount of plot within. Nevertheless, it's a fun little story, and one the kids enjoyed.
DUBLINERS by James Joyce
When I travel, I try to pair my trip with a book. So in preparation for a trip to Scotland and Ireland, I turned to my old nemesis James Joyce, who got his literary start with the short stories collection Dubliners.
The good news: these stories precede Joyce's more experimental writing in A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake. The stories are all told in a straight narrative style, with none of the frills that would later make him an icon with the literati and a curse word to rubes like me. Anyone looking for accessible writing from James Joyce should absolutely start with Dubliners.
The bad news: I still don't get James Joyce. While there are isolated moments of brilliant prose—for example, the last line of "The Dead" is a beautiful bit of writing—there is little contained within Dubliners that makes me think Joyce is the greatest writer to ever pick up a pen. When confined to a normal style and structure, Joyce's mundane tales of ordinary Dubliners are mostly just boring. I often found myself in the middle of a story having to turn back a few pages, having realized that my mind had wandered off even as my eyes had continued traveling across the page.
Dubliners is a collection that narrates the pettiness, the loneliness, and the quiet desperation of ordinary people. It is beloved by students of Joyce, who see it as a comprehensible starting point for ordinary readers. I just wish I understood why this author has such a stranglehold on the literary community. Sadly, Dubliners did not give me the answer.
WHAT I TALK ABOUT WHEN I TALK ABOUT RUNNING by Haruki Murakami
I read most of this book on the Ireland trip in an effort to motivate myself to start running again when we got back. Whether it's successful in that regard remains to be seen, but I did enjoy the book. This was my third time reading it; here's what I had to say about it back in 2018:
Haruki Murakami, though renowned as one of the world's greatest living writers, was a name I knew only by reputation, so I couldn't imagine a better springboard into his writing than a book about his experiences running. As a lover of both writing and running, this memoir instantly appealed to me, and a recommendation from my friend and fellow pastor (and reader and runner) Jeff Gravens was enough to convince me.
The book is less a narrative than a collection of essays/journal entries, all about Murakami's love of running and experiences doing so. Every year for more than two decades, Murakami has run at least one marathon, as well as one ultramarathon and a series of triathlons along the way. The chapters in this book describe how he became a runner, how he trains, and what compels him to spend so much time and energy running.
But, as you might suspect from a novelist, it's about more than that. Using running as a filter, Murakami also talks about his life and the craft of writing. Running, he makes clear, is more than a hobby for him, it is a metaphor for his sense of self, and even a source of meaning. Without ever stretching the metaphor beyond comprehension, Murakami convincingly shows how important the solitary exercise of running has been to him over the years.
For runners, I'd say this a must-read (and a pretty quick one). For non-runners, I'm not so sure. For all the insights into his life and his craft, you've got to read a lot about breathing, muscle soreness, etc. For a runner, this is familiar, comfortable territory; for others it may be a little like listening to someone talk about their fantasy football team—more fun for the speaker than the listener. As for me, I left the book with my first itch to run another marathon since birth of my son—stay tuned to see whether I decide to scratch it anytime soon.
THE GRANDEST STAGE: A HISTORY OF THE WORLD SERIES by Tyler Kepner
One of my favorite weeks of the year comes every October, when the champions of the American and National Leagues face off in the World Series. Since 1903, the Fall Classic has been an annual tradition, and an occasion that has sparked big moments, from Snodgrass' Muff in 1912 to Don Larsen's perfect game in 1956 to Freddie Freeman's walkoff grand slam last week. So this year, even as I tuned in every night to watch Yankees-Dodgers, I also walked through the history of the World Series with Tyler Kepner's delightful chronicle, The Grandest Stage.
Each of the seven chapters tackles a different celebrated element of the series: clutch moments, managerial decisions, goats, unlikely heroes, etc. With that framework, the book is basically a loosely connected collection of anecdotes, tale after tale from baseball's past. In other words, catnip for baseball history buffs like me.
Never overstaying his welcome with any given story, Kepner does a good job of digging deeper into the narratives everyone knows and uncovering those we don't. Yes, you get Bill Mazeroski and Kirk Gibson and Joe Carter, but you also get Bill Wambsganss and Mickey Owen and Tony Womack. The result is exactly what anyone is looking for from an overarching sports history book: you get to revel in the moments you know well and learn about those you don't, basking in nostalgia and soaking up new stories. For any baseball fan, The Grandest Stage is a worthy addition to your bookshelf.
ESSENTIAL X-MEN VOL. 5 by Chris Claremont, Paul Smith, John Romita, Jr., et al.
Chris Claremont is unquestionably the most influential X-Men writer of all time, thanks to his unparalleled run as the writer on Uncanny X-Men from 1977-1991. Nevertheless, he is not necessarily every X-fan's favorite writer, because, for every "Days of Future Past" and "Dark Phoenix Saga," there are also plenty of stinkers. Essential X-Men Vol. 5 is where, after years of gold, things start to dip a little.
Covering Uncanny X-Men #180-198, as well as an annual issue and a crossover limited series with Alpha Flight, this volume is held back by a reliance—common in this period of Marvel Comics—on readers picking up other books adjacent to this one. By 1984, the New Mutants book had kicked off, with Professor X now teaching a new class of young mutants. Wolverine seemed to be starring in a new miniseries every other month. And other characters (especially Cyclops and Storm) would leave the book, with fans wondering what they were up to. The result is that, from issue to issue, you're not sure where the team stands—there were points where I couldn't tell you who was actually on the X-Men.
Furthermore, the stories told in this volume are far muddier than the tales which put Claremont on the map. Some of this may be due to a disconnect between Claremont and artist John Romita, Jr. (a legend whose work here is not his finest); some of it may just be a slump on Claremont's part. Whatever the case, there were entire issues where I was skimming more than reading, because the conflict wasn't entirely clear anyway.
If you're looking for highlights, you'd have to point to the introduction of characters like Nimrod and Forge, as well as the double-sized "Lifedeath" issues drawn by Barry Windsor-Smith, which focus on Storm's romance with Forge. But for the most part, this is a forgettable, albeit bestselling, period of X-Men lore before everything turned upside down with issue 200. I know it'll get good again, but this stretch was a drag.