It doesn't feel like I read a lot of books this month, but my book log begs to differ...8 books completed in the shortest month of the year! Take a look to see what I finished over the last 28 days.
GOD DREAMS by Will Mancini and Warren Bird
This was another book I read as part of Texas Baptists' PAVE program for church revitalization, having been recommended to me by my coach and fellow pastor David Lorenz. Its mission is to help pastors and church leaders determine and articulate the vision for their churches, using 12 different templates developed by the authors. The goal is not to give you a copy-and-paste vision statement—the explicitly warn against that, arguing that each church's vision must be its own—but rather to help you figure out what kind of church you are seeking to be so that your vision statement will reflect that dream and so that you can align your goals with it.
This is one of the more technical church revitalization books I've ever read—while not absent biblical exposition or case studies, it's chock full of principles and graphics. This is meant to be used like a manual, not read like a novel. For somebody in my context, that's no problem—I need a manual at this stage! But I offer that as a word of warning for anyone reading merely out of curiosity rather than for imminent use.
The content seems helpful, though I suppose the jury is out to some degree, since my next step is to be coached through its process alongside my church's strategic planning committee. I expect that after that I'll be able to recommend this book as a resource, but stay tuned!
THE SECRET LIVES OF BOOKSELLERS AND LIBRARIANS edited by James Patterson and Matt Eversmann
I do love a book about books. Or in this case, the places we get our books.
The Secret Lives of Booksellers and Librarians is a collection of short essays by the employees of our nation's bookshops and libraries, all about what life is like between the stacks. In some cases, these are stories about the struggles of running a small independent business; in others, they're polemics against censorship; in still others, you get an anecdote or two about the strange but lovable customers they encounter. What all the essays have in common is a deep love for books of all kinds, from "serious literature" to the trashy romance novels of BookTok.
This was an impulse grab from, appropriately enough, the public library, and for three weeks it was my go-to during school pick-up and before bed. If read straight through, this kind of anthology would get repetitive, but in 10 minute bursts, it was always a warm, comforting respite from the world. Kind of like a bookstore or a library.
THE RETURN OF THE KING by J.R.R. Tolkien
See last month's review of The Fellowship of the Ring.
THE ODYSSEY by Homer, edited by Robert Fagles
My first exposure to Homer's The Odyssey came via the PBS show Wishbone, where Odysseus was played by a Jack Russell Terrier. My next exposure will come from a rereading of James Joyce's Ulysses, one of literature's most famously difficult texts, and one whose structure follows that of The Odyssey. So with that wide of a spectrum of experience, it seemed like a good time to read the text itself, one of the most famous and influential in the history of literature.
The Odyssey, strange as it is to say, is a sequel, a follow-up to the epic tale of The Iliad. But where that was a wide-spanning story of war and peace, The Odyssey has a tighter focus, telling the story of one's man's quest to return home after years at war. Odysseus, a noble Greek warrior, must battle the Cyclops, resist the lure of the Sirens, overcome the wiles of Circe, and then ultimately battle his wife's greedy suitors before receiving his well-earned happy ending. Both aided and beset by Greek gods acting behind the scenes, Odysseus' quest to make it home takes on proportions as epic as the war he fought in.
Written as an epic poem, in Robert Fagles' translation, The Odyssey is presented in modern verse. It makes for an accessible translation, if occasionally feeling stilted in its desire to render the ancient in contemporary terms. I would have to assume other translations, such as Edith Wilson's recent and critically acclaimed edition, are more technically accurate. Nevertheless, for a casual reader like me, Fagles' translation gets the job done (and can easily be found at any used bookstore.)
The Odyssey is one of those classics which is so influential that reviewing its content feels almost beside the point. With that being said, this is the kind of ancient work that, at least in this translation, is relatively accessible and interesting. I'm glad to cross it off my TBR list, and found the journey to finish it to be a worthy one.
I SEE YOU, BIG GERMAN by Zac Crain
It's been an, ahem, eventful month for the Dallas Mavericks. Perhaps you've heard. (We miss you, Luka!)
In the midst of both mourning the loss of an icon and ruing the self-sabotage of the team, I decided it was as good a time as any to take a walk down memory lane. I See You, Big German is an ode to the city's most beloved athlete, the other European superstar known throughout Dallas by only his first name: Dirk.
Zac Crain, the late pop culture writer best known for his music writing with The Dallas Observer and D Magazine, wrote this book not as an objective journalist, but as a dyed-in-the-wool MMFL (that's "Mavs Fan for Life" for the uninitiated.) Its conceit is a letter from Crain to Dirk, seeking to walk through Nowitzki's career and to explain why he came to mean so much to both the writer and his city. Tracing Dirk's rise from unknown, doubted European prospect to incandescent but always-falls-short MVP to NBA champion, the book hits all the highs and lows that Mavs fans know so well from 1998 to 2011, when Dirk willed Dallas to its first and only championship.
But the book's central thesis, quoted on its back cover, is that 2011 isn't what made Dallas love Dirk. 2012-2019, when he stuck around despite slapdash rosters and his own declining skills, was. It was Dirk's insistence that being a Maverick was more important to him than winning another ring elsewhere that made put him on the city's Mount Rushmore. Having lived through Dirk's whole career, I'm inclined to agree with Crain. Dallas loves a winner, make no mistake—but maybe even more, we love being loved by a winner.
Who knows when the Mavs will win another title. Count me as one of the vast majority skeptical that Anthony Davis will bring home what Nico Harrison decided Luka could not (despite Luka being only 3 wins away literally last year). What I do know is that no Maverick—not Davis, not Dončić, not a player to be named later—will ever hold the place in our heart that Dirk does. It took every bit of his 21-year career, all the heartbreaks and all the points and that one unlikely, glorious triumph in 2011, but now we know: Dirk stands alone.
THE WITCHES by Roald Dahl
What if you found out that the world was secretly full of witches in disguise plotting to eat children? What if you discovered that a cabal of them, including the Grand High Witch herself, was having its annual meeting in your hotel? And what if, worst of all, you learned that they had crafted a special formula that could turn children into mice and were prepared to unleash it upon the world?
Well then, I suppose that would make you the protagonist of Roald Dahl's The Witches, one of the darker entries in his canon (scary enough in the early goings that we thought about aborting for Katherine's sake.) This one has a small cast and is light on plot—nearly a third of the book is just the protagonist narrator eavesdropping on the witches' annual meeting—but carried by Dahl's characteristic blend of imagination and humor, it makes the most of its 200 pages.
The ending is a bit unsatisfactory—in fact, if this book was released today, everyone would assume Dahl was just cynically setting up for a sequel—but the ride is a fun one. I wouldn't put this in Dahl's top 3 books, but it might be able to squeeze into the top 5.
ESSENTIAL X-MEN VOL. 8 by Chris Claremont, Marc Silvestri, et al.
This volume is comprised of the X-Men's so-called "Outback Era," a time when the team was thought dead by the world (even mystically hidden from all technological detection) and they made their headquarters in the wilderness of Australia, conveyed to their missions not by a sleek jet but by an aboriginal mutant named Gateway. It's also a time when the team itself was made up largely of B-listers: Psylocke, Dazzler, Rogue, and Longshot are key players, and only Wolverine and Storm are so-called "main characters" on the team.
That may sound like a drag, but it actually made for my favorite volume of X-Men stories in several months. The change in scenery was a welcome one, and the team's under-the-radar status provided an interesting wrinkle to their various adventures. Thought dead by the world, the X-Men in these issues must not only save the world, but do it on the down low.
It all comes to a head with Inferno, the first true X-crossover event, which sees Cyclops' wife, Madelyne Pryor, transformed into the Goblin Queen as Limbo threatens to encroach onto this dimension. This particular story is classic X-Men in that there are are reality-defining implications, yet the character dynamics are the most interesting part of the story. With Chris Claremont and Marc Silvestri leading the charge, the story is in good hands. I'm eager to see where things go in volume 9!
ABSOLUTE MISTER MIRACLE by Tom King and Mitch Gerards
Darkseid is.
With that simple sentence, Tom King gives voice to the anxiety that seems to dominate our world, the foreboding feeling that everything is wrong. Repeated as a mantra, often a non-sequitur, throughout the book, it acts as the voice in the back of your mind anytime things seem too good to be true.
Darkseid is.
That anxiety prompts Scott Free, the eponymous Mister Miracle, to attempt suicide in the book's opening pages. That trauma is a lurking shadow throughout the book, even as life goes on. Scott is thrust into a war between the dueling planets of Apokolips and New Genesis, where he must serve as a general and then eventually as Highfather. He leads an assassination attempt on the vile Granny Goodness, the master of torture who raised him. He is judged by Orion, a brother figure who despises him. He tries and fails to make peace at a summit with Darkseid's son Kalibak. It all feels so hopeless, so impossible.
Darkseid is.
At home, in the Los Angeles condo he and wife Big Barda share, they fret about the more workaday aspects of life. Should they renovate the condo? Who will watch their baby when they're off fighting the war? What kind of cake should they get for his first birthday party? The concerns are all small, with none of the epic elements of the Fourth World, but they're real. They're worrisome.
Darkseid is.
The book is a constant contrast of the fantastical and the normal, the Fourth World and the real world. Played for both humor and pathos, images like Darkseid eating a carrot stick or Scott cutting his son's umbilical cord with an Apokolips-forged fahren-knife dominate the book. Mitch Gerards' realistic, sketchy art style contrasted with the bright colors of Kirby's characters helps accentuate this dichotomy.
It all culminates in the book's penultimate issue, when Scott kills Darkseid, only to learn that, as had been foreshadowed throughout the book, things are not as they seem. Is Scott actually dead, and the whole book has been a dream of sorts? Is Scott infected with the Anti-Life Equation? Is any of this real?
Darkseid is.
The book's final issue doesn't necessarily answer of these questions, not definitively. But life goes on for Scott and Barda. They have their home, their son, another baby on the way. They have each other. And, whatever trauma has happened and whatever anxieties are still to come, Scott determines they will face it all together. The darkness is real, but they won't let it have the final say. They'll enjoy what they have for as long as they get to keep it.
It's a small victory, maybe even an illusory one. But sometimes it's not about the sweeping battles or the swelling music. Sometimes hope is beautifully ordinary. And sometimes that's enough.
"Darkseid is."
"Yeah, I know. But we are too."