The best novels are the ones that keep you up until 4AM, wearily turning page after page, too enthralled to sleep. The best of the best transport readers into a new reality crafted by the author and demand that readers consider something bigger than the plot itself. The truly exceptional test one’s understanding of the novel as a work of art, using mere words to touch the elusive realm of beauty. It is rare that any author is able to pull off such a feat and rarer still when a first-time author pulls it off so convincingly. But Ms. Karen Engelmann’s debut novel, The Stockholm Octavo (Publisher: Ecco; On Sale: Oct. 23, 2012 ; Cost: $26.99), is a true gem that manages to accomplish all of the above through a compelling storyline, simple yet beautiful prose, and a thought-provoking exploration of the Divine. 

By way of plot, Engelmann’s novel follows the exploits of middling bureaucrat Emil Larsson, an ambitious customs agent, stalking the ports of Stockholm during the age of monarchial revolution in the late 18th Century. Despite being of marriageable age, Mr. Larsson’s will to wed is limited by his penchant for booze, women and cards. While indulging lady luck amid the dank card rooms of Gray Friars Alley, Emil becomes well acquainted with the establishment’s proprietress, and soon receives an unsolicited offer from Mrs. Sparrow to read his cards in a special ritual called the octavo.

The eight card affair aims to disclose the eight individuals who will become central to Emil’s quest for “love and connection.” Rather than being a simple search for love like so many novels, Engelmann’s work combines the mystery of the card reading tradition with the political intrigue of the times, introducing readers to a host of memorable characters ranging from scheming aristocratic ladies, to wily peasant girls, to the King of Sweden himself, Gustav III.

The diverse gaggle of characters make the story memorable in its own right, though the plot is admittedly somewhat complex. Throughout the story, Emil is obliged to find his love only by delving into the political and social intrigue besetting the Swedish Court. This makes for numerous plot twists and character nuances that require paying careful attention to each member of Emil’s octavo – in addition to the numerous minor characters associated with the crème de la creme of Swedish society as portrayed in the novel. Ultimately, the book deftly incorporates the assassination of King Gustav III with Emil’s quest for love rather seamlessly, making it a story that can appeal to both male and female readers. In fact, so broad is the appeal that I would be shocked if the story doesn’t hit the silver screen in the near future (a real home run for Harper Collins imprimatur, Ecco).  

While the story itself is fantastic, happily, there are many more reasons to pick up Ms. Engelmann’s book, not the least of which include the beauty with which she spins her lengthy yarn. One pitfall of many first-time authors (and writers in general) is the unfortunate penchant of writing in a style far too rococo to be engaging. The borderline between beautiful writing and the kitsch is quite fine, indeed. Ms. Engelmann seems to intuitively understand this and avoids crossing the threshold of the melodramatic. This allows her simply exquisite writing to capture the description of scenes without being overly floral.

Consider this brief excerpt describing an evening Emil spends with Christian and Margo Nordén, an important husband/wife duo who operate an upscale, French boutique dedicated to the craft of producing women’s fans. Emil notes:

I treasure that exact moment: the scent of lemon oil, the warmth of the yellow-striped room in the candlelight, the delicious wine, lovely manners, and image of the two of them that pointed to a deep connection to the world and everything, everyone in it – the Octavo grown infinite. It made me both lighthearted and sorrowful. p.199.

At risk of overusing the word, what makes Engelmann’s writing beautiful is its ability to relate the thoughts and experiences of the novel’s characters in such a way that readers immediately understand the unwritten and unspoken thoughts being communicated within the story. The excerpt above demonstrates an obvious closeness between the characters, typified by Engelmann’s description of the room, the lighting, and even the taste of the wine being served. But these details, indeed the entire scene, is only intended to buttress a readers’ understanding of the Nordéns’ relationship as a foil for the same sort of connection being sought by Emil in the novel. The result is that the audience understands what Emil is looking for without the need of the author to coarsely state the obvious. In Engelmann’s case, beauty is subtlety. 

The gift of expression within The Stockholm Octavo actually speaks to the greater philosophy of relationship residing at the core of the novel – a discussion spanning the entire length of the book. At the core of Emil Larsson’s search for love is his search for connection with other people. The magic of Mrs. Sparrow’s octavo is that it is supposed to reveal those people who can further this end. But the ultimate lesson of the octavo is very different from early perceptions of its powers. At the end of the work, long after the plot has been more or less resolved, Emil frames his understanding of events as follows: 

I think the Octavo exists in a dimension all its own: defining the here and now, reaching back into the past, and influencing the future – like some great edifice eternally rising. If you decide to enter, you will indeed be reborn. The Octavo is the architecture of relationships that we build ourselves, and with which we build the world. p.409.

Engelmann’s philosophy of relationship is best defined as the courage to allow others into our lives. While Emil is searching for love, he is obliged to entertain the graces and schemes of a number of people with whom he never would have otherwise engaged. He is repeatedly described as a loner, who must venture beyond the comforts of his lodgings in order to fulfill his octavo’s quest. Along the way, he develops an “architecture of relationships” beginning with the owner of Gray Friars Alley, Mrs. Sparrow, and encompassing individuals at various levels of Swedish society. To state matters tritely, Emil exits his comfort zone and becomes embroiled in a matter of state that fills his life with excitement, adventure and perhaps love. In this way, Engelmann reminds readers of how utterly dependent we are upon those in our lives to add to its quality. And while the benefits of relationship are seldom amorous, relationships defined by philia and agape are just as important.

On the matter of theology, Engelmann presents a view of faith that is both unorthodox and skeptical of so-called, organized religions. Of God, Mrs. Sparrow notes: 

I believe that God is no father, but an infinite cipher, and that is best expressed in the eight. Eight is the ancient symbol of eternity. p.14

This strikes me as a fair enough point to contest – although envisioning God as a symbol for the infinite, an abstract mathematical notation, isn’t quite as warm as thinking about God as a loving Father. Similarly, Engelmann presents key, female protagonist Johanna Grey as the victim of a mother given over to religious fervor:

Johanna’s mother, exceptionally devout, declared that adorning oneself in garments of color was an affront to the Almighty. Human beings were born colorless, meant to spend their lives in prayer until crossing the bridge of death into a brilliant Paradise. p.63

In contrast to the bright colors of avarice found in the Nordéns shop and the tempting quarters of the villainess Uzanne, oozing with sensuality and treachery, Johanna’s Mother viewed a life void of color as the true mark of the consecrated. With all due respect to Apple’s wonderful exploration into the realm of minimalist design, Engelmann’s point is that the monochromatic life seldom begets true happiness. Life requires a certain hue that is found outside the moral artifices of black and white. Sometimes the deep red of a dress, or the blue eyes of a lover are necessary to make the daily grind worthwhile. 

And so we are left with a novel that brings description to life through a rich, thoroughly original plot\ that is coupled with both a profound rumination on life and musings about humanity’s relationship with itself and the divine.

Not a bad run at all for a novice author. 

One of my many, minor vices is the thriller/mystery novel genre. Turning the dial back to the 5th grade, I remember reading the complete works of Sherlock Holmes and shattering the “Book It” records for my classroom. If memory serves me correctly, this also sparked a lifelong fascination with Pizza Hut pizzas.

More recently, the works of Brad Metzler and to a lesser extent Elizabeth Kostova, Dan Brown, and Ken Follett, have all captured some of my early forays into reading. Each author spins a yarn that can rival the latest blockbuster movie, while most importantly leaving me unable to put the book down. Having read Charles Robbins’ debut novel The Accomplice (Publisher: St. Martin’s Press/Thomas Dunne Books; On Sale: Sept. 4, 2012 ; Cost: $24.99), I’m pleased to have discovered an author with a similar gift.

For those outside the I-495 Beltway (that is to say the honest people of our great and blessed land), Charles Robbins is a former Congressional staffer and communications director for the late Sen. Arlen Specter’s ill-fated 1996 Presidential bid. His novel explores “what happens when ambition and power meet in the midst of a world filled with ruthless characters willing to do whatever it takes to win” – which basically means sex scandals, corrupt politicians, and backstabbing campaign operatives. Hope and change, indeed.

Being somewhat of a very minor, ex-politico, the subject matter was intriguing from my first glance at the press release. Political types tend to be a fairly incestuous brood, and no matter what one’s scruples, it seems that everyone loves a good political sex scandal. Just ask Mark Sanford.

Robbins captures this appeal to the prurient interest in a way that is eminently consistent with good storytelling and political intrigue. From clandestine meetings with vulnerable campaign volunteers (p.113), to cozy luncheons with the candidate’s wife (p.241) (Which, incidentally, takes place at Piccola Italia restaurant in downtown Manchester, NH – home to the best broccoli, chicken and penne I’ve ever eaten), Robbins takes readers into the seedy underbelly of major political campaigns where ethics and idealism meet realpolitick.

The plot is, of course, much more interesting than salaciousness for its own sake. Drawing from his political background and his bygone days as a print newsman, Robbins’ tale is also rich in the details of internal, campaign subterfuge, pitting the objectives of campaign bosses against the pseudo-power of local party elites (p.259). By the time Robbins winds up his thriller, a murder and a financial scandal have embroiled the once idealistic staffer who serves as the novel’s the main character.

Naturally, I realize that the plot summary above (which purposefully tries to obscure anything that might give away the ending and any important subplots) does a supreme injustice to the actual writing and the work itself. This highlights, I think, a basic tension in the mystery/thriller genre itself – whether a work is defined by its plot or by its pace. The former requires a great deal of focus on the events of the novel and the characters that appear front and center throughout. Novels defined by their pace, on the other hand, tend to move confidently ahead, pulling readers to the next line, paragraph, and page almost involuntarily. These are the kinds of books that you can read into the wee small hours of the morning and never miss that the world has long been fast asleep.

It should be obvious that Robbins’ work hails from the clan of books defined by their pace. Those seeking exquisite prose would do well never to open any book in this genre but this is particularly true of Robbins’ debut piece. The language is coarse yet purposeful. Almost utilitarian. As if the words themselves are a hinderance to the story being told in the mind’s eye.

Robbins’ idea is not to wow readers with his doubtless, ample Princeton vocabulary. The goal is to suck readers into the abyss of campaign life and the ethical dilemmas, or lack thereof, facing all those who dare to enter Roosevelt’s arena. This makes it very easy to become absorbed in the story and to stalk the dank hotel rooms of the campaign trail along with Henry Hatten.

In all, the novel is a timely release, particularly with the election taking place today. For the political junkies and mystery enthusiasts among us, Robbins’ tale will fit nicely into a fall reading list. My view from the cheap seats is that it’s an excellent read from an engaging, new author. Here’s hoping Mr. Robbins’ first work is not his last.

– Posted using BlogPress from my iPad

But for the kindness of my friend Meryl Zagarek (http://www.mzpr.com), it’s quite likely that I would have missed the release of Frank Turner Hollon’s latest novel, The Book of Neil (Publisher: MacAdam/Cage; On Sale: Nov. 16, 2012 ; Cost: $20.00). As a bit of reference, Mr. Hollon is a prolific author of children’s books and short stories, but one who also boasts two novels that have been turned into films (Barry Munday; and Blood and Circumstances, which is currently in production). I think it’s safe to say that Hollon’s novel will not be remembered for its prose, which is at times repetitive and understated. But the novel’s staying power is its exploration of a complex theological question, using an extremely minimalist writing style.

The theme of Hollon’s novel centers on the proposition of Christ’s return to earth in the age of Facebook and Twitter. Here’s how the press release describes Mr. Hollon’s work:

In The Book of Neil we are asked to consider what would happen if Jesus returned to earth in 2012, at a time when people are driven by consumption, self-indulgence, and a preoccupation with social media. Are we so cynical that Jesus would be dismissed as just another mentally ill street-preacher?

The idea is striking because the return of Jesus to Earth is one of the few aspects of Christian theology that mainstream Christianity tends not to debate. These days, our theological and moral disputes tend to include issues like determinism, theodicy, Biblical inerrancy, literalism, gay marriage, abortion and once upon a time questions about stem cell research and the like. But these issues are more on the periphery and clearly not central to the tenants of Christian faith itself (viz., Christ’s return to Earth).

So, what would it look like if Jesus came back to Earth, say, today? How would the event unfold? What would the reaction of believers be as opposed to the reaction of non-believers? Hollon’s novel offers readers his interpretation of the answer.

What’s obvious from the first page is that the work is no typical novel. Hollon’s writing style is minimalist to the point of distraction (more on this later). His characters are sketches of what characters should be. The details Hollon provides are sparse. Days bleed into one another without paying heed to the logical progression of time. In this way, Hollon’s work is not a cheap knock off from Joyce, focusing on the minutia of the day to day. Instead Hollon’s style keeps the focus on life’s panorama of the forest. The big picture accented by big themes. 

The first theme readers encounter is Hollon’s embrace of absurdism, which not only provides the justification for Hollon’s experiment but also paves the way for some of the other ideas explored in the work. Absurdism suggests that human efforts to divine meaning are absurd on their face because the exercise is impossible and doomed to fail. Absurdism’s implausibility of truth justifies the minimalist introduction to the work beginning on page 1 of the novel. There, Neil casually meets Jesus on the 14th hole of the local country club. After exchanging pleasantries, Jesus notes, “You’re probably wondering what I’m doing here.” Without waiting for an answer, Jesus replies:

“I’m playing golf,” He said. “A frustrating game. I don’t really have the patience for it, but I enjoy playing anyway.” p.11.

Aside from being a bit presumptuous, Jesus’ opening line in the work is rife with absurdity because of how mundane the introduction actually is. It’s a bit like an off-Broadway production of Seinfeld, a scene about nothing using next to nothing to make the point. Hollon’s early pages make the search for meaning futile because they take place on the blandest of all locales to which the Son of God could possibly return. To make the point even more pronounced, Hollon fills the mouth of God Incarnate with the same, tired clichés about golf uttered by every other hack with a set of clubs.

This absurdist framework creates a justification for everything that follows. Specifically, Hollon can continue his experiment because it is not a search for meaning. Rather it is an exercise in potentiality, an experiment illustrating what could be. There is no deeper truth to Hollon’s work because it is a hypothetical, and searching for the Truth in a hypothetical is folly because hypotheticals are by definition works of fiction. 

Of course, the book would be relatively short and uninteresting if page after page of the work recounted the folly of man’s search for meaning set amid scenarios and scenes that have never happened. Almost of necessity, Hollon’s embrace of the absurd requires him to explore the implications of his premise which is by far the more interesting exercise of the novel. This analysis begins with the simple observation that a world void of meaning presents a rather large opening for individuals (and ultimately society) to descend into nihilism. 

The book’s eponymous anti-hero Neil describes the matter as follows:  

It’s the never ending balance. On one side is the absolute knowledge that nothing whatsoever matters. There’s nothing any of us can do, nothing, that makes any difference at all. The world will continue to spin, time will continue to run, and each of us, every single one of us, will die, go back into the earth one way or another, and be forgotten in the blink of an eye.

On the other side, we wake up every morning and convince ourselves how important it is to provide for our children, bring the dog inside when it’s cold, mow the grass, pay the electric bill. And we ignore the irreconcilable differences between the two, the dichotomy. How can we not? Utter hopelessness is only a thought away, and the dogs are at the door. p.123

If we grant Hollon his absurdist introduction, then Neil’s summary of the matter is the natural result. Throughout the novel, various characters struggle to make sense of Jesus’ return, and invariably this forces them to evaluate the mundane and traumatic in their lives vis-à-vis the hope that life itself is not absurd and void of meaning. Much like he does in the New Testament, the figure of Jesus brings hope to individuals that takes them beyond the nihilistic conclusions of absurdism, and beyond the empty existentialism of crafting a subjective meaning from life’s routine.

Hollon uses this otherness of Jesus to advance the majority of his novel’s plot. Readers see stories of individuals demonstrating the effects of Jesus’ return on the micro-level. As the scenarios play out in the characters’ lives, this has the effect of rescuing hope from the clutches of the absurd in the novel. Some of the characters find hope and inspiration through Jesus’ return. Others are forced to confront whether they believe in an alternative to nihilism and the existential routine of truth as subjectivity. 

While the novel is rich in major themes and presents nearly all of them in a sophisticated manner, the emphasis on big picture has the effect of diminishing Hollon’s prose. This is not a novel to read if you long for the descriptions of Tolstoy or the punch of Hemingway. Hollon does not pretend to be anything other than what he is: a thoughtful writer, intrigued by the ideas of his work. But as a result some of his prose suffers. Portions of the novel are repetitive. Phrases, jokes, witticisms all make more appearances than necessary. And to be fair, most of the characters lack depth. We learn little of their backgrounds, aspirations, and even motivations in some instances. But this is deliberate. Prose, character development, and style are all sacrificed for Hollon’s experiment with big concepts. The novel is bold in this regard even though this quality could easily be off-putting to the casual reader. 

Still, it is Hollon’s boldness that makes the work a success. For all of its faults stylistically, Hollon’s insistence upon exploring big ideas more than makes up for the novel’s ultra-minimalist style. The question going forward will be whether Hollon’s hard work and focus on the forest will find success in a culture and readership that is increasingly more interested in the trees.