“Norse Mythology”, by Neil Gaiman

 

301 pages, W. W. Norton & Company, ISBN-13: 978-0393356182

Most everything I know about Norse Mythology I learned from D’Aulaire’s Book of Norse Myths by Ingri and Edgar Parin d’Aulaire (review upcoming), but that book was geared towards children and, anyway, I read it ages ago. So when cruising the bookstacks of 2^nd & Charles I came across Norse Mythology by none other than Neil Gaiman and I thought “Oh, why the hell not”. First off, this is not an exhaustive collection of Norse myths; only three gods – Odin, Thor and Loki – are given any sort of background and, thus, each of the tales presented within star this trio in some fashion. Which is a damn shame, for the Big Three are all well and good, but there are so many other gods with their own myths that are just as entertaining. Perhaps Gaiman was only interested in an overview of the Norse mythos and decided to limit himself? Anyway, while disappointing, this in no way detracts from the telling of these tales and revealing the Norse people as they were through the gods they invented and worshiped.

And man, what gods they were. Boisterous, adventurous, full of life and joy and loving nothing more than to eat, drink and be merry, often to excess, with violence not unknown at their feasts. They travel the world(s), getting into trouble and returning with tall tales full of both fact and hyperbole; their boasts about their exploits are exaggerations and one can’t help but question their veracity. They can smash mountains, drink rivers dry, transform into anything and fight with the might of whole armies. They can feel jealousy, rage, desire and contempt – while also feeling love, compassion, empathy and admiration. These gods are, in short, all-too human and reflect the values and aspirations of the Norse people themselves. As do all pagan gods everywhere. In my youth I played D&D, and one of the points the game makes is that the gods need mortals as much as mortals need gods, for it is belief that give gods not only their power but their very lives. When belief dies, gods die.

And so does a culture. Norse Mythology is an incomplete though still-enlightening look at these long-dead gods, representatives of a vanished culture that has much to recommend and damn it. As do all cultures everywhere.

“Moriarty”, by Anthony Horowitz

 

304 pages, Harper, ISBN-13: 978-0062377180

Moriarty is the second Anthony Horowitz book I have read, the first being Magpie Murders, reviewed on May 14^th, 2025 (and one of my Mysteries & Munchies selections for the Fraser Public Library). Beginning mere days after Holmes’ and Moriarty’s deaths at the Reichenbach Falls in Switzerland, the Pinkerton Detective, Frederick Chase, arrives in pursuit of one Clarence Devereaux, a fiendish criminal mastermind and Moriarty’s Yankee counterpart who hopes to step into the void left by the Napoleon of Crime’s demise. He is aided by Scotland Yard Inspector Athelney Jones, a devoted student of Holmes’ methods of investigation and deduction originally introduced by Conan Doyle in The Sign of Four.

The majority of the book was a pretty standard mystery: things happen, the protagonists investigate, clues are discovered, suspects interrogated…and so on. All in all not very riveting, if I’m to be honest. And yet, throughout the book I couldn’t shake the feeling that something wasn’t right, that there was a malevolent presence that was lurking just off the page that was directing and hadn’t made its presence known. While I followed Jones & Chase in their quest to see justice done, I just knew there was more to the story – and I can’t for the life of me tell you why. Perhaps it was because Horowitz, a veteran storyteller, wrote it, or perhaps it is because I am becoming an old hand at reading mysteries.

And then I reached the last two chapters, and…hoo, doggy.

I won’t, I can’t, spoil the ending for you, only to say that my sense of dread while reading Moriarty was justified. Only…now, while I salute Horowitz for keeping me (mostly) fooled throughout the book, I have to say that I hated his rewriting of the Sherlock Holmes canon. Conan Doyle’s works are not holy writ, but to upend the author’s establishment smacks of chutzpah and has the effect of dragging Holmes down a little (come to think of it, perhaps Conan Doyle would have approved of Holmes being knocked down a peg). And as for the fate of one of the characters in the book – well, I grant you, it was shocking, but also disturbing. I tend to identify with the protagonists of the books I read, and to see this person’s fate was nothing less than heartbreaking.

Moriarty is a serviceable mystery with a rather shocking twist that I subliminally anticipated but still didn’t see coming. An excellent work by an author at the top of his mystery game.

“How Do We Look: The Body, the Divine, and the Question of Civilization”, by Mary Beard

 

240 pages, Liveright, ISBN-13: 978-1631494406 

I find I have mixed feelings regarding Mary Beard as an author. On the one hand she wrote SPQR: A History of Ancient Rome (reviewed on January 12^th, 2017), a brilliant introduction to Roman history, while on the other she also wrote Confronting the Classics: Traditions, Adventures and Innovations, which was nothing more than a bunch of book reviews. But when I found How Do We Look: The Body, the Divine, and the Question of Civilization at 2^nd & Charles I figured “what the hell” and hoped that the Beard of SPQR wrote it and not the Beard of Confronting the Classics. Turns out How Do We Look is a companion to the “How Do We Look” and “The Eye of Faith” episodes of the miniseries Civilization produced by the BBC in 2018 (which I never heard of). And it shows, seeing as how it is jam-packed with color photographs. What is strange are the dimensions; not only is it a mere 240 pages, but the book overall only measures 8¾” x 6”. How I wish Taschen had produced this thing; we would have gotten a brick that one could build houses out of.

As Beard states in the introduction, How Do We Look is “inevitably and unashamedly selective”, with Part One concentrating on the art of the human body and Part Two on images of the divine. Seeing as this is a companion book to a television show, it serves mostly as a primer to its subject. Apart from the many pretty pictures, it provides a general overview of its subject as it attempts to cram several centuries and numerous cultures into its slender form. It should be noted that it is mostly Beard’s opinions that are being related as she raises one Meta subject after another, not all of which I found persuasive. If you are a serious student of art in general or in one of these cultures in particular I doubt any of this will move you; but if all you want is an introduction to the field then How Do We Look will fit the bill – as would the TV series, I imagine. And most of the pictures are top-notch, too – even if some include the author, as if she was some kind of obnoxious tourist scrambling over priceless artifacts.

“Wolf by Wolf”, by Ryan Graudin

 

379 pages, Little, Brown, ISBN-13: 978-0316405089

My boss at the Fraser Public Library told me all about Wolf by Wolf by Ryan Graudin – leaving out the fact that it was written with tweens in mind. Anyway…so it is an alternate 1956 in which the Axis powers of the Third Reich and Imperial Japan have won World War II and rule the world between them, with America an isolationist outpost. Every year the victorious powers host the Axis Tour, an annual motorcycle race across their conjoined continents to commemorate their triumph. The grand prize is a personal audience with the now-reclusive Führer at the Victor’s Ball in Tokyo. This is important to Yael (that’s Yah-ell), a member of the Resistance, former death camp prisoner and survivor of painful human experimentation which gave her the power to skin-shift and take on a different face and form almost at will. This year her mission is to impersonate last year’s only female winner of the race, Adele Wolfe, so that she may win the Tour and get close to Hitler – and assassinate him in public before the eyes of the world.

I have been on something of an Axis-Win-It-All-Alternative-History kick for a couple of months now, starting with reviewing Fatherland by Robert Harris on January 3^rd, 2024, continuing with watching “The Man in the High Castle” miniseries on Amazon Prime and now with Wolf by Wolf, all totally by accident, too. I swear. No really. So Wolf by Wolf just kind of continues the trend. The premise is interesting and the character of Yael, complete with superpowers, put an interesting twist on the whole Nazis Won It All narrative. And her coping with all of those people who know the real Adele – including Adele’s brother, Felix – added tension and brought forth Yael’s characteristics. Unfortunately, she is the only really developed character in the book, as brother Felix and erstwhile suitor/rival Luka are cardboard cutouts constantly trying to get close to “Adele” while also trying to control her. All the other characters are just background decoration who add nothing to the tale. And a little more insight into this alternative timeline would have been nice.

There were some surprising moments, as an event occurs at about midpoint during the race that I didn’t see coming; this was a negative and a positive, I thought, as it disrupted the flow of the narrative (and the race) while also giving a certain insight into this nightmare, Nazi-run world. And the ending was rather a surprise, as well, and was not typical of works of this sort. Trying not to spoil anything for you, Dear Reader, only trying to describe some strong-and-weak points in a book that was outside of my comfort zone. So Wolf by Wolf was okay and I don’t regret reading it; perhaps if I was in the target demographic I’d get more out of it, but it is what it is. There is a second book in the series that I think I’ll tackle, because why not? I got them from the Shelby Public library for $1.50 for the pair, so might as well get my modest cost out of them.

“Stonewall in the Valley: Thomas J. “Stonewall” Jackson’s Shenandoah Valley Campaign Spring 1862”, by Robert G. Tanner

 

436 pages, Doubleday, ISBN-13: 978-0385121484

Stonewall in the Valley: Thomas J. “Stonewall” Jackson’s Shenandoah Valley Campaign Spring 1862 by Robert G. Tanner was one of my Father’s books, bought at the height of his Civil War Mania in the 80s and 90s and read by him in preparation for one of our Civil War vacations that we took every summer. What it recounts is the Shenandoah Valley Campaign, conducted by Jackson from February to June, 1862, during the American Civil War, at the end of which Jackson’s reputation as a military genius would be cemented by both sides. Fighting six relatively small battles – Kernstown, McDowell, Front Royal, Winchester, Cross Keys and Port Republic – Jackson managed to defeat Union generals Nathaniel P. Banks, Irvin McDowell, John C. Frémont, James Shields, Robert H. Milroy and Robert C. Schenck.

Jackson managed to tie down Union forces in the Valley that could have been thrown against the Confederate capitol of Richmond, Virginia; and Jackson was in no way blind to the importance of his actions, stating that “If the Valley is lost, Virginia is lost” and, thus, the War. Everything relating to Jackson and the Campaign can be found in abundant detail and exhaustive documentation, including several appendices that discuss the orders on various critical days and how they were (or were not) interpreted, understood, carried out completely, partially, or not at all; the fog of war laid bare. All one associates with Jackson – the bravado, the daring, the Foot Cavalry, all of it – was earned over the course of these four brief months, and as Tanner shows, it was a well-earned and hard-fought reputation.

Well, mostly; for in spite of Jackson’s obvious drive and brilliance, the man had his flaws as a commander. First and foremost were the expectations placed and his soldiers and himself, which were often outrageously high if not downright ridiculous; the forces of the Valley District of the Department of Northern Virginia were fortunate indeed to escape relatively intact on several occasions, all because of the excessive demands placed upon it by Jackson, with Port Republic being the prime example. Maybe this insane audacity was necessary when fighting forces that, were they ever to combine, would have outnumbered his own 4-to-1. But it all caught up to them in the end as Jackson and his forces, recalled by Lee during McClellan’s Peninsula Campaign, were all but asleep during the battles, worn out no doubt by the constant fighting and marching.

Besides its strategic success, the Valley Campaign provided a much-needed boost to Confederate morale after a spring season of defeats, which made Jackson’s death at Chancellorsville all the more devastating to the South and made defeat all but inevitable. Stonewall in the Valley deserves its reputation as a modern-day classic of the Civil War, Stonewall Jackson and the price of audacity in war: fame, immortality, exhaustion, and the weight of expectations.

“American Comics: A History”, by Jeremy Dauber

 

592 pages, W. W. Norton & Company, ISBN-13‏: ‎ 978-0393635607

Everything I know about comic books I learned through osmosis from my older brother, Tom. He was the true collector, and while such mainstream titles – like X-Men – made it into his collection, he seemed to favor the more independent titles, like Alien Legion, published by Epic Comics (an imprint of Marvel). I tried my hand at comics for a time, reading every issue of House of Mystery I could get my hands on (especially when they ran the I…Vampire recurring storyline), getting in on the ground floor with the resurrected Firestorm in 1982, along with such New Universe titles as Star Brand in 1986 (to say nothing of my beloved Groo the Wander). But all for naught, as I was well and truly under the sway of history, and these fictional beings couldn’t match the exploits of men (it was mostly men) who really lived and shaped their worlds.

So with all that said, it may make you wonder why I read American Comics: A History by Jeremy Dauber, seeing as I was a tangential fan of the medium, at best. Well, it was because I was ignorant of so much of what has occurred surrounding this most American of mediums, and decided to cure this ignorance the best way I know how. American Comics is exhaustive in its approach, starting with the birth of newspaper comics in the late 19^th Century and continuing on through to the present day, when these mainstays of every geek’s life (he said with nothin’ but love) conquered the movies and popular culture. While the big names everyone has heard of are represented, Dauber does justice to the underground comics of the 60s and 70s, as well as those publications attached to comics, like MAD Magazine and its imitators.

Dauber’s work is as thorough and comprehensive as one could hope for, and every character this comic book noob could imagine makes an appearance at some point; just as importantly, though, I learned about their creators, the often unheralded writers and artists (most of whom I’d never heard of) were brought forth and offered a bow. The big names are here, like Steve Ditko, Jerry Siegel, Stan Lee, Will Eisner and so many others besides, but the more obscure creators are given their due, as well. While some may kvetch that these lesser-known lights shouldn’t be given so much page space relative to their better-known colleagues, Dauber seemed intent on giving as complete a history of this American art form as possible, even if the reader hadn’t heard of whomever was under discussion.

Eclectic and incomplete, I’m sure, as I don’t think that Dauber spoke to a single comic-geek for a fan’s-eye-view of the medium, or any comic book store owners for any behind-the-scenes tales of selling these things. And when he speaks of so-called “toxic fandom” he really goes off the rails, availing himself of all the anecdotal evidence at his fingertips and assigning bad-faith motivations to fans who have reacted badly to the poor storytelling that is presented solely for the sake of achieving so-called “diversity”. Really, now, to pretend that this push for inclusion at all costs – while simultaneously cheering it on even as it subverts good storytelling for politics – hasn’t created a crisis in the industry is to ignore reality. And how in the hell do you write a book about comics with absolutely no pictures?

But, anyway…American Comics: A History did its job in informing me of what I didn’t know. Dauber doesn’t really bring anything new to the table that hasn’t been said before elsewhere, but he does provide a simple, concise history of this medium that conquered American culture and, thus, the world.

“Drive-Thru Dreams: A Journey Through the Heart of America’s Fast-Food Kingdom”, by Adam Chandler

288 pages, Flatiron Books, ISBN-13: 978-1250090720

I walk. A lot. It’s really the only exercise I get. I’ve walked at every job I ever had, doing lap after lap around the joint until I wore paths in the carpet. Most of my employers were cool with it – or at any rate didn’t complain about it – while others…weren’t. Ah, screw ‘em. I even walk when I’m not working, like when I’m at the library reading, or in the computer lab, and get up every half-hour (because that’s as long as I can sit still) and take a lap – which is when I saw Drive-Thru Dreams: A Journey Through the Heart of America's Fast-Food Kingdom by Adam Chandler and checked it out then and there. Because why not? Chandler’s book explores how modern American dining has changed over the course of the 20^th Century. While most pundits see fast food in only a negative light, Chandler uncovers the whole story by showing how fast food chains impacted Americans, both negatively and, yes, positively.

Personally, McDonald’s was THE fast food go-to joint. Saturdays my Dad would take Mom out for a well-deserved dinner at whatever place she chose; my brother Jonathan and I were basically left alone to watch TV (especially Airwolf) and scarf down our McDonald’s Happy Meals. On the many interstate vacations we went on we also inevitably had lunch at McDonald’s because it was cheap and reliable (dinner was something else; we always tried a local joint to add variety to our lives). Was all of this fast food good for me? Nope. But that’s the point of a guilty pleasure, isn’t it? If you want to eat healthy you don’t eat fast food; if you want to enjoy life a little you do. And Chandler relates these basic facts as he recounts the history of America’s greatest fast food chains and how fast food shaped America and how America shaped fast food, for fast food history is unquestionably American history, for good and for ill.

Chandler does a great job in showing how the Greatest Generation provided the perfect market for the explosive growth of seemingly every small-town burger joint into a much larger atmosphere which, when combined with a new advertising mindset, allowed them to become national icons – well, some of them at any rate, for with every international success there were a dozen failures (I still miss the Burger Chef that graced the strip mall opposite my childhood subdivision). If I had a complaint then it’s the double crutches of McDonald’s and Kentucky Fried Chicken that he leans on, to the detriment of other fast food chains. These other chains are discussed – White Castle, Hardees, Taco Bell and others, besides – but they all seem to come back to Mickey D’s and KFC at the cost of explaining how food tastes were changing overall. And the snide political commentary at times was as out of place as an onion ring in my large fries.

But anyway – Drive-Thru Dreams was an informative look at an often misunderstood and much maligned market whose greatest crime is giving the public what it wants. While I think the book would have been better had it been more linear, instead of bouncing about from one corporation to the next, what Chandler makes clear is that fast food did not originate from a single place but was created throughout the country, virtually at the same time. And over time, with the interstate highways connecting the country, fast food, in a way, connected us all.