2023: reading

Over the last few years I’ve had the goal of inching my way from 100 books annually up to 150. Last year I hit 122. This year I’ll be lucky to finish with 90. What happened?

A passel of 1,000-page novels, is the first answer. Writing and editing not one but two books of my own, is the second. And third is surely some mix of happenstance, fatigue, and time management. So be it. The books I read this year were good, even if I didn’t hit the number I was aiming for. There’s always next year.

The list below does not include every book I read over the last 12 months, just my favorites across a handful of categories. You’ll see that I read a lot of good fiction and nonfiction. Not so much theology! I leave it to readers to decide whether that’s a reflection on academic theology or on me.

Comments and links throughout, as well as promissory notes on reviews that I’ve written but have yet to be published.

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Rereads

5. Kathryn Tanner, Christianity and the New Spirit of Capitalism. I read this when it was in draft form, as the Gifford lectures, but I’d never read the book version cover to cover. I had, and still nurture, the idea of writing an essay putting Tanner and David Graeber together in a theological reflection on work. We’ll see.

4. Aldous Huxley, Brave New World.

3. John Le Carré, The Spy Who Came in From the Cold. Not his very best—that’s A Perfect Spy—but in the top five. Even better on the second time through.

2. Larry McMurtry, Lonesome Dove. The beauty still shines in the story and dialogue and characters, but the brutality is more apparent. “A dark tale lightly told” indeed.

1. Tad Williams, Memory, Sorrow, and Thorn. As I wrote here, this return to the classic trilogy (a million words in all?) was in preparation for the sequel tetralogy (see below). My love for the series, the author, and the prose is unabated. And the narrator for the audiobook is can’t-miss for lovers of Osten Ard.

Fiction

10. Mickey Spillane, I, the Jury. Not a great book, but popular and influential; part of my attempt to read through the canonical authors of American crime fiction.

9. Adam Roberts, Purgatory Mount. The framing device is gripping, but I didn’t love the middle. Roberts is always worth reading, though.

8. Ian Fleming, Live and Let Die.

7. Denis Johnson, Train Dreams.

6. J. M. Barrie, Peter Pan. Had never read it; am listening to it now. The narrator is Jim Dale. He’s perfect. It’s a treat when you turn to a classic and immediately understand why.

5. Larry McMurtry, Streets of Laredo. Finally read the sequel to Lonesome Dove, where McMurtry lays waste at once to beloved characters, “bad fans,” and any remaining trace of romance we may have had with the West. It’s thrilling. And more affecting than I expected.

4. Mick Herron, Slough House. Having read the first two books in the ongoing “Slow Horses” series, I read the next six in the new year, plus a collection of short stories. In the spring I have an essay in The Hedgehog Review on the series as a whole. It’s great, if confused in its politics; as is the TV show starring Gary Oldman.

3. Tad Williams, The Last King of Osten Ard. No missed opportunity here. Williams keeps breaking my heart, but the books are on a par with what came before. I was preparing for the fourth and final book’s release last month … only for it to be delayed by a year. I’m told it’s written, but the publisher chose to delay it. Oh well. I’ll be ready.

2. Georges Bernanos, Diary of a Country Priest. No words. Just read it.

1. John Kennedy Toole, A Confederacy of Dunces. Ditto. When I finished the last page, I had plans to write a long essay comparing Toole to Melville, with Dunces a kind of madcap multicultural New-Orleans-meets-Chesterton Don Quixote for postwar America. Is Ignatius J. Reilly the white whale, a knight-errant, a holy fool, or just a fool? I forgot the answer, probably because I was laughing so hard. The novel is a one of one. Tolle lege!

Poetry

Another down year for my poetry reading. I always re-read Franz Wright, Mary Karr, Marie Howe, Christian Wiman, and Wendell Berry. This year I read some Les Murray and Allen Tate. More next year, I hope.

Christian (popular)

7. Dane Ortlund, Gentle and Lowly: The Heart of Christ for Sinners and Sufferers.

6. Tish Harrison Warren, Advent: The Season of Hope & Emily Hunter McGowin, Christmas: The Season of Life and Light. I love this new series. Need to snag Epiphany before we turn to Lent and Easter.

5. Esau McCaulley, How Far to the Promised Land: One Black Family’s Story of Hope and Survival in the American South. Is there anything McCaulley can’t do? New Testament scholarship, theological hermeneutics, liturgical devotions, children’s books, NYT op-eds … and now a bracing, moving memoir. There were more than a few moments that took my breath away. Recommended.

4. Samuel D. James, Digital Liturgies: Rediscovering Christian Wisdom in an Online Age. Immediately added this to the syllabus for my course on discipleship in a digital age. Excellent!

3. Beth Moore, All My Knotted-Up Life: A Memoir. We all know Beth Moore is a treasure. I suggest listening to her read it. I wept.

2. Matthew Lee Anderson, Called into Questions: Cultivating the Love of Learning Within the Life of Faith. Matt is a friend, so I’m biased, but I can’t wait to start giving this book to college students. It’s just what the doctor ordered. And the best thing Matt’s ever written in terms of style. Accessible yet poetic and pious in equal parts. For the brainy or doubting believer in your orbit. (Two-part interview plus podcast discussion over the book.)

1. Andrew Wilson, Remaking the World: How 1776 Created the Post-Christian West. Easily a top-5 for 2023 new releases. Here’s my review.

Nonfiction

10. Mark Noll, America’s Book: The Rise and Decline of a Bible Civilization. Review here.

9. Tara Isabella Burton, Self-Made: Creating Our Identities from da Vinci to the Kardashians. Review here.

8. John Gray, Feline Philosophy: Cats and the Meaning of Life. Good fun. Not just a joke, though. Gray contains multitudes.

7. Mary Harrington, Feminism Against Progress.

6. Edward Feser, Philosophy of Mind: A Beginner’s Guide.

5. Ronald L. Numbers, ed., Galileo Goes to Jail and Other Myths About Science and Religion. I sort of can’t believe how good this book is. It needed to be written; it needed to be written by the contributors involved; it needed to be published by Harvard; it needed to be readable, consisting of short entries by a range of theists, atheists, and agnostics. And somehow it was.

4. Richard V. Reeves, Of Boys and Men: Why the Modern Male Is Struggling, Why It Matters, and What to Do about It. Wrote about this here.

3. Albert Murray, The Omni-Americans: Black Experience and American Culture. To call Murray unique is an understatement bordering on an insult. He died in 2013. We needed his voice more than ever in the decade since.

2. Yossi Klein Halevi, Letters to My Palestinian Neighbor. Alongside Ari Shavit’s My Promised Land, this is the first book I recommend to anyone wanting to learn more about modern Israel.

1. Christian Wiman, Zero at the Bone: Fifty Entries Against Despair. There’s no one writing today quite like Christian Wiman. My review of his latest should be out in Comment next month. I’ve got a lot to say!

Theology (newer)

7. Miroslav Volf and Ryan McAnnally-Linz, The Home of God: A Brief Story of Everything. Ten months ago I wrote a long review of this for Syndicate. I hope it comes out soon so I can finally share it with people!

6. Joseph Ratzinger, Many Religions—One Covenant: Israel, the Church, and the World.

5. Jim Davis and Michael Graham with Ryan P. Burge, The Great Dechurching: Who’s Leaving, Why Are They Going, and What Will It Take to Bring Them Back? Every pastor, elder, and church leader needs a copy.

4. Esau McCaulley, Sharing in the Son’s Inheritance: Davidic Messianism and Paul’s Worldwide Interpretation of the Abrahamic Land Promise in Galatians.

3. Jonathan Rowlands, The Metaphysics of Historical Jesus Research: A Prolegomenon to a Future Quest for the Historical Jesus. I wish I’d had this in hand a dozen years ago; it would have helped immensely. As it is, we have it now, and it’s a must-read for all biblical scholars, historical critics, and theologians interested in reading Scripture theologically, responsibly, and/or historically.

2. Matthew Thiessen, A Jewish Paul: The Messiah’s Herald to the Gentiles. See my review in a forthcoming issue of Commonweal.

1. Ross McCullough, Freedom and Sin: Evil in a World Created by God. Another biased pick, since Ross is a good friend, but an honest choice nonetheless. One of the best new works of theology in years. The only remotely satisfying treatment of theodicy, compatibilism, determinism, and human/divine agency I’ve ever read. Extra points for being concise and stylish and witty without losing an ounce of substance.

Theology (older)

4. Howard Thurman, Jesus and the Disinherited. What a weird but invigorating book.

3. Thomas à Kempis, The Imitation of Christ. Almost unbearably painful, given the way it cuts to the quick. But also full of the deepest consolations. Sometimes it really is Christ addressing you, the reader, by name.

2. Patrick Ahern, trans. and ed., Maurice & Thérèse: The Story of a Love. A window into the heart of Saint Thérèse. Probably the best introduction to her, too. Recommended to me by a friend. A beautiful book. Thanks to the good bishop for putting it together.

1. Blaise Pascal, Pensées. We all have gaps in our reading. I’d never (seriously) read Pascal. For the four-hundredth anniversary of his birth, I read his most celebrated work. It did not disappoint.

Every fantasy a comedy, every comedy a theodicy

Recently I wrote about returning to Osten Ard, the fantasy world of novelist Tad Williams in his two series Memory, Sorrow, and Thorn and The Last King of Osten Ard. One of the things I’d forgotten about the first series, a trilogy written from 1988 to 1993, is its interest in theodicy. Multiple characters throughout the books wonder, both aloud and to themselves, about the existence of God (or the gods); about their power; about their goodness; about the supposed truths taught by priests and monks; about the myths of old, handed down for centuries; about whether a world such as theirs—namely, a world of unremitting pain, illness, suffering, violence, and death, all apparently senseless, random, and unrectified—is one a just God would either create or sustain. As the lead character Simon realizes at one point: he no longer feels himself capable of praying to such a God even if he does exist. Yet this very realization is itself an indication that there is no such God, since he would not correspond to “the old stories.”

I do not know whether Tad Williams, the author, believes in God, nor can I say just what his aim was in posing these theodical questions throughout his trilogy. I’ve not yet re-read the second half of the third book in the series, so my memory may be wrong, but I don’t recall him resolving these questions in a clear or satisfactory way. That’s fine. Theodicy is usually a dish best served incomplete anyway.

Here’s the thing, though. Williams’ story wraps up beautifully. Every narrative thread is woven, by story’s end, into a gorgeous tapestry clearly thought through and planned out from the beginning. This is what makes the epic tale so marvelously told. There is not a character forgotten, nor a plot device left by the wayside. By the final pages, it’s as though behind this seemingly senseless drama stands an author, an author with meaning and purpose, whose design may have been hidden before but has now been made manifest.

It seems this way, because it is this way. The author isn’t a hypothesis we are forced to postulate in order to make sense of a story we otherwise couldn’t make sense of. We know the author’s name. The story is a novel. He wrote it. He planned it. He designed it. Duh.

But there’s the rub. If, outside the text, there stands an author, then inside the text, within the story, there must likewise be an Author. The perfect pleasing blueprint of the thing works because there is an architect. The fact of there being an architect is itself an answer to the characters’ ponderings about God. The characters wonder to themselves whether they are living in a meaningful story or a meaningless chaos. Well, we know: it’s the former, not the latter. The end of the story clears that right up. More to the point, the fact that they are characters inside a story written by an author for readers’ pleasure is as direct an answer as one could have. It may not be an answer available to the characters, within the story, but it’s a meta-textual answer available to us, the readers of their story.

In this way, Williams is unable to render a negative answer to the theodicy his narrative is meant to embody, however ambivalent his own intentions may be. Merely by authoring the story and having it make some kind of sense, he answers his own question: Yes, there is a God. In a word, it’s him. He’s the deus ex machina. He’s the one behind the curtain. There’s someone pulling the strings. It’s him. And if he exists, then the existence of God (or the gods) within the world he’s created is a given. Of course he (they) exist. Otherwise the story wouldn’t unfold the way it does; wouldn’t be orchestrated and choreographed in such a supremely fitting and satisfying manner.

This, in turn, becomes an extra-textual answer about our world, not just Osten Ard. There is a God in our world just as there is in that world, as evidenced by the fact that we make worlds like Osten Ard. Human sub-creation imitates and exemplifies divine creation. In the words of poet Franz Wright:

…And the way, always, being 
a maker 
reminds:

you were made. 

What I mean is this. Insofar as a fantasy is a comedy, it is also a theodicy: it poses and answers whether there is a God and, if he exists, whether he is both all-good and all-powerful. There is and he is, fantasy replies. For in a comedy, the Good triumphs in the end—ultimately, in some way, to some degree. This is why Dante’s masterpiece is called, simply, La Commedia. It’s the comedy, and therefore the divine comedy. This world is a comedy, for all its evil and suffering. It is not a tragedy.

For modern fantasy to avoid theodicy, it would have to embrace tragedy. Not darkness, not “grittiness,” not violence and sadism and gratuitous sex and playing footsie with nihilism. Actual, bona fide tragedy. I’ve not encountered fantasy that does that. And even then, if there’s a human author doing the tragedy-writing, there’s a case to be made that it can’t fully escape the pull of theodicy. It seems to me you’d have to go full Sartre and write a fantasy akin to La Nausée. But what world-building fantasist wants to do that? Is even capable of stomaching it?

We write because we are written. We make because we are made. We work providence in our stories because providence works in ours. We give the final word to the Good because the Good has the final word in our world—or will, at least; we hope, at least.

This is why every fantasy is a theodicy. Because every fantasy is a comedy. And comedy is a witness to our trust, howsoever we deny it or mask it, of our trust that God is, that God is good, and that God will right all wrongs in the End.

To Osten Ard

I first journeyed to Osten Ard in the summer of 2019. Osten Ard is the fictional world of Tad Williams’ fantasy trilogy Memory, Sorrow, and Thorn. It came out about thirty years ago and comprises three books: The Dragonbone Chair (1988), Stone of Farewell (1990), and To Green Angel Tower (1993). The last book, if I’m not mistaken, is one of the largest novels ever to top the New York Times bestseller list. At more than half a million words, it is so big they had to split it in two volumes for the paperback edition.

I enjoy fantasy, but I’m no purist. I’ve not read every big name, every big series. Nevertheless, not only is MST my favorite fantasy series. It’s the most purely pleasurable and satisfying reading experience I’ve ever had.

I remember wanting, at the time, to write up why I loved it so much. I had a whole post scribbled out in my head. Alas, I never got around to it. But I’ve finally decided to revisit Osten Ard, so I’m taking the chance now.

The reason? A full three decades after the publication of The Dragonbone Chair, Williams decided to write a sequel trilogy. That trilogy has expanded into a tetralogy, accompanied by three different smaller novels: one that bridges the two series (The Heart of What Was Lost [2017]), plus two distinct prequels set thousands of years in the past (Brothers of the Wind [2021] and The Splintered Sun [2024]). As for the tetralogy, it’s titled The Last King of Osten Ard, and includes The Witchwood Crown (2017), Empire of Grass (2019), Into the Narrowdark (2022), and The Navigator’s Children (2023). That last novel is finished and due to be released this November.

Since first reading MST in 2019 I’d been waiting for a definitive publication date for the final book of the sequel series before plunging in. Now that it’s here, I’m ready to go. But in order to prepare, I’m rereading the original trilogy via audio. It’s even better the second time round. Narrator Andrew Wincott is pitch perfect. The total number of hours across all three books is about 125—but already the time spent listening has been a delight. And then, once I’m done, I’ll open the bridge novel and the final four books that bring the whole 10-book saga to a close.

I’ve buried the lede, though. What makes these books so wonderful?

In a word: Everything.

Plot, prose, character, world-building—it’s all magnificent and then some.

1. Plot reigns in fantasy. Without a good plot, there’s no story worth telling. And what a story MST tells. It’s a slow burn in the first book. The first quarter sets a lot of tables before any food is served. I’ve had multiple friends begin the book and not make it past the halfway point for this reason. I get it. But I don’t mind the pace. All the pieces on the board have to be in the right place before the action begins. Besides, Williams’ leisurely pace is a welcome break from needing to Begin The Adventure! on page one.

Williams plots out everything in advance, and it shows. He also clearly loves four-part stories over three-parters. Every other series he’s written besides MST has entailed four books—and the third book in this trilogy is the size of the first two books put together! In any case, Williams always knows where he’s going, and he’s going to earn every step of the way. He never cheats. Never. That’s what makes To Green Angel Tower so extraordinary. Every single thread finds its way woven into the tapestry, always at just the right moment, when you least expected it. By novel’s end, the final achievement is a marvel to behold.

And even granting the slow burn of the first novel, by two-thirds of the way through, it’s off to the races, and you never look back or slow down.

2. The prose is delightful. Not showy, but not inert either. Williams has style. Above all, it’s not a failed attempt at Tolkienese. It’s “modern,” if by that one means tonally consistent, character-specific, emotionally and psychologically rich, morally complex, and written for adults. But not “adult.” Williams comes before George R. R. Martin—many of whose themes and even plot devices are lifted right off the page of MST—and beats him to the post-Tolkien punch, without any of the lurid, gratuitous nonsense. There’s neither sadism nor titillation on display here. Neither is it for kids, however. My 9-year old is reading Lord of the Rings at the moment. He won’t be ready for Memory, Sorrow, and Thorn until he’s in high school.

All that to say: For my money, granting that the genre is not known for its master stylists, Tad Williams writes the best prose in all contemporary fantasy. You’re always in good hands when you’re reading him.

3. The characters! Oh, the characters. Just wait till you meet them, till you’ve met them. Binabik, Isgrimnur, Morgenes, Jiriki, Tiamak, Josua, Miriamele, Pryrates … and so many more. One of the delights of rereading (=listening to) the trilogy is spending time with these old friends (and not a few enemies) once more.

And again, thankfully, we don’t have a Fellowship redux. There is a wizard-like character, but he plays a minor role and is nothing like Gandalf. There is more than one “good king,” in this or that kind of exile, but not only are our expectations of their “return” turned upside down; they aren’t cast in the mold of Aragorn (or David or Arthur or Richard the Lionheart or whomever). Likewise there are elf-like creatures, but they aren’t patterned on Legolas or Galadriel or the other elves of Middle-Earth. So on and so forth.

Two further comments on this point.

First, speaking of LOTR, here’s one way to understand what Williams is up to in the series. Tolkien famously ends his story with Aragorn’s accession to the throne and his long future reign and happy marriage. Williams begins his story where Aragorn’s ends: after 80 years of a happy, just, and celebrated royal reign. I.e., with the death of a universally beloved “good king.” In a sense, his story poses the question: Okay, suppose an Aragorn really did rule with peace and justice for as long as he lived. What happened next?

And then he asks: And what if this Aragorn had demons in his past, skeletons in his closet, bodies buried where no one thought to look? What if he had secrets? And what if those secrets, once brought to light, had costs?

To be clear, Williams is neither a cynic nor (like GRRM on his lesser days) a nihilist. But he wants to tell a full-bodied story about three-dimensional characters. No one’s a cardboard cutout; nobody’s perfect. That’s his way of honoring Tolkien without aping him.

Second, the protagonist of MST is a boy named Simon (Seoman) who, for much of the story, has a lot of growing up to do. He’s an orphan scullion in his mid-teens, as the story begins, and the truth is he’s petty, immature, self-regarding, self-pitying, and annoying. A real whiner, to be honest. And some folks I’ve known who gave Dragonbone Chair a chance finally put it down because they simply didn’t like Simon.

I get it. He’s not likable. He’s Luke from A New Hope, only if Luke was the same restless spoiled brat for multiple movies, not just the opening hour. Who wants to watch that?

Stick with it, is all I have to say. Williams doesn’t cheat here either. His depiction of Simon is honest and unflinching. Who wouldn’t be self-pitying and immature growing up in the kitchens of a castle without mother or father, aching for glory but ignorant of the world? Williams won’t let him grow up too fast, either. It takes time. But the growth is real, if incremental. And by the time he fully and finally grows into himself, you realize the journey was worth it. You learn to love the ragamuffin.

4. What fantasy is worth its salt without world-building? Middle-earth, Narnia, Westeros, Hogwarts, Earthsea, the Six Duchies … it either works or it doesn’t. When it works, it’s not only real, not only lived in, not only mapped and named and historied in painstaking detail. It’s appealing. It’s beautiful. It draws you in. It’s a world that, however dangerous, you want to live in too, or at least visit from time to time.

Osten Ard fits the bill in spades. It’s got all the trappings of the alt-medieval world universally conjured by the fantasy genre—fit with pagans and a church hierarchy, castles and knights, fiery dragons and friendly trolls, magical forests and mysterious prophecies—but somehow without staleness or stereotype. The world is alive. You can breathe the air. You can, once you master the map, move around in it, trace your steps or others’. It’s a world that makes sense. There’s not a stone out of place.

It’s a world with real darkness in it, too. Not the threat of it. The genuine article. Pain and suffering, remorse and lament, even sin find their way into the characters’ lives. As he wrote To Green Angel Tower, Williams was going through some real-life heartache, and you can feel it in every word on the page. But it’s not for its own sake. It serves the story, and it’s headed somewhere. If I said above that I’ve never been more satisfied by a reading experience, then I’ll gloss that here by saying that I’ve never had the level of catharsis that Williams provides the reader—finally—in the final two hundred pages of this trilogy.

And yet, apparently, that isn’t the end of the story! Williams is a master of endings, and I can call to mind immediately the closing scene, even the final sentence, of each of the three books. The first is haunting and sad; the second is mournful though tinged with hope; the third is full of joy, so much so it makes me smile just thinking about it.

But there are four more books to go! Another million (or more) words to read! A good friend whom I introduced to the original trilogy says the new series is even better than the first. Hard to believe, but I do. Between now and November—or should I say Novander?—I’m making my return to Osten Ard. Like Simon Pilgrim, I’m starting at the end, or perhaps in the middle. Usires Aedon willing, I’ll see you on the other side.

Out of touch

Before they premiered, I assumed that both House of the Dragon and The Rings of Power would flop. The assumption was pure projection. I couldn’t gin up an ounce of interest in either. Why? Because they were both inessential prequels produced entirely for reasons having to do with the bottom line, i.e., competing corporations spending hundreds of millions of dollars in the service of diminishing returns from previously profitable IP. Did anyone ask for them? Are they answering some urgent question about the fantasy worlds or original stories told about them? No. HBO wanted more of that sweet sweet GRRM cash, and Bezos wanted his own GRRM, so he opted to buy the next best thing: the rights to JRRT.

Clearly I was wrong. Both shows were enormous “hits,” in the sense that millions of people watched them and, apparently, cared about what happened on them. I confess it felt a little like going through the motions, watching from the outside; the precaps and recaps, podcasts and explainers, reviews and “arguments.” Do people actually enjoy these shows, or are they playing the old hits, reliving the glory days of Peter Jackson’s films and the initial shock and awe of Benioff and Weiss’s show?

But I may be wrong, since I was wrong the first time. What the popularity of these series showed me is just how out of touch I am. It was a pleasant surprise. Once upon a time, the mere existence of these shows and their accompanying buzz would have made them irresistible to me. No more. And thank God.

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My rule with TV, as I’ve written about before, is that it either needs to be weightless fun (Top Chef, Great British, Brooklyn 99) or an A/A+ (Better Call Saul, Succession, Mare of Easttown). My students have time for C+ and B– shows. I once did too—or I thought I did: the truth is, there’s always something better to do with your time—but no longer. An episode or two of TV per week works for me. I can certainly do with less. More, and I should reconsider my priorities.

So regarding the other big franchise premiere this fall, Andor, I stayed away. I’ll eventually consider checking out HOTD or TROP if people are saying either show is genuinely A-level headed into season 4. Until then, it’s just a waste of time. But friends have been telling me that Andor is worth the time, so I finally gave it a watch this week. Some habits never die, and this childhood Star Wars fan is a sucker for more time in the galaxy.

And it’s not bad! It’s actually quite good, and getting better with each episode. A far cry from the useless, boring redundancy that was Kenobi. Some thoughts on the first eight episodes:

• True to his word, Tony Gilroy has made what appear to be four mini-movies, each made up of three episodes. I wish this had led to greater formal experimentation. What if the season actually were four movies, and edited accordingly, rather than randomly sliced and diced episodes? The opening three in particular feel random in when and how they begin and end. One more example of a filmmaker not quite understanding the television medium.

• Having said that, “movement two” (i.e., the arc spanning episodes 4-6) is magnificent, and if episode 9 delivers, then the third movement will be too. You can feel the Gilroy-ness of it all (brother Dan is writing as well). They’re in their element with the plotting, characters, and intrigue. It may well be the first successful live-action depiction of these things. Even Rogue One was beset by the dual shadow, on one hand, of Vader and the Force, and on the other, of our knowledge of the Death Star, its plans, and its eventual destruction. The mini-dramas of “BBY 5” and these heretofore unknown characters (minus Mon Mothma and Andor, only one of whose fate we know—we’ll think of her as Kim and him as Jimmy for now) have no canonical future for viewers. Their simultaneously small and large stakes create wonderful narrative tension.

• By contrast to the other Star Wars shows so far, the acting has been uniformly excellent. No comedic guest stars, no amateurs doing their damndest to make gibberish sound profound. Gilroy hiring top-notch old British guys and letting them chew scenery is just what the doctor ordered. Even smaller parts like Fiona Shaw’s adoptive mother lend gravitas that, in their absence, would make the show feel small and forced.

• The show is at its best, surprisingly, on Coruscant and inside the walls of the infinitely byzantine corridors of the immaculately white Imperial Security Bureau. (Cue Melville on the whiteness of the whale.) Kyle Soller, Alex Ferns, Denise Gough, Anton Lesser, and Genevieve O'Reilly are brilliant in their roles, and Gilroy et al give them both the words and the direction to make it all feel far more than glorified galactic dress-up. Whereas whole stretches of Kenobi felt like low-rent TV—“where’s the money???”—most of Andor makes clear exactly where the money went. Who knew Star Wars minus wizards and laser swords could be fun?

• The weakest link so far is the titular lead. Diego Luna plays Andor as a twitchy, world-weary, unsmiling Han Solo. All exposed nerve and bitter anger. That’s fine. But it drains him of any charisma. He’s supposed to be a womanizer. But who would want to go near this guy? He seems brittle and sketchy, not alluring or mysterious. Clearly he’s playing the role “correctly”—in the seventh episode, we understand why the stormtrooper stops him (however unjustly): Cassian Andor always wears a guilty look on his face, as if he’s only one step ahead of the law (which he is). His tell is his nervous constant surveillance of his own person. In that sense, Luna is doing his job. But why should we, the audience, care? We’ve got to have a reason at some point. When he vanished for a full 15-20 minutes in a later episode, I didn’t miss him at all. I wanted to stay on Coruscant with Mothma and Luthen and the rest. Make him matter, Gilroys!

• Having said that, Luna was quite impressive in episode 8, in which, from memory, Andor basically lacks a single line of dialogue, except to repeat, over and over, his own false name to judges, stormtroopers, pilots, and prison guards. The dawning realization of his situation in prison is almost feral in its raw bodily expression. The addition of Andy Serkis was a grace note in an otherwise brutal episode. If what we’ve got waiting for us in episode 9 is one long masterfully executed prison break, I’m here for it.

• The real weakness of the series so far is its opening three episodes. I understand why something like the story they sketch was necessary, but again, I think something more formally interesting could have served the show’s purposes much better. What if, for example, the show began with season 4, in media res, with the viewer as clueless about who Andor is and why he’s there as any of the other rebels? Then you fill in the back story at the necessary moments, when other characters are also learning these things for the first time, surprised when they are surprised (as when he reveals he’s a mercenary, for example), all while stretching out the suspense of the planning and undertaking of the robbery and escape. You scrape away the fat of those first 105 minutes while filling in the gaps in a much more engaging way. You also do away with some of the pro forma “yes, this is the backstory for the guy whose backstory we’re telling in this prequel” paint-by-numbers feel of the opening episodes, which surely turned many viewers away from what quickly becomes a richly suspenseful story of empire, law, bureaucracy, sedition, criminality, justice, morality, politics, and spycraft.

• I do hope Gilroy is able to make season 2. It would be a bust if the low viewership of season 1 led to premature cancellation. If season 2 really does stretch from BBY 4 to, more or less, the opening scene of Rogue One, that could be an absolute blast in the right hands—and so far, these are the right hands. Here’s hoping Kathleen Kennedy agrees.

Narnia’s saints

Does Narnia have saints? It occurred to me, as I was listening to The Last Battle this morning, that the function of the children in the stories (minus The Horse and His Boy) is analogous to the function of the saints in devotional and liturgical prayer in catholic traditions. There is no question that Aslan alone is King and Lord, but by his will the sons of Adam and the daughters of Eve are sent as ministering servants to the beasts and people of Narnia. Not only that, but more than once they are called. Caspian blows Susan’s horn to call them for help. And while captured and alone, King Tirian bellows aloud—following a prayer addressed directly to Aslan—a prayer to the children of old who once aided Narnia long ago. Indeed this latter petition for the children’s intercession comes after Tirian recalling to mind the old stories he was raised on, having been well versed as a child in a kind of common Narnian hagiography of Peter and Lucy and Digory and Polly and the rest. And more or less the moment he begs their intercession, under Aslan, he is brought to them in our world, and moments later (for him: a week later for them) Jill and Eustace arrive to help.

That description is quite similar to catholic teaching and practice regarding the saints. They are alive with God in heaven (read: another world); they once lived in our world and we tell and retell stories of their words and deeds (read: tales of the fabled children who came to Narnia’s aid in times of great need); they have no power of themselves but by God’s grace hear the petitions of the church militant and intercede for them before the heavenly throne (read: the children being called or summoned to Narnia); and occasionally through their intercession the Lord works some miracle or wonder in answer to a believer’s prayer and as a sign of the saint’s patronage or protection (read: the children appearing in Narnia and defeating the White Witch or coming to Caspian’s aid or sailing to the end of the world or rescuing Prince Rilian from his enchantment). If this account makes the role of the saints, and therefore of the children in Lewis’s stories, akin to that of the angels, that is because it is. At least according to sacred tradition.

I vaguely recall Lewis half-punting the question of the saints’ intercession in his book on prayer, or perhaps in a separate essay. I’ll have to run down the reference, but I believe he affirms the saints’ intercession on principle, but not wanting to be divisive he allows the legitimacy of Protestant worries about superstitious and abuse. In any case, though, I’d be shocked if he were dead-set opposed to the practice. And even if he were, he’s rendered the practice in an intelligible and quite beautiful narrative form in the children of the Chronicles of Narnia.

2021: the year of Martin, Rothfuss, and Williams?

Could 2021 see the publication of long-awaited sequels to three major fantasy series?

It would mark a full decade since George R. R. Martin published the fifth entry in his Song of Ice and Fire. He's been writing pages and pages since then, or so he says. He turns 72 this month, and following the TV adaptation of Game of Thrones concluded, then living through a global pandemic, he's had nothing but time to write. In any case, even after #6, he's got at least one more book in the series to write, assuming it doesn't keep multiplying and fracturing indefinitely. One can hope, no?

It's also been a decade since the second book in Patrick Rothfuss's Kingkiller Chronicle trilogy was published. Four years spanned the first two books. Perhaps ten will span the second and the third? Rothfuss insists that he is hard at work on The Doors of Stone, yet reacts cantankerously to continuous "Are you finished yet?" queries. It's unclear whether it's the perfectionist in him or whether, like Martin, the sprawl of the story plus the lure of other projects is keeping completion just over the horizon.

Speaking of completion: A full three decades ago Tad Williams published his extraordinary trilogy Memory, Sorrow, and Thorn. He sat on it, sat on it, and sat on it some more—then finally made good on some hints and gestures in the closing pages of the final volume, To Green Angel Tower, with the publication in 2017 of a "bridge novel," The Heart of What Was Lost (a more Williams-esque title there never was, plangent and grand in epic lament as so much of his work is). Thus began a new trilogy, The Last King of Osten Ard, with volumes published in orderly sequence: 2017, 2019, and, in prospect, October 2021. (A second short prequel novel will be published in the summer.) Once he breaks the story, the man knows how to tell it, and how to finish it.

In sum, these are three great fantasy novelists working to complete three much-beloved fantasy series. And we could have all three authors publishing eagerly anticipated books in the next 15 months. Let it be so!

Genre criticism

I'm in a book club with some buddies in town, and as it happens I'm the only one who liked the latest book, a work of fantasy. Two issues with the book have come to the surface, and I've been thinking about their status for fiction more generally.

First, I've realized that I don't believe in "pace." Or rather, a book's having a slow or fast pace is at best a neutral statement that requires content to be filled in: was the slow pace done well, or was the fast pace rushed? More often, I think pacing is a cipher for other matters: whether the reader finds the characters, interactions, descriptions, and events engaging—or not. In that sense a reader might well say, "I found the pacing slow," to which the author could reply, "Yes, exactly, that's the idea," at which point the reader then must supply further reasons as to why the slow pacing was a problem. There may be good reasons to make such an assertion, but they involve reference to other features of the narrative, not the pace as such.

Second, all fiction, all storytelling, is responsive to other instances of the same art, indeed every other art form, and thus every novel is derivative in one way or another. So that tropes—particularly when speaking of genre fiction, given the more identifiable and delimited features of that sub-form—are always everywhere present; there is no storytelling, there has never been a novel, without tropes. Nor is a novel or story's success directly proportional to the minimization of tropes: the very worst fiction in the world might be the most original. What we mean by originality, at least when using it as a criterion in the right way, is that the author's handling of the story's tropes was deft, subtle, unexpected, masterful, funny, gripping, complex, pleasing, or otherwise well done. In which case, as with pacing, reference to tropes in critique of a novel is the beginning rather than the end of the conversation, since the proper response to such a reference is, "Indeed—go on..." At which point further reasons enter in to clarify the quality of the use of tropes, granted their inevitability.

The virtues of Lewis's Space Trilogy

I've been re-reading Out of the Silent Planet and Perelandra this last month (I read That Hideous Strength for the first time last year), and the former especially brought to mind why I love Lewis so much. His novelistic shortcomings are more than apparent in these early works, so in the midst of noticing those, I asked myself: What is it about these books that makes them lovable? What are the virtues that Lewis the novelist brings to bear in them that raise them to more than pleasant diversions?

Here's a short list.

1. Lewis has a knack for making the metaphysical reality that Christians confess to be true inhabitable. He makes it seem like common sense—more, he makes it seem roomy. "This is the real world, refracted through fiction" is the refrain of all his writing, not least Ransom's adventures in space. Or: "It's probably not precisely this, but it's almost certainly very like this—only better and more wondrous."

2. Apart from the beautiful economy of his prose, perhaps Lewis's greatest strength across all the genres in which he wrote is the depth of his moral-spiritual psychology. He knows what makes us tick. Both at our most virtuous and our most vicious (more on the latter in a moment), his description of the motivations, intentions, pressures (petty and glorious), goals, indecisive failures, and temptations of the will is nonpareil. Better, it is utterly recognizable. And all too often it is deeply, shamefully convicting.

3. Lewis holds up a mirror to us—in this case, through the earnest observations of sinless alien species and their angelic rulers—and reveals our undeniable fallenness, both at the individual and at the civilizational level. (In this case, the theme of his fiction is "sin is real, it's inside of all of us, and you know it's true.") His extraterrestrial creatures are constantly dumbfounded by the everyday goings-on of earthlings, and that dumbfoundedness is a cue to the reader: why aren't you similarly bothered or surprised? Our fear of death, our denial of God, our fears of one another, our indefensible mistreatment of our neighbors, the quantity of time and energy we spend on worthless matters ... it is difficult to listen to Ransom's interlocutors without turning on yourself in the somber realization that you're implicated, indicted even, by their speech.

4. Continuing that theme, Lewis has no time for the insipid platitudes of technocratic modernity. The evil men whom Ransom battles are, in the end, hollowed out by the nihilism of cultural-scientific self-preservation, while lacking any guiding principles—not even the well-being of humanity as such—that might garner qualified praise as splendid vices. Knowledge for the sake of power for the sake of perpetuation of knowledge for the sake of power for the sake of ... until kingdom come. Lewis may be guilty of nostalgia at times, but he knows the problems of his day, not at the surface, but at the root; or rather, in the sickness of soul that drives soul-denying men to seek immortality at all costs. The narrative function of beauty in "the heavens" of "space" in the Trilogy drives this home: knowledge without wonder is finally the libido dominandi, now naked yet "clothed" in society's approbation. This is the enemy to be resisted to the end.

5. Lewis's Space Trilogy works also—as so many interplanetary stories do—as an allegory or metaphor for imperialism, and although Lewis was guilty of many of the biases and prejudices of his day, he knew that colonization and domination of other peoples and cultures was an offense against God and the fruit of original sin. Moreover, closer to his literary expertise, he knew the extent to which such domination is often an expression of ignorance and impotence, the exercise of force masking the insecurity of a fearful people. Culturally this expresses itself in a parochialism both of space and of time; Lewis termed the latter "chronological snobbery." Just as the European peoples thought themselves superior to peoples from other continents, so they (and others) thought (and think) themselves superior to people from the past. The two are related and inseparable: when Ransom listens to Oyarsa, part of his instruction consists of unlearning the modern prejudice against "difference," whether found across the sea or across the ages.

6. Finally, Lewis the theologian always emerges in dialogue between (say) his former self, Ransom, and his would-be present self, the unbent creatures of Malacandra or their eldila or Oyarsa himself. I long to read these stories with my children because those dialogues will themselves be occasions for them to hear ancient spiritual truths articulated in the clearest, freshest of ways. How odd: to hear the gospel lucidly spoken by being made strange on the lips of alien beings in a fictional novel. But when we find ourselves loving C. S. Lewis's novels, that's just one of the many reasons why we love them.

Genre lists: the best fantasy series

Last year I wrote about how I worked my way back into regular fiction reading through genre, specifically the genre of crime novels. I also keep separate genre lists for fantasy and science fiction. Each scratches a particular itch, and I slowly make my way through each one, as the mood strikes me. But I'm a novice, using either my own eclectic interests or the lists of others as guides. I thought I'd open myself up to others to build out my current fantasy list.

NB: I'm not looking to be a completist for completion's sake. I don't want to read just-fine or so-so series in order to comprehend the genre. I want to read the very best series, for nothing but pleasure. Having said that, I do enjoy (as my chronological listing below shows) understanding the relationship between different fantasy novelists and series, tracking the influence going forward and the reactions, revisions, and subversions looking backward. I find that endlessly fascinating.

So: Having said that, if you were to add 3-5 must-read books or series to this list, what would you recommend? [NB: The list has now been updated with suggestions.]

1. E. R. Eddison, The Worm Ouroboros (1922)
2. Robert E. Howard, Conan the Barbarian (1932–36)
3. J. R. R. Tolkien, The Hobbit (1937) + The Lord of the Rings (1954)
4. T. H. White, The Once and Future King (1938–58) + The Book of Merlyn (1977)
5. C. S. Lewis, The Chronicles of Narnia (1950–56)
6. Alan Garner, The Weirdstone of Brisingamen (1960)
7. Madeleine L’Engle, A Wrinkle in Time (1962)
8. Lloyd Alexander, The Chronicles of Prydain (1964–68)
9. Ursula K. Le Guin, Earthsea Cycle (1968–2001)
10. Richard Adams, Watership Down (1972)
11. Stephen King, The Stand (1978) + The Dark Tower (1982–2004)
12. Mark Helprin, A Winter’s Tale (1983)
13. Terry Pratchett, Discworld (1983–2015)
14. Guy Gavriel Kay, The Fionavar Tapestry (1984–86)
15. Tad Williams, Memory, Sorrow, and Thorn (1988–1993)
16. Robert Jordan, The Wheel of Time (1990–2013) 
17. Robin Hobb, The Farseer Trilogy (1995–97)
18. Philip Pullman, His Dark Materials (1995–2000)
19. George R. R. Martin, A Song of Ice and Fire (1996–)
20. J. K. Rowling, Harry Potter (1997–2007)
21. Jim Butcher, The Dresden Files (2000–)
22. Neil Gaiman, American Gods (2001)
23. Susanna Clarke, Jonathan Strange & Mr. Norrell (2004)
24. Gene Wolfe, The Wizard Knight (2004)
25. Scott Lynch, Gentlemen Bastard Sequence (2006–) 
26. Joe Abercrombie, The First Law (2006–)
27. Brandon Sanderson, Mistborn (2006–)
28. China Miéville, Un Lun Dun (2007) + The City & The City (2009)
29. Patrick Rothfuss, The Kingkiller Chronicle (2007–)
30. Lev Grossman, The Magicians Trilogy (2009–2014)
31. Justin Cronin, The Passage Trilogy (2010–16) 
32. N. K. Jemisin, Broken Earth Trilogy (2015–17)