The same reasons that convinced me to give PT Armstrong's Looking Back and Dreaming Forward a four-star rating might prompt others to give it five. Some might settle for three. But here's the way I see it: the first three stars are for the rarity of the book's content. This isn't just another memoir. It's more like a flesh and blood time capsule filled with reports from America's past about issues the country (and the world) is dealing with in 2019, like the challenges of adjusting to increasing diverse populations and managing the awkwardness of inter-generational interactions in various venues. 
           
​The fourth star is for the fact that Mr. Armstrong was 91 years young when he released this book at the end of 2018 and is currently looking forward to turning 92 years old on St. Patrick's Day, 2019. What the age factor means in this case is that as an African-American man born in rural Texas in 1927, the military veteran had to survive quite a bit before he could even think about publishing a book, his third, at the age of 91. A lot of the memories through which he had to navigate to tell his stories are the kind many Black men his age, he tells us, do not enjoy recalling or discussing.

One of the most fascinating things about the five stories in Armstrong's volume is his authorial voice. The author realizes he is addressing a digital-age audience which might not immediately, necessarily, understand him as someone whose worldview and mindset were forged during a very different era. Bearing that in mind, he kicks off this unusual collection with the controversially-titled essay, "When I Was A Negro." In it, he explains, "I hope it will be clear that I am not writing out of anger but sharing the truth as I have lived it." He further acknowledges, "There are a lot of books out now about what people are calling 'the New Jim Crow.' Well I grew up during the old Jim Crow in a segregated society that was very strict so I have some perspectives and insights people might find useful." In other words, as the title of his book indicates, he is more interested in learning from past mistakes in order to help fellow citizens move forward than he is in dwelling on past injustices for the sake of wallowing in self-pity or stirring up feelings of guilt.

Moreover, his meditations are surprisingly much more inclusive than many might assume. As with classic autobiographies and memoirs by such authors as Maya Angelou and James Weldon Johnson, Armstrong does make some hard unflinching observations when it comes to topics like the history of slavery, racial segregation in Texas and his adopted home of Savannah, Georgia, and the historic bias against interracial relationships.  However, he goes a big step further in "Bloodlines: Interview with Miss Pilgrim Cottonwood."

An actual interview, "Bloodlines" tells the story of a Native American Hopi woman whose tri-racial ancestry included Natives, Whites, and Blacks. It is a rare authentic document of its kind. Constructed from an interview which Armstrong conducted in 1966 when his subject was 66 years old, the author presents her dialect as she spoke it. Cottonwood is candid about both her struggles to survive and the heartbreak over losing the love of her life. Particularly significant is her account of relationships between African Americans and members of her tribe during and after slavery.     
 
In "A Place for Old Black Men" Armstrong writes with moving poignancy about the paradoxes of aging in a society that continues to advance technologically but appears to regress when it comes to issues of social justice. At the same time, in "Back to My Roots" and "My Trip to Africa" he rejoices in the discovery of his cultural inheritance and celebrates the potential which he believes the future holds for everyone.

Aberjhani
​January 2019

Andrew Davidson’s The Gargoyle continues to win acclaim for a number of reasons: one is the author’s insightful blend of world cultures to create a single tapestry of world-class literature. Another is his seemingly
seamless fusion of classic genres such as Gothic, erotica, and horror to create something new beneath the literary sun. And a third is his invention of two of
the most compelling characters in modern literature.  
 
The role played by the defining power of character throughout The Gargoyle becomes evident in its first horrific opening pages as our nameless anti-hero drinks and drives his way to a life-altering crash. The detailed account of the inferno that engulfs and permanently disfigures him is as lucidly terrifying as it is mesmerizingly precise.  It’s not the kind of thing that most people survive but this man does, albeit with severe anatomical damage and loss: “I could hear the bubbling of my skin as the flames kissed it.” In fact, as a man and former porn star, he suffers the loss
of the one appendage with which he had earned his living. 
  
During the course of his hospital recovery, the narrator battles thoughts of suicide, a growing addiction to morphine, and the excruciating pain of cultivating the growth of brand new skin. Enter Marianne Engel––“She appeared in the burn ward door dressed in a light green hospital gown, with those unsolvable eyes and that riotously entangled hair”––a former psychiatric patient and artist famed for sculpting gargoyles. She is convinced that she and the once-upon-a-time porn star have shared at least one major previous lifetime together when she was a German nun and he was a mercenary soldier. Even more odd, however, is Engel’s claim to have never died at all while waiting some seven centuries to reconnect with her once-beloved. She is comfortable enough with this belief that she strips naked in her new/old friend’s hospital room to reveal a body covered with a luxury of tattoos: a
beaded rosary and cross, a snake coiling up her leg to her sex, a Sacred Heart
on her left breast, a pair of angel wings upon her back, and more. 
 
Whereas we might expect the irony to be painful, it is instead profoundly daring. Engel stands before her friend painted with beautiful symbols while the man once accustomed to being paid for his beauty is now something more akin to her gargoyle sculptures. To a degree, it would seem that his extreme disfigurements make him into the “Gargoyle” of the book’s title. But herein may lie a central aspect of author Davidson’s literary art. Is his anti-hero a gargoyle now because of how he looks, or was he in fact more of a gargoyle because of the cynicism and self-absorption that dominated his personality before his life-transforming accident? And does the ensuing journey to emotional and spiritual recovery make actually make him more beautiful than he ever was in the past?     
  
Marianne seems at first to be a hyper eccentric teller of tales whose stories simultaneously puzzle, captivate, and motivate her friend.  It turns out, however,
that these stories––in such diverse settings as France, Japan,Germany, and
Iceland––have a much greater function than simply passing the time while recuperating. Davidson’s skill at evoking the passions and dilemmas of characters in different cultures and historical eras is truly admirable. Likewise, his Dickensian talent for the creation of a cast of supporting characters who, against the odds, lend credible depth, substance, and color to the narrator’s and Marianne’s fantastic  story.
 
Maniacal or not (or more precisely, “schizophrenic or not,”as our narrator suspects) Marianne becomes much like the angel indicated by the tattooed wings on her back as she moves our narrator into her home. There, she alternately nurses him, tells one amazing story after another, and works herself into frenzied bloody exhaustion to complete a final series of gargoyle sculptures, with the very last being of you-know-who. As one grows weaker and the other grows stronger, their original roles reverse and readers find themselves rethinking the plausibility of Marianne’s extraordinary claims.
 
Interwoven masterfully throughout The Gargoyle are deeply embedded allusions to Dante Alighieri’s Inferno that not only tell the history of the book itself, but that in some ways re-write the masterpiece and present it in modern form as The Gargoyle. To fully understand such a notion, one has to read and actually
experience Davidson’s triumphant first novel. A number of readers have suggested
that taking on The Inferno (for those of us who did not get to it in high school or college) either after or before reading The Gargoyle, doubly  enhances the pleasure of delving into this exceptional work of new millennium fiction.    

by Aberjhani

Anyone first introduced to the impassioned prose of Carlos Ruiz Zafón through his international bestseller, The Shadow of the Wind, will find it difficult to avoid comparing it to any follow-up to the novel. Where Zafón’s The Angel’s Game is concerned, that is both a good thing and a not-so-good thing. It is also inevitable because page by page and chapter by chapter, we come to realize there’s a reason the novel is set in the same city, Barcelona, as The Shadow of the Wind, but an entire two decades ahead of it. That reason does not become completely clear until you are able to compare some very specific details on page one of The Shadow of the Wind with corresponding details toward the end of The Angel’s Game (the results of which readers can discover for themselves). If all this sounds slyly amorphous and irresistibly intriguing, that’s because Zafón specializes in literary puzzles and mazes, and The Angel’s Game is an exceptional one.

It’s easy to see the many ways that The Angel’s Game extends the author’s masterful use of the labyrinth as a symbolic metaphor but at the same time the novel is a very different one that abandons the kind of tightly constructed plot line applied in the previous book. Whereas the beginning of The Shadow of the Wind introduces readers to what is clearly an historical mystery in the classic mode that teases and beguiles with every new development, The Angel’s Game starts out more like a literary memoir: “A writer never forgets the first time he accepted a few coins or a word of praise in exchange for a story.” Such an observation will invite many writers to nod in agreement, and prompt readers to sigh with romantic notions about what it means to be a writer. It hardly seems like a strong enough foundation upon which to build a serious novel of nearly 500 pages. However, it soon enough becomes clear that The Angel’s Game is indeed a kind of mystery that dissects the life and career of one David Martin, steering readers through the turbulence of his youth, the precariousness of his creative genius, and the uncertain motives of the people who populate his life.

 A survivor of childhood trauma and abandonment, David grows up as the ward of a newspaper called The Voice of Industry; and, as the chosen protégé of a philanthropist named Pedro Vidal. He receives his “first crack at glory” when the newspaper is on its way to press and the editor discovers he’s short of an entire page of copy, providing David the opportunity to produce his first published story on the spot and launch his literary career in dramatic fashion.  The launch successfully establishes David as the writer of a newspaper fiction series called The Mysteries of Barcelona, then later as the author of a series of “penny dreadfuls” (once known in the U.S. as “dimestore novels”) called City of the Damned. For the latter, he is required to write under the name “Ignatius B. Samson,” which he considers “a small price to pay for being able to make a living from the profession I had always dreamed of practicing.” 

                                              (review continues below)

Of all the shifting benevolent and sinister characters in The Angel’s Game, none are more baffling than the mysterious Andreas Corelli, “a gentleman with black, shining eyes that seemed too big for his face,” and who inspires both hope and fear. Ostensibly, Corelli appears to be an eccentric publisher and philanthropist out to entice David to write a masterpiece of religious fiction called Lux Aeterna. But he is clearly much more than that. David’s first communication with him comes in the form of an invitation to accept “a little surprise” that turns out to be a sexual encounter with a ghost rather than an actual meeting with Corelli. Eventually the two do meet and enter into an agreement that changes, or possibly confirms, the course of David’s life.

The big question, however, is exactly who and what is Andreas Corelli? Is he the angel of the novel’s title who has come to liberate David from the soul-numbing agony of writing books he doesn’t believe in for the sake of earning money to stay alive? Or is he something closer to a demon intent on corrupting David’s talent for some malevolent purpose? Could it even be that he is neither of these but a manifestation of David’s own madness creating the kind of exalted literary intrigue and drama that he has not been allowed to publish as a would-be serious author? From David’s love for Christina to his obsession with the mystery surrounding the reported death of prominent Barcelona lawyer Don Diego Marlasca, all roads seem to twist and turn and lead back to Corelli.

The Angel’s Game is in fact a prequel to The Shadow of the Wind. It is, like its predecessor, a major homage to books and at the same time a mesmerizing metaphysical mystery. Just how deeply passionate Zafón is about books and what they have contributed to civilization over the centuries may be summed up in this passage from the eulogy for the owner of the Sempere and Sons bookshop: “Seňor Sempere believed that God lives, to a smaller or greater extent, in books, and this is why he devoted his life to sharing them, to protecting them and making sure their pages, like our memories and our desires, are never lost. He believed, and he made me believe it too, that as long as there is one person left in the world who is capable of reading them and experiencing them, a small piece of God, or of life, will remain.”  

by Aberjhani