Monday, May 22, 2017

Jerusalem: Chronicles form the Holy City by Guy Delisle

Hardcover, 336 pages Pub April 24th 2012 by Drawn and Quarterly (first published November 16th 2011) Orig Title Chroniques de Jérusalem ISBN13: 9781770460713 Edition Literary Awards Prix du Festival d'Angoulême for Fauve d’or du meilleur album (2012)

This is an appropriate time to take another look at Jerusalem, and Guy Delisle’s book can explain to you the in and outs of what U.S. President Trump is seeing while he is visiting.

Guy Delisle is a graphic artist who accompanies his wife, a Médecins Sans Frontières physician, to hotspots around the world. While in the past he has been able to work as an artist while overseas on assignment, every posting is different, and the one in Jerusalem did not lend itself as easily to sketching outside, teaching in universities, giving shows on his work, and concentrating on finishing his drawings in a systematic way.

The very thing that makes Delisle effective in his role as graphic artist and stay-at-home husband and dad also makes him a frustrating on-the-ground observer. He is almost resolutely non-partisan and non-political. When bombs start to fly in Operation Cast Lead over the holiday period Dec 27, 2008-January 16, 2009 he tells what he heard from his position at home, but he wasn’t interested in being an observer. He also wasn’t interested in interviewing settlers in Hebron when he was asked to do graphic reportage there.

By the end, however, I could see the value in his distanced, uninvolved view. He drew what he observed, without much editorializing. He drew the extreme care some security guards took in checkpoint and airport security work, the difficulties Palestinians had in getting around, working, living, and planning for the future, he drew the wall, and the pushing Palestinians out of their homes by settlers in the West Bank.

Delisle saw the sights Jerusalem had to offer, always on the lookout for interesting or peaceful places to bring his wife and children, or somewhere he could work uninterrupted. Eight months into a twelve-month tour, the pastor of the Lutheran church Augusta Victoria, on the Mount of Olives, offered Delisle a room in which to work. It was quiet and the only distractions were Delisle’s own thoughts, and a large organ which sent vibrations through his space. He found that he’d accustomed himself to grabbing the in-between moments in his hectic daily life, and the peacefulness of the church was made it more difficult for him to complete his projects, paradoxically.

Delisle spent many frames drawing the wall: “It’s graphically interesting,” he would explain. The wall through Jerusalem cut Palestinians off, in some cases, from their school, from their work, from their own land. What I particularly liked was his dividing the chapters by months of the year. Some months had considerable drama, but others reflected his dawning understanding about the situation and his learning to make up his own mind about what might be excusable behavior and what seemed like taking advantage.

Throughout the mostly black-and-white book, a map of Israel with the West Bank and Gaza drawn in chartreuse served to remind Delisle and readers that the amount of space allocated to Palestinians in Israel is very small, and Israeli settlers are pushing them away even still. The violent tactics and language the settlers use, the virulent criticism heaped upon the government and activists by the press, can be shocking to those of us who are not used to such extreme positions. “The vast majority of Israelis vigorously disapprove of the extreme behavior of the Hebron settlers.” It is hard not to respond with derision to statements like these, and it is hard to see that restraint is working to underline the urgency of the situation for Palestinians.

The currents of daily life are portrayed effectively by the end of this thick graphic novel (336 pages), and Delisle’s tone and lack of interest serve his purposes well. Despite his occasional missteps (when discussing Hasidic Jews, for instance), his intentional ignorance gives us and him the opportunity to look at the situation anew.

I ended up ordering Delisle’s Pyongyang: A Journey in North Korea and also his book Burma Chronicles. He has another, called Hostage, which debuted in English in 2017, translated from the French. Hostage tells the story of MSF employee Christophe André, who was captured in Russia’s North Caucasus in 1997 until he managed to escape months later. Public Radio International has a description here. From that link, we learn
”And the truly surprising end of the story is this: Just six months after he escaped, André showed up at Doctors Without Borders and asked for a new assignment. He stayed on with them for another 20 years.”

You can buy this book here: Shop Indie Bookstores

My Life with Bob by Pamela Paul

Hardcover, 256 pages Pub May 2nd 2017 by Henry Holt and Co. ISBN13: 9781627796316

Coming out at this time of year, Pamela Paul’s memoir is reminiscent of a commencement speech, albeit book-length and one just as interesting for the parents as for the graduates. It is a blast to listen to an obsessive reader share her thoughts on books, her travels and travails. Bob is her lifelong companion and record, her Book of Books, the place she can note what she has read. It gives date of completion, and, because Paul tried to read books about the countries or cities she visits or lives, we deduce a sense of location. It is her book of memories then, a record of where she has been.

Paul was the single daughter born into a family of seven sons. Despite the expected in-house torture and rough-housing, her psyche remained remarkably intact, though her parent’s divorce may have had more effect than discussed here. She did emerge as a reader, an introvert, and from a young age wanted to write. In this book she has boldly decided to write about what she’s read in the context of her life, and astonishingly, it is interesting. We enjoy retracing her faltering steps as a burgeoning adult, in which she recalls with uncommon accuracy the embarrassed and confused feelings of a teen.

France plays a large role in Paul’s life. Although her American Field Service (AFS) experience in a small town in suburban France was not as she imagined, it set the table for her next visit and the one after that. Eventually she found a family in France that became a second home, a family that subsequently attended her weddings and met her children. This kind of close long-term relationship defines Paul, I think. We all have trajectories, but not all of us cultivate the path as we go so that it becomes personal, the impact felt on both sides.

Paul’s decision after college to go directly to Thailand without the usual scramble for underpaid work at home was prescient but daring. She’d not get another chance to see that part of the world with any depth, though the China portion of the trip gave me the screaming heebies. It sounded perfectly horrendous, completely uncomfortable, filled with sickness and incomprehension. The China trip was her father’s idea, and it never became hers. The unmitigated disaster of that trip reminds us that we have to own our journey, start to finish, for us to manage it with any kind of finesse.

There was a marriage that lasted a year. The utter heartbreak Paul experienced does not lacerate us: from the moment she begins to speak of her first husband we are suspicious. She is much too happy much too soon. Love is one thing. Blindness is another. In my mind I modify Thoreau to read: beware all enterprises that require giving up a large, rent-controlled flat in New York City...
"…the minute a subject veered from the fictional world, the private world, the secluded, just-us-on-top-of-the-mountain world, into the greater, grittier territory below, the nonfictional world, my husband and I had serious differences…Even when we each happily read those same books about the perfidy of man, we read them in opposite ways…this kind of book contested my essentially optimistic view of the world rather than overturned it…whereas for him, the world really was that bleak, and the books proved it."
Here you have, folks, a political difference so profound it can break nations in two. Ayn Rand’s work became Paul’s personal standard for judging viewpoints. Paul admits--she who practically worships books--that she threw one of Ayn Rand’s books in the trash after reading it, so that no one else would be polluted by its ideas. I laughed. I did the same thing, though I contemplated burning it before I did. In my tiny garage-turned-apartment in New Mexico, I wrestled with Rand’s horrifying vision of a society of go-getters and decided that to burn her book would invest it with too much significance.

I loved reading about Paul’s poor dating experiences after that. She was inoculated against irrational exuberance after her divorce, but she still wanted intimacy. She manages to share with us chortle-inducing instances of “okay, I’ve had enough of that” with some of the men she met later. My favorite might be the time a boyfriend convinces her that he’d been to the Grand Canyon before and so can show her “the best way to see it.” Har-dee-har-har. This memoir is a great example of smart and funny, gifting us many moments of remembering our own worst histories and reinforcing for younger women coming along that our judgment may be the only thing separating us from a much worse time of it.

Pamela Paul is now books editor of The New York Times and no longer has to struggle to find the coin to buy a new book. She is the best kind of editor for all of us because she is has read widely and acknowledges the draw of genre fiction while communicating her admiration for the range of new nonfiction that helps us cope with our history and our future. She is also an interested and informed consumer of Children’s lit and Young Adult titles, which aids me immeasurably since these are not my specialty and therefore necessitate me seeking assistance from a trusted source.

Access to all there is out there comes with its own set of stresses, but Paul has extended her reach by asking some of the best writers in the country to read and review titles in the NYT Book Review, and to talk about their selections on the Book Review Podcast, available each week from iTunes as an automatic download. Her guests and her own considered opinions help to narrow the field for us.

This is a great vacation read, not at all strenuous, yet it is involving. Imagine the unlikeliness of the concept: an introverted reader and editor writes a book about her life…reading…and it is interesting! Totes amazeballs. It occurs to me that Goodreads is one big Bob. I’m so glad Paul put the effort in to share with us: big mistakes don’t have to be the end of the world. It depends what happens after that. See what I mean about commencement?

You can buy this book here: Shop Indie Bookstores

Thursday, May 18, 2017

Payback Ain't Enough (Payback #3) by Wahida Clark

Paperback, 304 pages Pub April 24th 2012 by Cash Money Content ISBN13: 9781936399116

When I dove into the shelves of a Goodreader who commented on one of my reviews, I noticed she’d read a lot but hardly had a five star read, even on her Favorites Shelf. Wahida Clark was a strong feature and Payback Ain’t Enough was one in a series that rated highest. I wanted to see what made it a stand out.

Wahida Clark is a one-woman storm best known for her Thug series which she began to write while serving a ten year sentence in federal prison for mail fraud, wire fraud, and money laundering. Her stories are romance on steroids, sometimes called Urban Lit, where the women are well-packaged and smart and the men are ripped and dangerous. Clark herself is a natural-born storyteller who can distinguish for us the many voices she packs into her neighborhoods, and she manages to get many twists and turns into a relationship before payday.

These are mean, double-crossing streets and so far as I know could be a fair representation of Detroit, where this series is set. No one ever seems to get tired of trying to get one over on the other guy, though there was a female character, Janay of Georgia, that was looking to leave the set:
"Even though I was thrilled at the possibility of getting out of prison, I wasn't saying to myself, 'Hooray! I am so looking forward to getting back into the dope game.' I was tired of the shit."
Janay got dragged back in when her father put her in charge of his stable while he served a sentence. Family is complicated in this book, and life-threatening.

There was one so-called nice guy, called Six-Nine, who attended a funeral and was described:
"Yo, there go Six-Nine. Niggas behind the wall got mad respect for him. I saw his flicks several times. That nigga gettin’ lots of clean money; see, he was smart. Once he got his big score, he invested it. Dude got stocks, bonds and shit. He’s just too nice and trusting. Like Robin Hood on his side of town. He makes sure everybody eats. At least that’s what they say."
Later we learn that Six-Nine runs an international counterfeiting organization duplicating credit cards and cash. “He once made a million dollars disappear from a dirty politician’s bank account with no paper trail.” Must be where he gets his Robin Hood cred.

The sex is explicit, hot, and frequent, but it sounded real to me. At least two of her female characters said they hadn't slept with anyone for months. Altogether it was pretty exhausting. I got to page 50 before I started skimming.

Wahida Clark has her own publishing company now and two years ago had some twelve titles in publication. She is most famous for the Thug series and the Payback series, individual titles of which have spent time of the New York Times bestseller list. Her work has been optioned for TV and film and her franchise is doing brilliantly.

An interview with Jet Magazine in 2012 tells us Clark was working on a play at that time. That would be a fundamentally different experience for writer and audience, changing her work for the better, I think. Her audience will be sitting there in front of her for a couple hours. That brings qualitatively different demands than a novel. She certainly has the storytelling skill and the understanding.

In 2015 Clark was interviewed by Vice Magazine’s Seth Ferranti. The final question and answer seemed refreshingly direct and is reprinted here:
Do you ever think that street lit romanticizes or even glamorizes crime?

"We try our best to follow personal principles and literary principles that demand that good triumphs over evil all of the time. However, the demand today is for junk food—both physically and mentally.

My husband taught me that it was easier to write books for money than to write books to educate. So of course we took the road for money, in hopes that it would put us in the position to educate. It's a constant grind and hustle. If you are not constantly pushing your business it will remain stagnate. And of course, content is King. Or, in my case, Queen."
Clark is impressive, a recent authorial incarnation of Iceberg Slim. She is now Vice President of Prodigal Sons & Daughters Redirection Services to help young ex-offenders to find their way in a changed society when they get out, and provides aid and direction to those with substance abuse problems.

Below please find a short vimeo interview with Clark from 2014. To my eye, she looks a little exhausted herself, and maybe could slow down and write for posterity now. The thing about money is that it can't buy time. The audience can wait...and will wait, with pleasure.

You can buy this book here: Shop Indie Bookstores

Monday, May 15, 2017

Inheritance from Mother by Minae Mizumura, translated by Juliet Winters Carpenter

Hardcover, 448 pages Pub May 2nd 2017 by Other Press (NY) (first published May 1st 2017) ISBN13: 9781590517826

Mother’s Day was celebrated in the United States this past weekend and this novel could be viewed as a kind of delicious dream fantasy for just that kind of woman--mature, thoughtful, caring women who have been around the block a few times. It introduces us to the intimate and internal lives of Japanese wives and mothers, some of whom were thought to suffer in silence as part of their cultural mystique. The main character is not a mother; Mitsuki is a wife, and the daughter who cares for her aging mother. Her sister Natsuki was beautiful, talented, and made a fortuitous marriage to a wealthy man. There had never been any hint Natsuki would take care of the things that needed doing.

Throughout Part One we experience the calculus a family member must make when an aging relative suddenly becomes unable to care for themselves as independent adults. What makes this particularly interesting to those who haven’t gone through it before is the barrage of decisions that blast apart any privacy a person might reasonably expect, even in a family, and how this affects individuals experiencing the trauma and those trying to help out.

If Mitsuki sounds a little resistant to the demands placed on her when talking to herself at times, she is already the poster child for trying to make dying a positive experience for everyone involved, despite the impersonal nature of hospital care and the uncertainties involved in geriatric health. Complicating the picture of her mother’s illness and death is the fact Mitsuki newly discovers her husband has a somewhat serious dalliance with a younger woman. Bad timing for the husband.

Part Two is in some ways the respite after the storm, and in others a legitimate Part 2 of decision-making and planning for big changes. Mitsuki engages our every sense as she describes her visit, during winter, to a neglected lakeside hotel posing as a fake Swiss villa. She remembers the place from her childhood. Several other people show up at the same time, for an extended ten-day respite before Christmas. When a local psychic, “the sort who bleaches their hair blond and rides a Harley Davidson,” predicts one of the long-stay hotel guests is there to commit suicide in the lake, the attention of hoteliers and guests are riveted.

Mitsuki is there to sort out her options concerning a husband who serially strays, her feelings regarding the difficult time with her mother, and how she can still have a life that is interesting and fulfilling, despite its losses. This part of the novel has many characteristics of the successful mystery novel: a lonely heroine, a villa in decline, an overly solicitous staff, the proximity and possibility of death, a bunch of similarly stranded folks including at least one handsome eligible bachelor. Laced through it all are the experiences, constraints, and history of both westernized easterners and traditional Japanese, endlessly intriguing people with whom we share a bond and yet admire for their exoticism and differentness.

The clarity with which Mitsuki addresses her issues, her deliberate decision-making, her bare honesty to herself about motives and options, her interest in pursuing meaningful engagement is inspiring both to the recently bereaved and to those who have faced these issues, successfully or not. If there is a best-girlfriend reveal to the storyline, it is not unwelcome. While Natsuki sounded wistful and maybe even envious about everything working out for Mitsuki before it actually does, we readers reserve celebration, knowing the odds of the pieces coming together with no errors.

Minae Mizumura studied literature in the United States, at Yale. She wrote this novel in Japanese, and after an earlier novel described in an interview with Bookslut writer Corinna Cliff how the Japanese language became even more beautiful and desirable to her after studying English.
"Nevertheless, now that I have had more experience with both languages, I'm more sensitive to the uniqueness of Japanese. Perhaps the most fascinating aspect of the language for me is how its writing uses three kinds of signs: Chinese characters -- which mostly function as ideograms -- and two sets of phonograms. The resulting text contains an embarrassment of riches impossible to replicate in other languages. I'll try to explain it. Let's say you are reading a page describing a flower garden. Names of flowers jump out at you. They are rendered in complex Chinese characters that can't help standing out as they are embedded in phonograms much simpler in form. And since flower names in ideograms usually have poetic connotations, looking at the page, it really seems as if you are looking at a garden filled with clusters of fragrant and beautiful flowers."
Mizumura’s experience with English (and French!) culture and language make this a hugely successful crossover novel featuring European, American, and Asian influences in a rich feast. Gustav Flaubert’s Madame Bovary becomes practically an incantation, it receives mention so often. Readers are advised to revisit that work to see how it is used in this case to add an extra layer of depth. J.W. Carpenter's translation is terrifically smooth, so smooth one only rarely pulls back long enough to imagine the work in Japanese.

You can buy this book here: Shop Indie Bookstores

Wednesday, April 26, 2017

Waltz with Bashir: A Lebanon War Story by Ari Folman & David Polonsky

Paperback, 128 pages Pub February 17th 2009 by Metropolitan Books (first published 2008) ISBN13: 9780805088922

The 2008 animated documentary of the same name by Ari Folman and David Polonsky took four years to complete. The frames of this graphic novel may have come from the film itself, and the sense of the film is uncannily captured without the sound or movement. Both book and film are so powerful I could not make it through in one sitting. A tremendous sense of anxiety and foreboding is generated by white/brown/black monochrome washed with an acid, chemical yellow, the slavering wild dogs, and the dissociative reality of war on a beach.

For anyone who hasn’t seen this film or read the graphic novel, I urge you to put aside anything else you have on your plates the minute you obtain a copy of either. It probably won’t take more than an evening to read/watch this remarkable act of witnessing, and you will remember it for the rest of your lives. Folman was a nineteen-year old recruit in the Israeli army when he was sent to Lebanon in 1982 to stop PLO rocket attacks and to retaliate for an assassination attempt on the life of Israeli ambassador to the United Kingdom.

At the time, many displaced Palestinians were living in refugee camps in southern Lebanon in permanent structures like houses. Their lives did not look temporary, but there was always agitation because their refugee status did not change. In Lebanon, the sectarian Christian leader Bashir Gemayel aggressively challenged (some might say crushed) the rights of Palestinians and Muslims, and shortly after he became president-elect in the 1982 presidential election in Lebanon, he was assassinated.

Gemayel’s party, the Christian Phalangists, took their revenge on two refugee camps, Sabra and Shatila. Israeli forces were slow to recognize and respond to an unfolding massacre. It appears they simply did not recognize the evil for what it was--it was too monstrous. The scars of those days left many men unable to understand what had actually happened in September 1982 and their role in it. Forman and Polonsky managed to show us that paralysis that comes over someone, even a group, when something bad is happening. The men protested up to their leaders, but not loudly, confidently, definitively enough. This phenomenon is not unknown. It may even have happened to us.

Much of the story is about the elusive nature of memory, and what scars the trauma of war leaves. The authors decided not to try and give voice to the other participants in this extraordinary event, but to just focus on the point of view of someone who was there but not directly implicated in the killing and who retained no memory of the time. We can forget these times of trauma, which is why the Holocaust is constantly referred to and memorialized. One must remember in order to forestall similar atrocities in the future.

The art in the film and the book is exceptional for its originality. The drawings are a certain kind of primitive and for that reason are all that we can project onto them. It may be the horror is something we bring because objectively speaking, until real photographs appear at the very end, events are only hinted at: we have the blank stares of the affected soldiers and the bizarrely horrible sudden deaths of soldiers playing on a beach—and this all from the point of view of what might be called the Israeli bystanders.

They were part of the army, and they had ordnance, but they had little passion for battle, the Israeli participants. The Phalangists were the actors in this case. I am reminded of Montaigne: "There is no hostility that exceeds Christian hostility." The whole record of the movie and the book should go down with oral histories of ancient battles not at all heroic but horrible and instructive and something forever to be avoided.

After making this film, Ari Folman said he no longer has interest in traditional filmmaking. There was something even more exciting to him about the art of David Polonsky, who tried using his non-dominant hand to draw so that the smoothness of caricatures did not distract from the roughness of the subject matter. Animation was a relatively new industry in Israel when they began, and since they had no infrastructure, they made decisions that more practiced and wealthier studios may not have made.

Both the film and the graphic novel are for grown-ups, or for people who want to be grown-ups.

You can buy this book here: Shop Indie Bookstores

Tuesday, April 25, 2017

Judas by Amos Oz, translated by Nicholas de Lange

Hardcover, 320 pages Pub Nov 8th 2016 by Houghton Mifflin Harcourt (first published August 2014) ISBN13: 9780544464049 Literary Awards – Haus der Kulturen der Welt for Mirjam Pressler (2015), Man Booker Int'l Prize Nominee for Shortlist (2017)

This is the third outstanding work I’ve read by an Israeli in as many weeks, and I find myself falling under a spell of admiration again for a culture that fights back against the worst aspects of itself, interrogates itself relentlessly, and creates humor around the morose recognition of man’s fallibility. Into a novel describing three generations living together in a small Jerusalem house, Amos Oz weaves history, religion, and politics into a meditation on the why and how of Jewishness and the concept of a Jewish state.

Not for a moment do we believe the characters have a life beyond that of describing a conflict. The generous nature of Oz’s characters make us willing to suspend judgment and place our trust in his hands awhile, to hear what he has to say. In our modern world one is rarely willing or able to hear an opposite view, but this seems a safe place to examine ideas. In a review in the New York Times, Oz speaks of this novel as a piece of chamber music. A grouping of voices influence one another, each different than the other, three generations of Jews in Israel.

The time is late 1950s or early 1960s. A student Shmuel has found his thesis, “Jewish Views of Jesus,” not as unique as he’d imagined and less interesting than something he'd bumped up against in research: “Christian Views of Judas.” Shmuel discovers that without the traitor Judas Iscariot, there would be no Christianity. Jesus and his apostles were all Jews. Without the crucifixion, there may not have been a rift in beliefs.

Needing to ponder this theory further, Shmuel has left his thesis unfinished and has taken a job as evening companion to learned old Gershom Wald in exchange for room and board. The old man spends his days arguing vociferously on the telephone with friends and enemies, and is a strong supporter of David ben-Gurion’s Zionism. Wald’s daughter-in-law Aitalia holds an opposite and more radical view that reflects her own father, Shealtiel Abravanel’s opinion that the concept of nation states and ownership of land and resources is a faulty one.
"Aitalia’s father was one of those people who believe that every conflict is merely a misunderstanding: a spot of family counseling, and handful of group therapy, a drop or two of goodwill, and at once we shall all be brothers in heart and soul and the conflict will disappear. He was one of those people convinced that all that is required to resolve a conflict is for both parties to get to know each other, and immediately they will start to like each other…"
The novel is a multi-layered examination of the idea of ‘traitor,’ and whether or not it is, in fact, an enlightened state “which really ought to be seen as a badge of honor:”
"Anyone willing to change," Shmuel said, "will always be considered a traitor by those who cannot change and are scared to death of change and don't understand it and loathe change…"
……Shmuel added in a hushed voice, as though afraid that strangers might hear: "After all, the kiss of Judas, the most famous kiss in history was surely not a traitor’s kiss…"
But old man Wald reminds us that it is the name Judas which has become a synonym for betrayal, and perhaps also a synonym for Jew.
"Millions of simple Christians think that every single Jew is infected with the virus of treachery…So long as each Christian baby learns with its mother’s milk that God-killers still tread the earth, or the offspring of God-killers, we [Jews] shall know no rest."
In a review for Riad Sattouf’s graphic memoir Arab of the Future, I’d expressed some concern that Arab schoolchildren in the Middle East were learning religious hatreds early, never considering that North American Christians were of course learning religious hatreds at the same age.

Oz makes no secret of his own opinions in interviews, but in this work he makes us puzzle it all out. He gives us the old conundrums in new ways, making us want to take them up again for examination. We question everything from the ground up. This work reminds me why I love literature: Oz is able to layer complex motivations onto history and take a stab at trying to explain what man is and what we should expect of him.

The translation of this work into English by Nicholas de Lange from the Hebrew is especially easy to enjoy. The Blackstone audio production is excellent, the work narrated on ten discs (11 hours) by Jonathan Davis. The hardcover published by Houghton Mifflin Harcourt is useful to return to some ideas. Though the novel is not difficult to read, the ideas challenge readers and may require a second or third look to tie the threads together. This is great stuff. Oz is seventy-seven years old. He should be proud of himself, and we should be grateful.

You can buy this book here: Shop Indie Bookstores

Sunday, April 16, 2017

Killers of the Flower Moon by David Grann

Hardcover, 352 pages Expected publication: April 18th 2017 by Doubleday ISBN13: 9780385534246

That we as a nation, less than one hundred years after the Osage Indian killings, have no collective memory of these events seems an intentional erasure. The truth of the killings would traumatize our school children and make every one of us search our souls, of that there is no doubt. David Grann shows us that the systematic killings of dozens of oil-wealthy Osage Indians were not simply the rogue deeds of a psychopath or two in a small town in Oklahoma.

The tentacles of guilt and the politics of fear extended to townspeople who earned their reputation as “successful” because they allowed these murders and thefts of property to go on, as well as implicated law enforcement. Grann outlines how the case was solved and brought to court by the persistence of FBI officer Tom White and his band, but Grann is not full-throated in his praise of Hoover's FBI. He leaves us feeling ambiguous, not about White, but about Hoover.

The Osage Indians once laid claim to much of the central part of what is now called the United States, “a territory that stretched from what is now Missouri and Kansas to Oklahoma and still farther west, all the way to the Rockies.” The tribe was physically imposing, described by Thomas Jefferson as “the finest men we have ever seen,” whose warriors typically stood over six feet tall. They were given land by Jefferson as part of their settlement to stop fighting the Indian Wars in the early 1700s.

Jefferson reneged on the agreement within four years, and ended up giving the once-mighty Osage a 50-by-125 mile area in southeastern Kansas to call their own. Gradually, however, white settlers found they liked that particular Kansas farmland and moved onto it anyway, killing anyone who challenged them, oftentimes the legal “owners”. The government then forced the Osage to sell the Kansas land and buy rocky, hilly land in Oklahoma, land no white man would want, where the Osage would be “safe” from encroachment. This was the late 1800s.

In the early 1900s oil was discovered on that ‘worthless’ Oklahoma land and because a representative of the Osage tribe was in Washington to defend Osage interests, he managed to include in the legal agreement of the allotment of Indian Territory “that the oil, gas, coal, or other minerals covered by the lands…are hereby reserved to the Osage Tribe.” Living Osage family members each were given a headright, or a share in the tribe’s mineral trust. The headrights could not be sold, they could only be inherited.

The Osage became immensely wealthy. The federal government expressed some concern (!) that the Osage were unable to manage their own wealth, and so ordered that local town professionals, white men, be appointed as guardians. One Indian WWI veteran complained he was not permitted to sign his own checks without oversight, and expenditures down to toothpaste were monitored. But this is not even the most terrible of the legacies. The Osage began to be murdered, one by one.

When Grann discovered rumblings of this century-old criminal case in Oklahoma, he wanted to see the extent of what was called the Reign of Terror, thought to have begun in 1921 and lasted until 1926, when some of the cases were finally successfully prosecuted. The “reign,” he discovered, was much longer and wider than originally imagined, and therefore did not just implicate the men who were eventually jailed for the crimes. “White people in Oklahoma thought no more of killing an Indian than they did in 1724.” said John Ramsey, one of the men eventually jailed for crimes against the Osage. A reporter noted, “The attitude of a pioneer cattleman toward a full-blood Indian…is fairly well recognized.”

What we learn in the course of this account is that a great number of people had information that could have led to answers much sooner than it did, but because there was so much corruption, even the undercover agents and sheriffs were in on the open secret of the murders. Those townspeople who might be willing to divulge what they knew were unable to discover to whom they should share information lest they be murdered as well. Grann was able to answer some questions never resolved at the time, with his access to a greater number of now-available documents.

Why this history is not better known is a mystery still. Memory of it was fading already in the late 1950s when a film, The FBI Story starring Jimmy Stewart, made mention of it. The 1920s are not so long ago, and some of the people who were children then have only recently passed away, or may even be still living. Among the Osage there is institutional memory, and still some resentment, naturally, and a long-lasting mistrust of white people. Need I say this is a must-read?

The audio of this book is narrated by three individuals: Ann Marie Lee, Will Patton, and Danny Campbell. Interestingly, the voices of the narrators seem to age over the course of the history, and it is a tale well-told. But the paper copy of this has photographs which add a huge amount of depth and interest to the story. This is another good candidate for Audible's Whispersync option, but if you are going to choose one, the paper was my favorite.

A short audio clip of the narration is given below:

You can buy this book here: Shop Indie Bookstores