Gone South: Doing Something About February

by Dale C. Andrews

 Shakey crashed through the door of the bar looking like the last day of February

                                                     Herschel Cozine
                                                     Shakey's Debt

February, when the days of winter seem endless and no amount of wistful recollecting can bring back any air of summer.

                                                     Shirley Jackson
                                                     Raising Demons

February is merely as long as is needed to pass the time until March.

                                                     Dr. J. R. Stockton

Frazz, February 1, 2014, ©2011 2011 Jef Mallett/Distr. By Universal Uclic

     When my wife and I each retired in 2009 we had a shared goal. We wanted to never again endure the month of February in Washington, D.C. So far we have made good on that quest, and this year, as in previous Februaries, we are holding forth in a rental condo in Gulf Shores, Alabama.

       Mao Tse Tung was an advocate for the battle tactic of planned retreats, and in no year has a planned retreat from the frozen north made more sense than this one. When you look at those weather maps that have been so common this month, with that bulge of blue swallowing up the Midwest and the entire East Coast, we are right down there at the bottom -- where, in the course of a few scant miles, the color of the weather map on most days shifts from blue, to green, and then finally to yellow, where we are. It doesn't always work -- this year in our first few days here we did find ourselves in the path of that ice storm that hit the south, and that left us apartment bound for a day, but by and large we enjoy 60s when our home in D.C. has to tolerate 20s.  And this week it is all sunshine and mid-70s.

The only time this year that February
caught up with us at Gulf Shores

       So we run away before the cold. And in doing so we escape the dreary and dreaded month of February, at least as it is experienced up north. Paradoxically, while only 28 or 29 days, February nonetheless plays out as the longest month of the year. It is cold, the days are short, and it invites the onset of cabin fever. When you are held captive by the deranged beast that is February -- that is, when pressures of life conspire to hold you in place, precluding that planned retreat -- the result challenges even the stalwart optimist in each of us.  It can tempt us, in fact, to retreat from rational thinking in our quest for an escape.

A cargo cult's "runway"

       When I was a sociology major back in college I remember studying the cargo cults of the South Pacific -- island tribes that, watching the cargo-rich U.S. air fleets in World War II fly overhead, were inspired to build mock runways on their islands in hope that the planes would land there as well. We smile and shake our heads at the naive innocence of all of this, pinning hopes on magic.  But every year on February second, no doubt in trepidation of what lies ahead, we trot out analogous witchery. We gather in ritualistic regalia, we sometimes require that only German is to be spoken, and we scrutinize awakening groundhogs in an attempt to discern whether they will see their shadows.  All in the hope that ritual can somehow foreshorten our misery.

       This year, as reported in the Washington Post, Phil the groundhog in Punxsutawney, Pennsylvania saw his shadow, which, per legend, meant six more weeks of winter.   The National Oceanic and Atmospheric Administration (NOAA) has dismissed statistically any soothsaying abilities of Phil and his cohorts, and on bright and warm days we smile and shake our heads at the whole cargo cult ritual of this annual event. The planes do not arrive for the cargo cults, and spring does not arrive for us.  But that does not stop us from showing up each year to watch the groundhog. And this is not limited to that town in Pennsylvania. The Washington Post reports that other groundhogs, also sought out each year in a quest to short-hop the miseries of February, include:

• Atlanta, Georgia: General Beau Lee
• Ontario, Canada: Wiarton Willie 
• Raleigh, North Carolina: Sir Walter Wally 
• Sun Prarie, Wisconsin: Jimmy 
• Staten Island, New York: Chuck
• Birmingham, Alabama: Birmingham Bill

       And in Washington, D.C., we add Potomac Phil to the list. The Washington would-be prognosticator is actually a stuffed Groundhog, but it nevertheless somehow manages to impart a prediction annually at a gathering at Dupont Circle.

       It is not just those of us in the United States who behave this way. In Serbia, for example, on February 15 during the feast of celebration of Sretenje or The Meeting of the Lord. celebrants watch a bear that is awakened from winter sleep. According to legend there if the bear sees its shadow it goes back to sleep for another 40 days, and winter continues. European folklore generally also looks to badgers or bears, usually on February 1, in hope of a signal that winter will end early. But, again according to NOAA, approximately 75 percent of the time there is no early spring, and our hopes are in vain. Regardless of the vagaries of animals’ shadows we, like those South Sea islanders tempting the planes to land, get nothing.

       In fact we do worse -- we get February.

       All of these February rituals simply evidence our desperation. Those who face February without the possibility of retreat can be rendered senseless and desperate in their endurance. A resort to witchcraft is but a small step where nothing rational works.

       So. Where did this affront that is February come from in the first place? As one might suspect, the dratted month owns a checkered past. No such month existed in the early Roman calendar, a ten month affair that simply left the period that is now January and February a nameless blot of bleak days. In effect the early Roman calendar at the end of December said That's it.  See you in March.  When February (along with January) eventually was added to the Roman calendar, around 700 B.C., it was a period of varying lengths -- 23 to 27 days -- and a thirteenth month, Intercalaris, was inserted between it and March as a device to re-align the calendar with the seasons each year, a necessary tool since the year, but for Intercalaris, was calculated out at 355 days.

       Under the reforms instituted with the Julian calendar, Intercalaris was abolished, the year was set at 365 days, and February was likely assigned 29 days. I say “likely” because there is some argument as to how February became a 28 day month (except in leap years). According to popular history this reduction occurred as a result of rivalry between Julius Caesar and Caesar Augustus. Julius Caesar had already requisitioned and re-named the seventh month of the year “July,” in honor of, well, himself. Then, so the story goes, when Augustus Caesar ascended to power he decided he needed his own month as well, and we were given a re-named eighth month -- “August.” Up until that time all months (except for February) were either 30 days or 31 days, alternating on an every-other month basis. But Augustus wanted his month to be as long as Julius Caesar’s, so he robbed a day from February and placed that day in August, making it 31 days as well.

Washington, D.C. earlier this month

       Fear not. There is a demented rhyme to the madness of today’s discussion. Our dread of February, as evidenced, among other things, by that groundhog fetish, coupled with our willingness, evidenced by the Romans, to first invent, and then re-invent the length of February, provide something of a spring board for creative thinking. Even when we are not free to run south in front of the dreaded second month of the year, might there still be some other alternatives that we could pursue?  Something that does not exactly solve the problem of February but still offers more than a mere placebo? We cannot end winter sooner, but is there some lesser measure that, while realistically ineffective at combating winter, could nonetheless help to avenge the wrongs done to the tortured and shivering masses better than that resort to groundhogs, bears and badgers?

       I have a modest suggestion.

       We all accept that February already differs from other months in the number of its allotted days. And the Romans have already fiddled with that number, as discussed above, before agreeing on our present 28 day (and 29 day leap year) approach. Since the month is already demonstrably too long at 28 (or 29) days, my proposal is simply this: Chop another week off of it. Make it 21 days -- a three week sprint from January to March. And then take that extra week, the one we just chopped, and plop it down smack dab in the middle of June -- a month that often seems too short.

Gulf Shores Alabama -- View from our condo
February 17, 2014.  72 degrees.

       What about leap year? you ask. Simple, again. Leap year day should be designated a national holiday. The holiday would float, and would be used, as needed, as an extra day adjacent to July 4, thereby ensuring that Independence Day would always at the least be a two-day holiday. I know, I know -- I see all of you math majors waving your hands, eager to point out that the extra day would be needed whenever Independence Day falls on a Tuesday, Wednesday or Thursday, and that these alignments occur more than once every four years. The solution remains simple -- just take those extra days, as needed, out of February.  If the second month of the year ends up less than 21 days, I mean, who is going to complain?

       I could go on. But I am off to the beach.

Ellery Queen and the Mystery of the Hidden Name

by Dale C. Andrews (and Kurt Sercu)

       As I guess is evident, for most of my life I have been an Ellery Queen fan. I read Queen as a kid, and I trace my published mystery writing back to the Ellery Queen Centennial Symposium that EQMM hosted back in 2005. I attended that symposium in New York City, along with Kurt Sercu, the proprietor of the preeminent Ellery Queen website – Ellery Queen: A Website on Deduction, and we both left the symposium with the inspiration that eventually led to our Ellery Queen pastiche The Book Case (EQMM, May 2007). While that weekend was the first time Kurt and I had met in person, we had already known each other for years on-line.

       It was sometime around 2000 that I first stumbled onto Kurt’s internet homage to Queen, and while I became a regular visitor there our email friendship did not really blossom until two years later when, in a thread on the Ellery Queen sub-forum of the Golden Age Detectives website discussing Queen’s And on the Eighth Day, I posted a pastiche epilogue to the book, offering a “further explanation” to Ellery’s solution that attempted to tie up some of the novel’s loose ends. Those loose ends had always troubled me -- there are a lot of hidden clues in And on the Eighth Day that are never explicitly addressed in the pages of the book. After reading my conjectured epilogue, Kurt, who oversees the Queen sub forum, responded with some thoughts and we were off and running. 

       And a strange email exchange it has, at times, been over the years. Early on Kurt asked me if I knew the name that arguably tied together a large number of the Ellery Queen mysteries. I replied that I did not and Kurt responded with the following. “The name is ‘Andrews’.” 

       Well, as you can imagine, that sort of floored me for very personal reasons. I had read Queen for years, but this was before I had begun to look behind the stories into the strange and largely inexplicable patterns and clues that Frederic Dannay and Manfred B. Lee wove into the fabric of the Queen library. But even so , , , my own name? In any event, Kurt proceeded to reveal a list of references to names closely associated with the name “Andrews” that appear in Queen, and the list stunned me -- I hadn't even noticed the multitude of characters who bore the name “Andrews,” or who answered to a closely related name. The list included: 

     Rima Anderson                       Double, Double 

     Ann Drew                               The Player on the Other Side 

     Van Andrew                           The Egyptian Cross Mystery 

     Andrea Borden                       Halfway House 

     Andrew Gardiner                    The Finishing Stroke 

     Andrew Hamilton                    The Glass House 

     Judge Andrew Webster          The Glass House 

     Old Soak Anderson                 Calamity Town and The Murderer is a Fox (Rima’s father) 

     Doctor MacAnderson              The Fourth Side of the Triangle 

     Mrs.Anderson                        The House of Brass 

       Hidden patterns in Ellery Queen mysteries, I now know, are rampant. One of the best examples of this is the recurrence of references to Easter, a topic discussed at some length in a previous post. Other examples involve the use of dates that are either of personal importance to Frederic Dannay and Manfred B. Lee, who were Queen, or that are of historical interest. Those, too, have been explored in a previous article. Were these multiple references to the name “Andrews,” some of which, after all, are only associated with minor characters, enough to be classified as similar intentional patterns? As Kurt pointed out to me in our correspondence, French Queen scholar Remi Schulz certainly thinks so.

       Remi Schulz has devoted years, and much effort, to the study of the Queen mysteries, plumbing analytical depths that most of us would never even suspect existed. One underlying thesis set forth in Remi’s website is that the Ellery Queen novels are replete with hidden patterns that are premised on recurring dichotomies. Thus, Remi argues, a series of later Queen novels involve murderers with the recurring initials M and W, that switch back and forth chronologically novel to novel. M and W, Remi points out, are a short-hand for one of life’s great dichotomies: men and women. Similarly, there are references to 1 and 2, and to “A” and “B” that recur in Queen mysteries. As an example, Remi focuses on the 1936 Queen mystery Halfway House, and points out that it involves two families, Angell and Borden, and secret relationships between Andrea Borden and Bill Angell (AB and BA). These are but examples -- Remi points out many other hidden dichotomies in the mysteries Ellery solves.

     So what do these “either or” patterns have to do with the also recurring references to the name “Andrews?” Well, first of all, Remi’s view is that you can’t view the references to that name standing alone -- you have to look at all of this in the context of those other clues and patterns. Remi argues that the term most commonly used for the recurring literary dichotomy device that he identifies as prevalent in Queen mysteries (A’s and B’s, 1’s and 2’s) is a chiasm, a word that derives from the Greek letter 'Chi', or 'X.' An X, he points out, is also the basic design of the Saint Andrew cross -- a cross, in effect, laid on its side. Thus, it is argued that frequent use of number and letter pairs, and frequent use of the name “Andrews,” are employed to show that chiasms -- and underlying dichotomies -- are a hidden theme in the Ellery Queen mysteries. 

       And what, in turn, could this pattern of dichotomies be intended to convey to the reader? Well, the most obvious chiasm “secret” behind the works of Ellery Queen is, of course, the fact that there are two aspects to Ellery as author -- Frederic Dannay and Manfred B. Lee. Up to here I find Remi’s theories a bit far fetched, although still plausible. But from this juncture on Remi and I tend to part ways, forming, perhaps, our own chiasm. 

       Remi’s overarching thesis is that Dannay was the mastermind behind Queen, and that various hidden clues in Ellery Queen mysteries are meant to convey this, as well as the “fact” that Manfred Lee had (in Remi’s view) little or no role in the writing process. I’m not going to delve too deeply into Remi’s theory since it really cannot be articulated without revealing spoilers for many of the Queen mysteries. However, those interested in the theory can pursue Remi’s thesis at his website. (A warning -- Most of Remi's website is written is in his native French. However the Google translate function works fairly well on the site. Some of his theories concerning Ellery Queen mysteries are explained in a shorter English version of his website here.  Remi’s theories are also summarized on Kurt’s website here and here.) 

       My own view as to what this all might mean, while also a bit complicated, is a simpler one. (Warning -- even mine involves one “spoiler.”)

       I share Remi’s view that a plausible explanation of the recurring use of chiasms, as well as the references to “Andrews” as a clue to point the reader to the Cross of St. Andrews, is that all of this evidences (in a manner subliminal to the actual clues needed to solve each individual mystery story) the fact that two authors, Dannay and Lee, were Ellery Queen. The duality of Queen, as author, is also evidenced by the fact that both Dannay and Lee followed the consistent practice of using a “Q” with two, rather than one, line through it whenever autographing a book as Ellery Queen. 

       But it seems to me that it is ultimately self-defeating to argue that these hidden references were somehow meant to demean Lee’s role. After all, but for the few later Queen mysteries written by ghostwriters when Manfred Lee battled writer’s block, it was Lee who penned the actual drafts of the Ellery Queen mysteries from Dannay’s outlines. And even in the ghostwritten works it is acknowledged that Lee edited the final drafts. Can we really expect that Lee would be a party to a scheme intended to demean his own role? 

       In fact, there is at least some evidence that Lee could be a bit of a prankster himself, and was not above sneaking references into the Queen mysteries behind Dannay’s back. The best example of this is one particular late Queen novel (that’s all I’m going to say!) in which the name of the murderer appears only twice -- on the opening and closing pages. When asked about this literary device in a televised interview Dannay reportedly was taken aback, rather obviously surprised by the literary trick. So if that response by Dannay was honest, then the trick was by Lee. A trick that involved a secret cleverness -- a cleverness involving a name. 

Frederic Dannay and Manfred B. Lee

       The issue of employing “cleverness” with chosen names also brings us back to both Lee and Dannay -- each of whom chose their own names. Frederic Dannay was born Daniel Nathan, and Manfred Bennington Lee was born Manford Lepofsky. Lee, like his cousin Dannay, was of Russian-Jewish ancestry, but (unlike Dannay) eventually converted to Episcopalian. As Dannay’s notes in The Tragedy of Errors indicate, the cousins referred to each other throughout their lives as “Man” and “Dan,” evocative of both their given names and their chosen names. 

       And what do we know of the name “Andrews?” Well, in the Bible Andrew was the brother of Peter, and was himself a disciple. Legend has it that Andrew preached in Russia, in the Black Sea area of the Ukraine, and that his remains were eventually carried to Scotland, where he became the patron saint of the country and inspired that cross of St. Andrew, which graces the Scottish flag. Lee and Andrew, therefore, had a shared background, in a sense:  roots that involved Jewish Russia, and relocation to an English speaking locale. Each was born Jewish; each died Christian. So there is a credible basis to hypothesize that Lee could have personally identified with Andrew. Could the recurring usage of Andrews, and names closely related to Andrews, constituted Lee’s “signature” to the Queen mysteries? Are any of the foregoing similarities enough to deduce anything? The question still remains: What does Manfred Lee, as a name, have to do with Andrews? 

       Well, perhaps this: The name “Andrew,” “Andrea” in Greek, is translated as “manly.” Or, phonetically, “Man Lee.” In other words, the joke here, once again, may have been on Dan!

Elegy

                                            She stands in the cold water, facing

                                            south toward an invisible island. 

                                            In the Sunday morning quiet 

                                            the redwing blackbirds 

                                            shuffle nervously in a thicket 

                                            behind the beach. The loon 

                                            makes no sound at all in its 

                                            purposeful passage. 

                                            For sixty years and more 

                                            she has tested the waters 

                                            this way. Soon she will 

                                            take the plunge. Intrepid swimmer. 

                                            For her there is never 

                                            backing out. Never. She will dive 

                                            into the salt waves and there will be 

                                            friendliness and fellowship and 

                                            sisterhood, and a spot of

                                            solitude. 

                                            Her landlocked husband, a creature of air 

                                            and dirt, leans against a boulder 

                                            and watches her. His silence 

                                            goes with her, and with the loon. 

                                            He guards towel, glasses, sandals, 

                                            His heart flutters in the thicket. 

                                            He rests quietly at the margin 

                                            of the liquid world, waiting. 

                                            When she rises, rebaptized, 

                                            from the sea, she will find 

                                            a harbor here. 

                                                                    James Lowell McPherson 

                                                                    "She Stands in the Cold Water"

       Last month I posted an article that largely praised the wonders of computerized research and our ability today to secure virtually any bit of information by merely clicking the correct keys on the nearest available laptop. At the time I wrote that post I intended to also address the flip side of the equation -- the things that we lose as we spiral down into that all-knowing ethernet vortex. But I have this problem (likely already evident) -- once I get started I can have a tendency to “write long.” The previous article sort of outgrew itself, leaving no practical room for a second chapter.  Also I came to realize that the rest of what I had to say was not only about losing the more personal side of the research process, but about losing people themselves.

       As noted in that previous article, ready access to the troves of information now available on the internet comes at a cost -- studies indicate a trend toward the reduction, and at times near disappearance, of short term and long term memory. As we come to rely on information assembled and cataloged on the internet more and more, our need to store facts in memory decreases, as does our ability to do so. What we potentially lose when this happens is the personal clothing that facts otherwise wear; the human side of the dry answer. 

       Dr. Kathryn Walbert, a professor at North Carolina University, has set the stage for the problem we face: 

Historians of the eighteenth and nineteenth centuries can rely on extensive correspondence and regular diary entries for information about life in the past. But in today’s world, telephone, email, and web-based communication have largely replaced those valuable written records. Without oral history, much of the personal history of the late-twentieth and twenty-first centuries would be lost to future historians.

       Now we risk losing even that if personal memories, anecdotes and remembrances, upon which oral histories are based, are no longer being retained by our galloping brains, which have concluded this congeries of entangled memories and recollections need no longer be stored. 

       And what do we risk losing, here? How better to illustrate than with an anecdote. 

Jim and Phyllis
on the deck of the Mandalay

     Twenty-eight years ago my wife and I were on a Windjammer cruise -- 14 days, Antigua to Grenada, all under sail on a lovely ship that held 74 lucky passengers. The first night, at dinner, I glanced over at the couple sitting next to us and did a double take. They were in their sixties (to our 30s). He had shoulder length hair tied in a ponytail and sported a full beard; she had waist length hair. Both were dressed in tie-dye. Wow, I thought.  Relics of the '60s!  These are folks I need to meet.  

       That encounter, on the tall ship Mandalay, was the beginning to a 25 year friendship with two of the most interesting people we ever knew. 

       I referenced Jim McPherson and his wife Phyllis King in that previous article, specifically in reference to Jim's amazing facility with words.  Both Phyllis and Jim were poets, each an observer of all things past and present, and each a raconteur of the many adventures and lessons they had experienced in their varied lives. Over the years we spent many more vacations with Phyllis and Jim. And when they came down to Washington D.C. from their New York City apartment on Riverside Drive for visits we would spend memorable evenings in our backyard, or in our living room, drinking scotch and regaling each other with stories and observations. 

       One of the things I did not mention in that previous post was that Phyllis worked for twenty-five years at the telephone reference desk at the New York City library. I do not know how that desk is now run, but in the day -- in her day -- anyone could call in with a question and be assured that, for the number of minutes allotted each call by the library rules, the caller would have the undivided attention of a library employee who was both knowledgeable and willing to help them find the information that they sought. 

       All of this does tie back to our theme here. And here we go.

       In 1989 a short article by the well-known author and photographer Stanley P. Friedman appeared in The New York Times, The article was also published in the December 1990 edition of Reader's Digest, from which I quote. 

       I needed to do some research for an article I was writing, so I called New York City’s library information service. A woman whose mellifluous voice I’ve recognized for years came on. Her willingness to help has been boundless. “What do you want?” she asked.

       “I don’t think you’d have it. It’s sheet music. I need lyrics.”

       “Which?”

       “It’s a ‘40s song: ‘Spring Will Be a Little Late This Year.’”

       “Oh, yes. That’s from a Deanna Durbin movie.”

       Pause. And then, would you believe it, she started singing it to me. Mind you, sing, not recite. The lyrics tripped along swiftly.

       They took me back to the London that I was writing about. September 1944. V-2s in blossom.... We met in the Strand Palace Hotel bar. We were both lonely and 19. We went to see Christmas Holiday with Deanna Durbin. She sang “Spring Will Be a Little Late This Year.”

       End of flashback. Back to the Singing Librarian. At song’s end I said: “That was beautiful. You broke my heart. But you’ll have to say the words slowly so I can write them down.”

       She did, I wrote, then I asked, “What’s your name?”

       “We’re not allowed to give that information.”

       “That’s okay,” I said. “I know you.”

        So do I.  No rules here:  That was Phyllis King. 

       Google will give you the lyrics to that Deanna Durbin song, but there is so much more that it will not be able to do. Life has a poetry to it that is beyond Google’s keen.  And that is what we risk losing.

Thomas Point Lighthouse

       Phyllis died in 2007. Jim brought her ashes, encased in a brightly colored origami wrapper of corrugated paper, down to Washington, D.C., and with him we struck out on our 1982 Carver, motoring up the Chesapeake Bay to Thomas Point Light. As Amazing Grace played over our speakers we set the origami boat afloat in the Bay. It bobbed a few times, testing the water, and then pointed down, just as Phyllis always did, and dove for the depths. 

       One year later Jim died. His ashes are spread on the shore, looking out toward the waters of Thomas Point Light. There with the boulders. Watching. 

                                                When I am gone

                                                I will not haunt 

                                                with sad face 

                                                and mournful cries. 

                                                I will follow you like a child’s balloon 

                                                bobbing at your shoulder, 

                                                bumping your face 

                                                with my red or pink 

                                                or blue surface, 

                                                touching you, 

                                                saying I am there.

                                                              Phyllis King 

                                                              "Early Morning Balloon Poem"

                                                              November 10, 2005

"S." -- The Triumph of Marginal Characters

SAN ANTONIO — Texas has seen the future of the public library, and it looks a lot like an Apple Store: Rows of glossy iMacs beckon. iPads mounted on a tangerine-colored bar invite readers. And hundreds of other tablets stand ready for checkout to anyone with a borrowing card.

                                                Associated Press, January 3, 2014
                                                Describing San Antonio’s new “bookless” library

       There is no debating the fact that the movement, of late, has been away from the hardcover books that were the staple of the golden age of mysteries. Today much reading (mine included) is on tablets, and our personal libraries (and San Antonio's public library) are composed of texts that are stored in the cloud. But whenever something is gained in technology we run the risk of leaving something valuable behind. We will get to that, but first a little backstory.

       Back in September I posted an article titled Herewith, the Clues, which discussed the development of “fair play” mysteries, the hallmark of the “golden age” of detective stories. In that article I summarized the birth of the fair play mystery as follows:

An organized approach to writing fair play mysteries dates at least from the 1930s when a number of famous (or soon to be famous) British mystery writers, including Christy, Sayers and Chesterton, to name but three, established the Detection Club with the intention of establishing standards for “fair play” detective stories. Each of the members of the club took the following oath, reportedly still administered today:

Do your promise that your detectives shall well and truly detect the crimes presented to them using those wits which it may please you to bestow upon them and not placing reliance on nor making use of Divine Revelation, Feminine Intuition, Mumbo Jumbo, Jiggery-Pokery, Coincidence, or Act of God?

The members of the Detection Club went on to establish rules of fair play that, by and large, have governed the writing of fair play detective stories ever since. The most important of those rules is that every clue necessary to solve the mystery must be revealed, in advance, to the reader.

       There have been different experiments over the years focusing on how best to lay out all of those clues before the reader, and my prior article went on to discuss various mysteries that have taken the fair play approach to some intriguing extremes. In that vein, the early “Criminal Dossier” works of Dennis Yates Wheatley and James Gluckstein Links, and the recent best-selling Night Film by Marisha Pessl, were singled out as examples of mysteries that literally served up the clues to the readers -- physical evidence, newspaper articles, written reports, all bound within or otherwise contained in the original volume.

       Turns out I wrote that article too soon. I hadn't anticipated the recent publication of “S.” , co-authored by movie and television visionary J.J. Abrams and professor, Penn/Hemmingway nominee and three time Jeopardy champion Doug Dorst. To paraphrase Mr. Abrams' re-boot of the Star Trek series, "S." boldy goes where no fair play mystery has gone before. And make no mistake -- "S." is unapologetically a book in every sense of the word.

       To date "S." is available only in hardcover, and if you order it from Amazon or Barnes and Noble you are likely to encounter a “temporarily out of stock” notice. (It took about a week for my volume to arrive from Amazon.  "S." is currently listed as out of stock without a delivery estimate at Amazon; Barnes and Noble is projecting shipment no earlier than mid-March). When you do finally get your hands on your own copy of this mystery you will begin to understand why, despite strong interest and positive reviews, sales have out-stripped production by the publisher.

       If you order the volume and then wait patiently for delivery, here is what you will eventually hold in your hands -- a handsome cardboard book sleeve containing a hardcover volume, battered and worn, titled Ship of Theseus, purportedly by an author named V.M. Straka. The cardboard box is sealed, and cannot be opened until the paper seal -- the only portion of the book containing the title “S.” -- is broken. Once unsealed, the book presents as a very used library book -- a publication date of 1949, stains on the inside front cover, a “Book for Loan” stamp, a list of check-out stamps on the back inside cover.  There is a library index number affixed by sticker on the spine, and the spine itself appears “broken” from frequent opening.  When you open the book yourself, it immediately becomes evicent where we, as readers, are headed.

       Ship of Theseus is a 453 page novel, complete unto itself. The novel is a good read even standing on its own. But the magic here is that it does not stand on its own. Scribbled throughout all of the pages are notes and annotations by two readers -- Eric, a graduate student who is obsessed with the mysterious Straka, and Jen, a college senior, who has just discovered the author. The premise is that each of them has taken the book from a library shelf, read it, and then returned it to the shelf for the other to re-claim. Eric has initially annotated certain portions in the margin, and Jen responds with her own annotations. Thus begins a dialog that becomes a separate story, sprawling through the pages of Ship of Theseus. In the margins the annotators meet, flirt, and then get down to the task of uncovering the mysteries surrounding Straka and Ship of Theseus, which purportedly was the last of 18 Straka novels (the others are dutifully listed at the front of the book). As if all of this were not enough, as the two annotators discover additional clues or bits of information surrounding the mysterious author, or his equally mysterious translator F. X. Caldeira, they place these snippets of information, or their hand-written summations of what they have uncovered, in the book, at relevant pages, where the reader can extract the clues and follow the evidence at his or her leisure.

       And make no mistake -- “leisure” is the right word here. This is a book to be savored, not rushed. In fact, you probably could not rush this book if you wanted to.  The reader is called upon to keep track of the underlying Straka novel while, at the same time, following the separate dialog in the margins speculating on the book and the many mysteries surrounding its author. In this respect the book shares some commonality with the underlying theme of Marisha Pessl’s Night Film, discussed at some length in that previous article. The mysterious Stanislas Cordova, who is largely un-seen but occupies the heart of Pessl’s mystery, is eerily similar to the equally-unseen V. M. Straka, who is at the heart of "S.". But back to the point, be prepared to take your time with this book -- you will be rewarded with a near total immersion into the story, a new reading experience that can easily become mesmerizing.

       Transforming the concept of the book into a market reality has been a supreme technological challenge, as explained by Abrams in interviews in The New York Times and on CBS. And the problems of the approach continue -- librarians (Rob might like to weigh in here) are perplexed with the challenge of including the book, with all of its loose-leaf clues, on lending shelves, characterizing the task as “a processing nightmare.”

       While an ebook version of "S." has been hinted at, it is hard to imagine how this could work. The book, after all, is a throwback -- it is an homage to the published word. In ways it resembles an art book as much as it does a mystery.  Could it also be a vanguard?  The New York Times had this to say:

Charles Miers, the veteran publisher of the art-book house Rizzoli NY, sees “S.” as part of a larger trend toward such elaborate books, now that digital technology and inexpensive Asian labor have made production newly affordable. “There’s a real interest in the book as an object of permanence, as a direct counterpoint to the digital world, that I haven’t seen before,” he said.

        The original inspiration for "S." is traceable to the earlier "Mystery Dossiers" of Wheatley and Links, specifically their Who Killed Robert Prentice?, also discussed above and at length in that previous article.  In a Los Angeles Times interview Abrams fondly recalled reading that volume:  “It had a torn-up photograph in these little wax paper envelopes. As a child, I remember seeing those. That always stayed with me, that idea of getting a book, a packet, that was not just like any other book.” Abrams also acknowledges another catalyst for "S.", a book lending trend that has as well been the subject of some discussion here. According to The New York Times:

Mr. Abrams stumbled upon the idea for “S.” more than a decade ago, when he found a worn Robert Ludlum paperback at Los Angeles International Airport. “Inside, someone had written, ‘To whomever finds this: Please read it, take it, read it and leave it for someone else.’ ” Mr. Abrams said he began thinking about the way his college books had been riddled with marginalia. “What if, instead of putting it back for someone else to read it, the person who received the book saw those notes and felt compelled to continue the conversation?”

       But perhaps the most remarkable thing about "S." is the way it stubbornly defies modern trends in publishing. This is a book that cannot hope to work well as an e-book. It would never work as a narrated mystery on Audible. It’s hard to imagine that the authors are looking down the road to a paperback edition. What "S." is is an homage to published books -- big, hard cover books, intended to be read and then placed affectionately on a shelf to be retrieved and re-examined in the future. It is about the love affair that can grow between the reader and the volume. There is as much art in the concept as there is in the story -- and this is not meant to denigrate the story, but rather to elevate the concept. Again, according to Abrams:

This is a story about how a book is used as a means of communication and sort of a catalyst for a great investigation that is also a love affair. It is sort of a celebration of ‘the book,’ that physical, analog thing.

       There may be no room for "S." in that new bookless San Antonio library. That is their loss, but it need not be yours.  

Dickens' A Christmas Carol – at the Movies

Marley was dead to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it. And Scrooge's name was good upon 'Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail.  

       As I wrote in this space two years ago, so begins one of the most popular novellas in English literature. Dickens’ A Christmas Carol was published just before Christmas in 1843, rushed to the press since it had only been completed several weeks earlier by Dickens. That previous article discussed the back-story of this little classic in some detail, but today lets look in the other direction. While many of us read this slim volume annually as part of our holiday ritual, it is safe to say that many more revisit the story of Ebenezer Scrooge in versions of the story that have been adapted for the screen. 

Tom Ricketts as Ebenezer Scrooge, 1908

       By Wikipedia’s count, which is close enough for present purposes, there have been 42 filmed versions of A Christmas Carol over a period now spanning more than 100 years: The earliest, a 1908 silent version filmed by Essanay Studios in Chicago, starred an uncredited actor named Tom Ricketts as the miser on the cusp of redemption; the most recent, a 2009 animated motion-capture version of the story filmed in 3-D by Disney and starring a very credited Jim Carrey. Rather than discussing each of the 42, lets cull the list a bit. After all, if you are sitting in front of the tree today with your eggnog while you surf the channels looking for some filmed holiday cheer, there are really only six versions of A Christmas Carol that you are likely to encounter over the air or on DVD. And as to those, here is my holiday viewing guide.

     A Christmas Carol (2009) As referenced above, the most recent filmed version of the story is the ambitious 3-D adaptation released by Disney in 2009. The film, written and directed by Robert Zemeckis, is a followup to his previous holiday offering The Polar Express. As is so often the case when the adjective “ambitious” is used, in many respects the mighty efforts here have produced a version of Dickens’ story that is flawed. First, and notably, the motion capture technique that Zemeckis uses here and in Polar Express, while visually stunning, is also a bit creepy in its rendition of characters. Second, stated carefully, Jim Carrey is not for everyone. And while he works hard at his Scrooge he is still, well, Jim Carrey, an actor not known for subtle performances. Third, the movie was one of the first of the new batch of 3-D films, and as such it employs some of the older 3-D tricks – like throwing things at the audience – that James Cameron subsequently managed to leave behind a few months later with the release of Avatar. Particularly embarrassing is the prolonged scene in the Third Stave of the story, where Scrooge is shrunk to the size of a mouse and then slides down a roller coaster-like incline. When that comes on, think of it as a commercial and act accordingly. (In other words, leave the room for another drink.) The movie does have its moments, however. When not reaching for gimmicks, the 3-D can be beautiful, even stunning, And Zemeckis’ version provides an interesting new perspective for the story, situating Scrooge and the ghost of Jacob Marley above much of the action, as they stare down through the transparent floor of Scrooge’s rooms. The film received mixed reviews, although Roger Ebert gave it four stars. 

       A Christmas Carol (1999) is graced by the presence of Patrick Stewart as Scrooge. Stewart is not only a gifted actor, he is also a long-time fan of Dickens’ story and has performed it as a one-man reading in London and New York for years. The film was produced for the TNT television network and is generally available over the air during the holidays. Unlike some other versions, at least the early parts of Stewart’s interpretation have a somber, gloomy aspect to them, much in keeping with the original tale by Dickens. The approach is realistic and I like it. Remember that, as discussed in the earlier SleuthSayers’ article, Dickens intended his story as a morality tale – a condemnation of British child labor laws and the plight of the poor in England in the mid 1800s. Stewart’s version toys with the original a bit, offering up more of the backstory of Scrooge and Marley, but this works well even if it involves scenes not envisioned by Dickens. And in addition to Stewart’s bravura performance as Scrooge, watch for a good turn by Joel Grey as the Ghost of Christmas Past. Also watch for the montage, early on, of various denizens of the English working class -- in mines, on boats, in a lighthouse – setting aside their troubles to sing Silent Night. The scene is original to Dickens, but only rarely portrayed in filmed versions of the story.

     A Christmas Carol (1984) is yet another television adaptation of the story, this time starring the late George C. Scott as Scrooge. The film was produced by Hallmark and aired for years on NBC each December. Like the Stewart version Scott’s Scrooge is depicted in early scenes that are not found in Dickens' novella, including (again) in scenes fleshing out more of the backstory of Scrooge and Marley’s beginnings. Scott was reportedly anxious to participate in this production since he had long believed that Scrooge tended to be portrayed by others in too broad a brush. Scott’s goal was to present Ebenezer Scrooge as a hard man of business, conservative and strict, but not someone who was mean simply for the sake of meanness. Beyond Scott’s performance, highlights of the version include Anthony Walters’ portrayal of Tiny Tim. Unlike some other child actors called upon to breathe life into that role, young Walters actually looks the part – managing to convey innocence, kindness and frailty in his demeanor. Another highlight is the superb performance by the late Edward Woodward (who played the lead in CBS’ The Equalizer) as the Ghost of Christmas Present. Toward the end of Stave Three Part Two of the book, Dickens has the Ghost of Christmas Present turn like quicksilver from jovial to fed-up as he listens to Scrooge.  He looks Scrooge in the eye and delivers the following line: 

'Man,' . . . if man you be in heart, not adamant, forbear that wicked cant until you have discovered What the surplus is, and Where it is. Will you decide what men shall live, what men shall die? It may be, that in the sight of Heaven, you are more worthless and less fit to live than millions like this poor man's child. 

No one, and I mean no one, delivers this line as effectively as Edward Woodward. Essayist Lewis Bayard, writing for Salon.com, called this “the best Christmas Carol ever.” Even if you don’t agree, you can’t go wrong watching this one. 

       Scrooge (1970) This version of our story is the Leslie Bricusse musical adaptation, starring Albert Finney as Scrooge, which was filmed for theatrical release. I like the version, but it is sort of an acquired taste and decidedly not for everyone. Telling a story as a musical, with certain exceptions, becomes an invitation to tell it as a musical comedy, to play it too broadly, and that light air certainly has its effect on the brooding morality of Dickens’ original story. As an example, the most hum-able song in the score, the Oscar nominated Thank You Very Much!, is sung by those who owed Scrooge money as (unbeknownst to Finney, who is joyfully singing along) his coffin is wheeled down the streets of London. Also a bit strange is the casting of Finney, who decidedly is not a singer, although, according to rumor, the score was originally written for another non-singer, Rex Harrison, who ultimately turned down the role. The film also adds an excruciating scene after the Ghost of Christmas Future in which Scrooge falls into his grave and ends up in Hell, as an accountant to Lucifer. The scene, often cut (thankfully!) in the televised version, was likely added to give Alec Guinness, portraying the ghost of Jacob Marley, one more scene. If it is still in the version you find yourself watching, well, think of it as another invitation to refresh your drink. But don't get me wrong, this version does have its treasures, including the best metamorphosis of Scrooge’s door knocker into Marley’s face ever filmed, a wonderful stint by Dame Edith Evans as the Ghost of Christmas Past, and Laurence Naismith, who delivers the absolute best Fezziwig of all time.

     Scrooge (1951), released in the United States as A Christmas Carol. Many (myself included) believe that this modest British production is the finest film version of Dickens’ story. Alistair Sims is so perfect as Scrooge – tall, skinny, gaunt, tortured -- that he played the role not just once, but again in 1971 when he voiced it in an animated version of the story. Interestingly, Sims was reportedly a substitute for Basil Rathbone, who was originally to have played the part. But that is mere trivia – Sims' portrayal is perfect and wonderful. The production also is true to Dickens in the sense that it is presented darkly – for me it plays better in the original black and white than in the colorized version of several years ago. In the black and white film one feels, particularly in early scenes, the desolation of the English working class that is at the heart of Dickens’ story. But at the same time Sims’ version goes beyond Dickens in some respects and, like the George C. Scott and Patrick Stewart productions discussed above, delves into Scrooge’s past life with Marley and Scrooge’s evolution into the miser that we meet in Stave One. Watch for a young Patrick MacNee (later John Steed in The Avengers) in those early scenes portraying the young Jacob Marley. 

       A Christmas Carol (1938) This is likely the earliest version of Dickens’ story that you will find on broadcast channels or streaming video. It starred Reginald Owen, who was also a last minute Scrooge substitute, taking the place of Lionel Barrymore who stepped out of the production because of arthritis, but still provided the film’s opening narration. The film is a good rendition and, perhaps, its only fault is that it has a sort of sunny disposition that makes it difficult to find the London of Dickens. Cratchit looks too well fed; Tiny Tim, too big, too healthy.  The two starving children, "Want" and "Ignorance," who Dickens revealed hidden in the robes of the Ghost of Christmas Present, do not even appear in this version.  But watch for Leo G. Carroll, who later starred on T.V. as Topper and then as Mr. Waverley on The Man from U.N.C.L.E., and who delivers a great ghost of Jacob Marley. Also of interest is the fact that the Cratchits are portrayed by Gene and Kathleen Lockhart, married in real life, and that one of their daughters, in an uncredited role, is played by their real-life daughter June Lockhart, who went on to a career portraying television mothers in both Lassie and Lost in Space. 

       Finally, if you are looking for a spoken word version of Dickens, over the years there also were many radio adaptations of A Christmas Carol. One of my favorites was a 1975 episode of CBS’ Radio Mystery Theatre starring E.G. Marshal as Scrooge. Marshal was the host of the series and this episode, as an interesting aside, is the only one in which he also appeared (er, was heard) as an actor. This adaptation is available for downloading on line. 

       So if you are looking for a little Dickens this year, you will not go completely wrong with any of the versions discussed above.  And, as noted, there are some real gems out there.

       Merry Christmas, Happy Holidays, Happy New Year, and see you in 2014.

Scrooge was better than his word. He did it all, and infinitely more; and to Tiny Tim, who did not die, he was a second father. He became as good a friend, as good a master, and as good a man, as the good old city knew, or any other good old city, town, or borough, in the good old world. Some people laughed to see the alteration in him, but he let them laugh, and little heeded them; for he was wise enough to know that nothing ever happened on this globe, for good, at which some people did not have their fill of laughter in the outset; and knowing that such as these would be blind anyway, he thought it quite as well that they should wrinkle up their eyes in grins, as have the malady in less attractive forms. His own heart laughed: and that was quite enough for him.

He had no further intercourse with Spirits, but lived upon the Total Abstinence Principle, ever afterwards; and it was always said of him, that he knew how to keep Christmas well, if any man alive possessed the knowledge. May that be truly said of us, and all of us! And so, as Tiny Tim observed, God Bless Us, Every One!

Our On-Line Age

St. Louis Central Public Library

       In a week when a lot of us of a certain age were reflecting back to events of 50 years ago I found myself off on a related tangent, thinking about how different the task of researching is now from what it entailed back when I was an early teenager in 1963. Some of this was sparked by a comment from Fran to my last SleuthSayers post recalling what it was like to visit a library back then. All of this rang true for me. I remember the process of researching term papers back in the 1960s -- taking the long bus ride to the downtown St. Louis Central Library, spending the morning poring over three by five cards in the card catalogs, filling out a request for various reference texts and then waiting while the librarian gathered the materials and wheeled them out of the stacks. The process was tedious, and if those books piled in front of me spawned their own questions, the follow up research meant starting the whole process over again. It was far easier to forego tracking down a question arising from the review of that first pile of books than it was to follow the thought thread through to fruition.

       The way most of us research and write now bears no relation to that process. A laptop and an internet connection is all that is needed to find just about every factoid imagineable. Personally, I am happy with all of this. But whether we are, in the long run, bettered or hindered by our easy electronic access to information today is a subject that is still open to some debate. It is, in any event, easy to come up with examples of how the ways in which we answer our own questions have changed in a computerized wifi world.

       Personal example one: Some years back two older friends of ours from New York City, Jim McPherson and his wife Phyllis King, were visiting us for the weekend. Jim and Phyllis (now deceased and sorely missed), both poets, were two of the most intelligent and well-read folks you would ever want to stumble across. (Jim was named poet laureate of West Virginia, one of only three in the State’s history, in 1942 at the tender age of 20.)  On this particular visit we were sitting in our living room reading when I came across the word “bookkeeper” and stopped cold, looking at it closely, perhaps for the first time. I turned to Jim and said “Can you name a word in the English language that has three consecutive double letters?” Jim thought a minute and said “bookkeeper.” I was floored -- “did you know that already?” I asked him. “No,” he replied. “It’s just the only example I could think of."  That, in a mind, is astonishing. But with the advent of the internet it is no longer a big deal to secure an answer to that question. Pose it on Yahoo and you instantly get “bookkeeper” and (icing on the cake) “sweettooth” for dessert.

The Little Lost Child (1894)

       Personal example two: When I was a child my maternal grandmother, while working around her house, would repeatedly sing two lines of a song from her childhood. She had long-since forgotten the rest of the song, but remembered that it was about a policeman who found a lost child and, through a convoluted series of verses, the child turned out to be his own. She sang those first two lines so much that the song, over the years, became somewhat of a joke in our family.  Eventually my mother and I tried to find the rest of the lyrics, searching out song encyclopedias at the library, all to no avail. Some years back I even tried a computer search using the first two lines, the only ones my grandmother remembered: "Once a police man, found a little child.” All you get from from an internet inquiry using those words are stories about abducted children. But last week, thinking about this column, I decided to try again. I added the word “lyric” at the beginning of the search. That was all that was needed: The song, lost to my family’s collective memory for probably more than a hundred years, is The Little Lost Child. My grandmother’s memory was wrong -- it actually began “A passing policeman . . . .” But once the inquiry is framed as a search for a lyric, even with that erroneous first word, the internet promptly spits back the complete lyrics to the song, a Wikipedia article about it and (this I could hardly believe) a You Tube rendition. And all of this (as you can confirm by listening in) for a song that is truly terrible and (ironically) would probably have been best left forgotten. But that’s not the point -- the point is that you can now almost instantly find almost anything -- even facts that are largely useless.

       When we have this much researching power at our fingertips you can expect some pretty profound changes to occur in the writing process.  Ready access to such a power allows some research to be performed that simply could not have been done in the past, or at least not without more time and effort than the task warranted. Those followup questions that I ignored late in the day in the St. Louis library back in 1963 are no problem now. 

       Some argue, however, that there may be a dark side to this as well. A notable study of teenagers in Korea, an on-line country where reportedly 65% of all teens have grown up using smartphones, has revealed the prevalence of a condition that the study coins "digital dementia," or deterioration of thinking and memory. A UPI news report concerning the study provides the following example:

Psychiatrist Kim Dae-jin at Seoul St. Mary's Hospital recently diagnosed a 15-year-old boy with symptoms of early onset dementia due to intense exposure to digital technology -- television, computer, smartphone and video games -- since age 5. He could not remember the six-digit keypad code to get into his own home and his memory problems were hurting his grades in school. "His brain's ability to transfer information to long-term memory has been impaired because of his heavy exposure to digital gadgets," the psychiatrist [reported].

       But is the negative connotation involved in calling these symptoms a form of “dementia” really correct here? We know, going all the way back to the writings of William James, that thinking involves the interaction of long term and short term memory.   It is theorized that short term memory cannot handle more than roughly 7 chunks of information (otherwise stored in long-term memory) at any one time, and that the process of thinking involves juggling concepts and facts back and forth between the two in those manageable chunks. Psychologists have also long recognized that we already “share” long-term memories with others and depend on others to fill in our own blanks -- I remember how to do some things, my wife remembers how to do others, and if I was trying to think of a word with three consecutive double letters, well, Jim McPherson would have been my go-to guy.  What we are now learning to do instead is to depend on the computer and the internet to perform this function of data retention and sharing that previously we commited to long term memory -- either or own or others'.  Now what becomes important is not the fact, but how to get to the fact on the computer, e.g. adding that word "lyric" when you are looking for a song.

       A Harvard study, as reported in an article in Science Express examining the effects of a world where information is readily available at the tap of a key, seems to confirm all of this:

The advent of the Internet, with sophisticated algorithmic search engines, has made accessing information as easy as lifting a finger. No longer do we have to make costly efforts to find the things we want. We can “Google” the old classmate, find articles online, or look up the actor who was on the tip of our tongue. The results of four studies [conducted by Harvard] suggest that when faced with difficult questions, people are primed to think about computers and that when people expect to have future access to information, they have lower rates of recall of the information itself and enhanced recall instead for where to access it. The Internet has become a primary form of external or transactive memory, where information is stored collectively outside ourselves.

       A recent Columbia University study reaches similar conclusions, arguing that we are now using the internet as personal external memory drives. Summarizing that study the Los Angeles Times had this to say:

We’ve come to use our laptops, tablets and smartphones as a 'form of external or transactive memory, where information is stored collectively outside of ourselves . . . . We are becoming symbiotic with our computer tools, growing into interconnected systems that remember less by knowing information than by knowing where information can be found.

St. Louis Library -- Atrium where those stacks used to be

       And this, in turn, sounds all in all like a good thing in many respects. Certainly readily accessible information is a boon to those of us who write, and certainly to all of us producing scheduled articles here at SleuthSayers. Reflecting on information and sharing those reflections are far easier tasks without those trips to the library research rooms of our youth. Stated another way, an article such as this one would not have been written if the only sources available were those in the stacks in the St. Louis Central Library back in 1963. Who had the time?

       We are not the only ones changing as the internet renders irrelevant many of the volumes that used to be housed in library stacks.  The St. Louis Central Library that I relied on for research 50 years ago has moved along with the rest of us.  The newly renovated building, scheduled to re-open to the public this month, replaces those stacks where I researched as a teenager with a multi-story sunlit atrium.  There is also a coffee shop where we can wile away some of that time we save.