Uncategorized

Fifty Shades of States

Posted by

40

I’d like to state that some novels capture a state — the feel, the ambiance, the streets, etc.

That obvious fact occurred to me last week as I read Tom MacDonald’s The Charlestown Connection, a mystery set in Massachusetts — mostly Boston’s Charlestown section (pictured above). The novel has interesting characters, but just as interesting is its you-are-there descriptions of various places in Beantown.

Many other novels, of course, do the same with other states in the U.S. I won’t give examples from all 50 states, but will mention one or more books from more than 20 states — listed alphabetically. They might or might not be the ultimate novels set in those states, but they’re in the discussion. And my apologies to non-U.S. readers of this blog for today’s U.S.-centric post. 🙂

Alabama: Fannie Flagg’s Fried Green Tomatoes at the Whistle Stop Café contains a double bonus — great evocations of The Yellowhammer State’s present (as of the novel’s 1980s publishing date) and past.

Arizona: Terry McMillan’s Waiting to Exhale is the story of four women who live in Phoenix.

Arkansas: Charles Portis’ True Grit has an 1870s setting in places such as the rural Dardanelle area and the more citified Fort Smith.

California: Way too many novels to name are set in The Golden State, but, to offer just some examples, there are various John Steinbeck books (East of Eden, The Grapes of Wrath, Cannery Row, and so on). Also, the crime fiction of Walter Mosley (such as Devil in a Blue Dress) and Sue Grafton (her alphabet mysteries) expertly conveys the vibe of Los Angeles, Santa Monica, Santa Barbara (the city that Grafton’s Santa Teresa is based on), and other California locales.

Florida: Also set in the 1870s, The Yearling captures the atmosphere of a rural/backwoods part of The Sunshine State as author Marjorie Kinnan Rawlings focuses on a boy and his fawn.

Georgia: Carson McCullers’ Reflections in a Golden Eye — a hypnotic 1941 novel that includes an unusual (for its time) look at homosexuality — takes places at an Army base in The Peach State.

Hawaii: David Lodge’s Paradise News is initially set in the United Kingdom but then moves to Hawaii — with the state’s many charms depicted amid the plot involving an ill relative and a romance.

Indiana: Booth Tarkington’s The Magnificent Ambersons, which has a strong theme of “old money” vs. “new money,” is set in Indianapolis.

Louisiana: Anne Rice’s multigenerational The Witching Hour spends many chapters in New Orleans — an evocative place for a spooky novel.

Maine: Many of Stephen King’s intense works are of course set here, and Richard Russo’s Empire Falls and Elizabeth Strout’s Olive Kitteridge also unspool in The Pine Tree State. Strout’s title character is…flinty.

Maryland: A number of Anne Tyler novels, including The Accidental Tourist and Ladder of Years, are set in or near Baltimore.

Michigan: Jeffrey Eugenides’ Middlesex stars the gender-confused Cal/Calliope, but a major supporting “character” is Detroit.

Minnesota: Sinclair Lewis placed many of his memorable novels in the Midwest, with Main Street set in The North Star State.

Mississippi: The setting of many a William Faulkner novel, including As I Lay Dying and Light in August.

Missouri: The adventures in Mark Twain’s The Adventures of Tom Sawyer happen in The Show-Me State.

New Jersey: Junot Diaz’s The Brief Wondrous Life of Oscar Wao toggles between the Dominican Republic and a well-described Garden State.

New York: Like California, New York (and especially New York City) is the locale for countless novels. Just five examples from different times would be Adam Langer’s Ellington Boulevard (set in the 21st century), James Baldwin’s Go Tell It On the Mountain (20th century), Jack Finney’s Time and Again (20th and 19th centuries), Edith Wharton’s The Age of Innocence (19th century), and James Fenimore Cooper’s The Deerslayer (18th century). Time and Again‘s superb photos of NYC in the late 1800s add to the effect.

Ohio: Sherwood Anderson’s Winesburg, Ohio — of course.

Pennsylvania: The Keystone State’s two biggest cities are covered in Lisa Scottoline’s Philadelphia-set mysteries (such as The Vendetta Defense) and in more than one Michael Chabon novel (including Wonder Boys).

Rhode Island: In Jhumpa Lahiri’s The Lowland, Subhash leaves India for graduate studies in Rhode Island and stays there after college as the novel’s dramatic events continue to unfold.

South Dakota: The roamin’ Jack Reacher goes to The Mount Rushmore State in Lee Child’s 61 Hours, and boy is it cold and snowy in that thriller.

Tennessee: Cormac McCarthy’s atmospheric novel Suttree is set in Knoxville.

Washington: Maria Semple’s colorful Where’d You Go, Bernadette includes a satiric look at Seattle.

It of course helps if authors live in/have lived in a state they’re writing about, but there’s always visiting and/or researching the place — as Lee Child did for 61 Hours.

I know I left out many states, authors, and books. Which novels do you associate with certain states? If it’s a state you live or lived in, did the author render things accurately and interestingly?

My 2017 literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — about the November 6 election — is here.

Jewish Authors and Characters

Posted by

76

The horrific October 27 massacre at a Pittsburgh synagogue (shown above) made me think of many things — including the terror the shooting targets felt, the grief of surviving families, the easy access to guns supported by Republican politicians beholden to the far-right National Rifle Association, white-supremacist Trump’s refusal over the years to strongly denounce neo-Nazis, and more.

Given what I blog about each week, I also thought about Jewish authors — and Jewish characters created by Jewish or non-Jewish authors. Characters who are depicted sympathetically and three-dimensionally, as well as characters depicted in stereotypical or even anti-Semitic ways.

Some Jewish authors focus often on Jewish themes, while other Jewish authors are more “generalist,” for lack of a better word. Some, of course, veer between the two approaches in their various novels and stories.

When one thinks of Jewish or partly Jewish authors, among the names that come to mind are Isaac Asimov, Saul Bellow, Judy Blume, Michael Chabon, E.L. Doctorow, Stanley Elkin, Nora Ephron, Nadine Gordimer, Joseph Heller, Erica Jong, Franz Kafka, Norman Mailer, Bernard Malamud, Elsa Morante, Walter Mosley, Jodi Picoult, Marcel Proust, Mordecai Richler, Philip Roth, J.D. Salinger, and Isaac Bashevis Singer, to name just a few.

I’ve read some or a lot of each writer mentioned above, and wanted to mention several of their works with Jewish protagonists.

Michael Chabon’s The Amazing Adventures of Kavalier & Clay stars two Jewish cartoonist cousins who have echoes of real-life “Superman” creators Jerry Siegel and Joe Shuster, while E.L. Doctorow’s The Book of Daniel is a novel loosely based on the 1950s case that saw Julius and Ethel Rosenberg executed for allegedly spying for the Soviet Union. Among Doctorow’s other books is his novel/memoir-hybrid World’s Fair.

One of Stanley Elkin’s novels is The Rabbi of Lud — enough said. Erica Jong’s sexually frank Fear of Flying stars Jewish journalist Isadora Wing.

Among Bernard Malamud’s novels are The Assistant and The Fixer — with the first featuring Morris Bober, an aging Jewish refugee who operates a struggling grocery store in a working-class neighborhood of Brookyn, NY; and the second focusing on Yakov Bok, a Jewish handyman unjustly imprisoned in Czarist Russia.

Elsa Morante’s most famous work is History — a tremendous novel, set in fascist Italy during the World War II era, about the struggles of a timid half-Jewish woman (Ida) and her two sons (Nino and the precocious Useppe — the latter born after Ida was raped by a German soldier).

Walter Mosley is more known as an African-American writer, but he’s half-Jewish. One of the notable supporting characters in his popular Easy Rawlins mystery series is union organizer Chaim Wenzler of A Red Death. Who reminds me of the liberal politics of a good percentage of American Jews.

Philip Roth burst into major literary celebrity with Portnoy’s Complaint — starring Alexander Portnoy, a lust-ridden Jewish guy who is quite interested in non-Jewish females and has some mother issues. Goodbye, Columbus and a number of other Roth novels also have strong Jewish themes.

Mordecai Richler’s multi-generational Solomon Gursky Was Here might be the only fictional work that includes a section starring a Jewish Eskimo! Considered by some a candidate for “The Great Canadian Novel,” the book is loosely based on the Canadian-Jewish Bronfman family of liquor renown.

I’ve read many of Isaac Bashevis Singer’s short stories (none of his novels yet), and they of course wonderfully chronicle Jewish life.

Then there are non-Jewish writers with prominent Jewish characters.

For instance, George Eliot’s Daniel Deronda features the memorable Daniel (a wealthy ward who initially doesn’t know he’s Jewish), the kind/beleaguered Mirah Lapidoth (who crosses paths with Daniel), and Mirah’s visionary brother Ezra Mordecai Cohen — along with various equally memorable non-Jewish characters. It’s one of my very favorite novels.

William Styron’s Sophie’s Choice has Nathan Landau, the Jewish lover of the Catholic Sophie years after her devastating Holocaust trauma.

One character in Edith Wharton’s The House of Mirth is Simon Rosedale, a Jewish businessman interested in marrying Lily Bart for the social prestige she could bring him. Simon is sort of stereotypical in a way, but he does have a kinder element or two.

And among Sir Walter Scott’s Ivanhoe cast are the Jewish characters of Rebecca (non-stereotypical) and her father Isaac of York (a rather stereotypical merchant and money-lender).

Yes, there are of course some troubling depictions of Jewish people in literature — also including the miserly villain Fagin in Charles Dickens’ Oliver Twist and the money-lender Shylock in William Shakespeare’s play The Merchant of Venice. Also, the great Fyodor Dostoevsky has occasional bits in his novels that can be considered anti-Semitic.

Who are your favorite Jewish authors and characters? Your thoughts about them?

My 2017 literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — about the upcoming November 6 election and more — is here.

We Get a Kick Out of Sidekicks Who Kick Novels into Overdrive

Posted by

82

Sidekicks! Whether in real life or literature, the word means partners/assistants who are somewhat lower in rank. Yet sidekicks are often as interesting, charismatic, and comedic as their ostensible superiors — or even more so. And the interaction between sidekick/”sidekickee” — and the way they complement each other or not — can be fascinating.

A new favorite sidekick for me is Robin Ellacott of J.K. Rowling’s fabulous Cormoran Strike mystery novels — the second of which (The Silkworm) I read this week. This Robin to Cormoran’s Batman (?) works for Strike in his modest private-investigation office, but she’s much more than an ultra-competent secretary — she wants to be a private investigator herself, and helps Strike solve cases. Meanwhile, the brave/brainy twosome have a strong (though at times tense) working relationship/friendship that means a lot to both of them.

There are echoes of Rowling’s Harry Potter and Hermione Granger in Cormoran and Robin (Emma Watson, who played Hermione in the Potter movies, even gets a cover-of-a-magazine cameo in The Silkworm), but Ellacott and Strike are very much their own characters in the mysteries written under the pen name of Robert Galbraith.

In older literature, among the most famous sidekicks are Sancho Panza to the eccentric Don Quixote in Miguel de Cervantes’ Don Quixote (the two are pictured atop this blog post), Samwise Gamgee to fellow hobbit Frodo Baggins in J.R.R. Tolkien’s The Lord of the Rings, and Dr. Watson to Sherlock Holmes in Arthur Conan Doyle’s detective novels and stories.

Panza and Samwise have many similarities — they’re both short, smart, funny, courageous, resourceful, and invaluable to their “masters.” Heck, they’re clearly equal to, or more impressive than, who they’re sidekicking with. Dr. Watson, though far from dumb, seems like almost a lightweight next to sleuth extraordinaire Sherlock. But the genial Watson is an important character — narrating things (much of the time), expressing admiration for/awe of Holmes, etc. He’s in many ways a reader surrogate, and helps ground things in a sort-of reality — like calm servant Nelly Dean does amid the hyper-emotional drama in Emily Bronte’s Wuthering Heights.

Then there’s Diana Barry, who’s often with best friend Anne Shirley when the initiative-taking Ms. Shirley gets into all kinds of quirky situations in L.M. Montgomery’s Anne of Green Gables. The more passive Diana tends to be a reluctant participant.

In Mark Twain’s The Adventures of Tom Sawyer, Huckleberry Finn is a kind of sidekick. Then, in the later Adventures of Huckleberry Finn, Huck is the main character — with Tom occupying a secondary role. A sidekick promotion!

Getting back to current fiction, we have Sgt. Frances Neagley in Lee Child’s Jack Reacher series. She appears only periodically — Jack often goes it alone, of course — but when she does show up she’s a great help to Reacher as he fights the bad guys. Neagley and Reacher share a military-police background and the qualities of discipline, competence, bravery, loyalty, and…being loners.

Can a character have more than one sidekick? Why not? An example of this would be Dorothy and her three sidekicks: the Scarecrow, Tin Woodman, and Cowardly Lion in L. Frank Baum’s The Wonderful Wizard of Oz.

That reminds me that there’s something about the notion of sidekicks that often has them accompanying their “superiors” on a quest, an adventure, a trip to some destination. At minimum, they tend to appear in very plot-oriented novels.

Who are your favorite sidekicks in literature?

My 2017 literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — about gentrification, rent control, an expensive stairway fix, and more — is here.

Small-Town Novels Can Pay Big Literary Dividends

Posted by

65

I’ve spent my whole life living in the city or medium-sized suburbs, so it’s an interesting change of pace for me to occasionally visit small towns — and to more-than-occasionally read novels set in small towns.

We’re all aware of the pros and cons of not-big burgs. Many residents know each other, there can be lots of friendliness, life is calmer, the streetscape and landscape are often pretty, etc. But small-town residents can know TOO much about each other, be mostly homogeneous in race and ethnicity, be narrow-minded in a number of cases, get very bored, etc. And then there’s the possibility of a family having three (or even four) generations in the same community — which can be good or bad.

Still, people who don’t live in a small town might find reading about one fascinating and almost exotic.

I’ve nearly finished a small-town-set novel: Empire Falls, the masterful Pulitzer Prize-winning gem by Richard Russo. Empire Falls, Maine, is going downhill economically, and 42-year-old protagonist Miles Roby isn’t doing so well, either. The diner he operates barely breaks even (at best), his wife Janine divorces him after falling in lust with an obnoxious guy who frequents the diner, Miles’ eccentric father is a total embarrassment, and the rich widow who basically owns the town basically owns Roby, too. Yet there are some wonderful human interactions (such as between Miles and his bright teen daughter Tick) and other positive elements of living in a small town.

That’s certainly the case in Jennifer Ryan’s heartwarming The Chilbury Ladies’ Choir, in which many women join together to form a song group while local men are away fighting in World War II. But the novel, set in an English village, is not always sentimental as some devastating deaths occur and some not-nice characters act…not nicely.

Another World War II novel set in a small community is The Moon Is Down — an absorbing, lesser-known John Steinbeck work about a Nazi-occupied town (in Norway?) whose brave residents resist the Germans.

In Zora Neale Hurston’s classic novel Their Eyes Were Watching God, protagonist Janie Crawford’s unhappy second marriage places her in the small town of Eatonville, Fla. Her nasty/sexist husband becomes mayor there, and also runs a general store with a front porch that becomes Eatonville’s center of social life — but he doesn’t allow Janie to be there. Yes, a small town can be a place that perniciously forces women into “traditional” gender roles.

Things are more idealized in W.P. Kinsella’s Magic Time, which focuses on Mike Houle as he plays for a semipro baseball team in Grand Mound, Iowa. Everything in the tiny burg seems too good to be true — is it paradise, or a gilded cage?

Then there are various Sinclair Lewis novels — such as Main Street — set in small-town America. Those memorable Lewis books tend to satirize those communities for being conservative, resistant to change, and so on, yet some affection for the life there shines through.

Fannie Flagg, whose excellent novels are nearly always set in small towns, depicts those places in mostly positive ways — while not ignoring their downsides. One of her most moving and enjoyable books is A Redbird Christmas, in which the middle-aged Oswald Campbell is ill and miserable in snowy Chicago before finding health, happiness, and love after moving to a diminutive Alabama community.

Of course, many novels feature the opposite migration — from small town to big city as the protagonists search for money, diversity, excitement, a more creative life, and so on. One example is Denise Baudu’s move to Paris in Emile Zola’s compelling Au Bonheur des Dames.

Getting back to Alabama, one of literature’s most famous small-town novels is Harper Lee’s To Kill a Mockingbird. The fictional Maycomb (said to be partly based on the real-life Monroeville) is not big, but it has all kinds of things going on — including neighborliness, racism, and kids being kids but also growing up too soon as they see life’s realities. And the characters range from ethical to eccentric to awful. Which proves the obvious point that no matter how small or large a place is, there are all kinds of recognizable people and emotions a novelist can depict.

What are your favorite novels set in small towns?

My 2017 literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — about a greedy developer crowding my town and making it less diverse — is here.

Crime: All the Time or Some of the Time

Posted by

72

The ever-popular category of crime fiction — which can include detective novels, mysteries, thrillers, etc. — has different categories of authors.

There are those writers — such as Raymond Chandler, Lee Child, Agatha Christie, Michael Connelly, Arthur Conan Doyle, Janet Evanovich, Sue Grafton, Dashiell Hammett, Patricia Highsmith, P.D. James, Walter Mosley, Louise Penny, Dorothy L. Sayers, and Lisa Scottoline — known mostly for their crime fiction, even as they occasionally roam/roamed outside that genre. Then there are authors known more for their non-crime-fiction work, even as they produce/produced some strong offerings in the detective/mystery/thriller realm. This blog post will be about the latter group — which includes people like Wilkie Collins, Charles Dickens, Edgar Allan Poe, J.K. Rowling, and Mark Twain.

I’ll first discuss Rowling, who, as “Robert Galbraith,” writes the series starring fascinating private investigator Cormoran Strike. I read the debut installment, The Cuckoo’s Calling, this week — and was bowled over by how smoothly Rowling moved into crime fiction after conquering the young-adult/magical-fiction world with her iconic Harry Potter series and then writing the compelling general-adult-fiction book The Casual Vacancy. Rowling will always be associated more with Harry Potter than anything else, but her versatility is off-the-charts.

Collins is best known for The Woman in White, an ultra-suspenseful mystery; and The Moonstone, an early example of detective fiction. But most of his novels were in the realm of general fiction.

Poe is of course almost synonymous with horror fiction, but he wrote several earlier-than-The Moonstone detective stories starring C. Auguste Dupin — the most famous of which were “The Murders in the Rue Morgue” and “The Purloined Letter.”

Twain’s late-career novel Pudd’nhead Wilson, with its important plot-solving element of fingerprint analysis, placed that author somewhat in the crime-solving genre. Two years later, Twain came out with Tom Sawyer, Detective — one of his lesser novels.

Dickens turned to the mystery genre with his last, unfinished book — The Mystery of Edwin Drood — after more than 30 years of penning more general literary works.

Obviously, authors who write crime fiction most of the time can really master that genre, but the potential drawback can be a certain sameness in some of their work. Those pros and cons can of course flip for writers who turn to crime fiction only occasionally.

Any thoughts on the two categories of crime-fiction authors discussed in this blog post? Your favorite works in each category?

(BTW, one reason Jim Grant took the name Lee Child was because that alias alphabetically placed his Jack Reacher novels in libraries and bookstores between the works of crime-fiction greats Raymond Chandler and Agatha Christie — just like Child ended up between Chandler and Christie in this blog post’s second paragraph.)

My 2017 literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — about overdevelopment run amok in my town — is here.

This Literature Post Contains a Secret Supreme Court Message

Posted by

48

Today’s column will be sort of random. What pulls it together is the first letter of every fiction title I’ll mention, because together those boldfaced letters spell out a message by the time you reach the end of this post. Here goes:

Beloved by Toni Morrison. A novel, about the psychological toll of slavery and more, chosen by The New York Times in 2006 as the best American fiction work of the previous 25 years.

Redburn by Herman Melville. The lesser-known but excellent Melville work, published in 1849, about a sea voyage to Liverpool that predated The Beatles.

Evelina by Fanny Burney. A novel about the adventures (romantic and otherwise) of a young woman that’s one of the most readable books of the 18th century.

Three Junes by Julia Glass. An interestingly structured novel with three separate but interconnected parts set in 1989, 1995, and 1999.

Tales of the South Pacific by James Michener. The famous stories-sewn-together-as-a-novel that feels more modern than a 21st-century reader would expect.

—

Kindred by Octavia Butler. Part science-fiction, part sobering social commentary as a 20th-century African-American woman is repeatedly pulled back in time to the Antebellum South.

Anne of Green Gables by L.M. Montgomery. The best YA novel ever? Could be. About a brainy, spirited orphan girl in 19th-century Canada.

Villette by Charlotte Bronte. Uneven and not as riveting as the author’s Jane Eyre, but still pretty darn good.

Arch of Triumph by Erich Maria Remarque. This memorable novel, set in late-1930s Paris, features a German surgeon refugee who becomes romantically involved.

Native Son by Richard Wright. This riveting novel is a sort of 20th-century version of Crime and Punishment, with the added theme of American racism.

A Is for Alibi by Sue Grafton. The first of the engaging “alphabet mysteries” that star very human private investigator Kinsey Millhone. Sadly, the friendly Grafton (I spoke with her twice on Facebook) died before writing the 26th book.

Underworld by Don DeLillo. A long, sprawling novel that says a lot about the United States in the second half of the 20th century.

Gerald’s Game by Stephen King. I’m in the middle of reading this ultra-suspenseful book — which, though published in 1992, evokes the current Republican “war on women.” Gerald’s bad behavior toward his wife Jessie (and the sexual misconduct of other males in the novel) would make many a vile Republican politician proud.

Hollywood by Charles Bukowski. A hilarious fictionalization of the author’s experience writing the screenplay for the movie Barfly.

—

Ivanhoe by Sir Walter Scott. The great, justly famous historical novel. But while it’s Scott’s best-known work, it’s not his best work.

Silas Marner by George Eliot. Many high-schoolers supposedly dislike this novel, but I think it’s compelling and moving. And quite short for an Eliot book!

—

Gulliver’s Travels by Jonathan Swift. Fascinating satirical novel that can be enjoyed on different levels by kids and adults.

Ulysses by James Joyce. Oops — never read it.

Interpreter of Maladies by Jhumpa Lahiri. So masterful that it became one of the few short-story collections to win the Pulitzer Prize for fiction.

Life of Pi by Yann Martel. A boy warily co-exists with an unfriendly tiger when they’re cast away at sea.

Tortilla Flat by John Steinbeck. The author’s first really successful novel is hilarious and socially astute.

Yet he still was confirmed. 😦

My 2017 literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which puts a local spin on the repugnant Brett Kavanaugh — is here.

These Fictional Works Should Come With a Medical Thermometer

Posted by

73

Some novels and short stories deserve an “F”…for “feverish.”

Yes, those works are so intense that the “F” word seems totally appropriate, even if the characters’ body temperatures remain at 98.6. The fear they might face is palpable, death might be lurking around the corner, their words and feelings might be anguished or impassioned, the march to the conclusion might leave you breathless, etc.

I read one such novel last week: Fyodor Dostoyevsky’s compelling The Insulted and Injured, which is filled with fervent, vehement thoughts and conversations from Vanya, Natasha, and others as they navigate tumultuous relationships and more. Heck, the book’s characters act so feverishly that several of them literally get sick from all their emotional turmoil. (A scene from the novel is pictured above.)

Of course, the much-better-known Crime and Punishment and its Raskolnikov protagonist are so intense that readers might feel like dropping that amazing Dostoyevsky novel like a hot frying pan. Plus first-time C&P readers have a fierce curiosity about whether Raskolnikov’s double murder will be discovered, what the penalty would be, and whether Raskolnikov and Sonya will end up together.

The sheer physical and/or psychological violence of some novels — and wondering who might survive — can certainly dial up the fever meter. Examples include Suzanne Collins’ The Hunger Games trilogy, Stieg Larsson’s Millennium Trilogy (The Girl With the Dragon Tattoo, etc.), Cormac McCarthy’s Blood Meridian and No Country for Old Men, Stephen King’s Misery, and Frank Bill’s Donnybrook, to name a few.

Oh, and virtually all of the Jack Reacher novels conclude with almost unbearably suspenseful chapters as Lee Child’s roaming protagonist tries to mete out justice.

Then there are riveting revenge novels, such as Alexandre Dumas’ The Count of Monte Cristo.

And novels that deal intensely with social issues — like Margaret Atwood’s The Handmaid’s Tale, Richard Wright’s Native Son, and Octavia Butler’s Kindred.

And dystopian novels — such as Butler’s Parable of the Sower, George Orwell’s Nineteen Eighty-Four, Ray Bradbury’s Fahrenheit 451, and Albert Camus’ The Plague. (The Handmaid’s Tale fits this category, too.)

And novels claustrophobically set in close quarters, like the ship in Martin Cruz Smith’s memorable Gorky Park sequel Polar Star.

And novels that are ultra-intense romantically — as in Emily Bronte’s Wuthering Heights, Charlotte Bronte’s Jane Eyre, George Eliot’s Daniel Deronda, and Emile Zola’s The Beast in Man.

Also, short stories can obviously pack a lot of feverishness into their relatively small number of pages. Examples of these works include — among many others — Atwood’s “Stone Mattress,” Shirley Jackson’s “The Lottery,” Charlotte Perkins Gilman’s “The Yellow Wallpaper,” Kate Chopin’s “The Story of an Hour,” Leo Tolstoy’s “The Kreutzer Sonata,” Herman Melville’s “Benito Cereno,” Richard Connell’s “The Most Dangerous Game,” Jack London’s “To Build a Fire,” Ambrose Bierce’s “An Occurrence at Owl Creek Bridge,” Jorge Luis Borges’ “The Aleph,” and many Edgar Allan Poe creations — such as “The Tell-Tale Heart,” “The Cask of Amontillado,” and “The Pit and the Pendulum.”

Which novels and short stories have been the most intense for you?

My 2017 literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — a goofy look at how to reach a school’s upper floors without stairs or an elevator — is here.