Long-Remembered Books Released Within a Short Time

Creative bursts! They can happen at the start of novelists’ careers, or after they become established enough to quit time-consuming day jobs, or after they become parental empty-nesters with more writing hours, or near the end of careers when authors know their remaining years are limited, or because they’re creating series rather than stand-alone books, or for momentum reasons, or for other reasons, or for no discernible reasons at all. Readers are the beneficiaries.

One memorable burst occurred when George Eliot wrote her first, second, and third novels in rapid succession — all classics. Adam Bede in 1859, The Mill on the Floss in 1860, and Silas Marner in 1861. Eliot’s novel-writing career began relatively late — she turned 40 in 1859 — so there was plenty of pent-up literary energy and ideas.

During the same 1859-61 period in England, the prolific-for-more-than-two-decades Charles Dickens penned a pair of novels that were unquestionably among his best: A Tale of Two Cities and Great Expectations.

In the U.S. a decade earlier, Nathaniel Hawthorne produced The Scarlet Letter (1850) and The House of the Seven Gables (1851) back-to-back.

Hawthorne’s friend Herman Melville churned out seven novels between 1846 and 1852. Only one all-time classic (1851’s Moby-Dick), but all very good — and the last the underappreciated near-classic Pierre (1852). Then came 1853’s extraordinary short story “Bartleby, the Scrivener.”

Also impressively prolific for a long time was Alexandre Dumas — but his two most-famous novels, The Count of Monte Cristo and The Three Musketeers, were both completed in a single year! That was 1844.

Still earlier in the 19th century, between 1811 and 1818, Jane Austen’s classics Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey*, and Persuasion were all published — the last two titles posthumously. (*Well, I’m not sure Northanger Abbey is a classic. 🙂 ) Work on some of those novels began well before 1811, but it was still an amazing few years of productivity.

Austen contemporary Sir Walter Scott was 43 in 1814 when he finally became a published novelist after achieving fame as a poet, and proceeded to write a barrage of novels — about 25 — before his 1832 death 18 years later. His two best-known titles, Rob Roy and Ivanhoe, were released three years apart (1817 and 1820).

Moving forward in time, the also-very-prolific Henry James had some creative bursts with his more notable novels — for instance, Washington Square in 1880 and The Portrait of a Lady in 1881. But perhaps his most impressive feat was writing The Wings of the Dove (1902), The Ambassadors (1903), and The Golden Bowl (1904) in three consecutive later-career years. All highly ambitious (some might say overwritten) novels.

Later in the 20th century and into the 21st, some novelists have created canons so copious it seems like much of their respective writing careers have been one creative burst — with some books better than others, of course. Among those fertile “fictioneers” were/are Agatha Christie, Isaac Asimov, Joyce Carol Oates, Stephen King, Walter Mosley, Lee Child, and John Grisham, to name just a few.

Finally, we have famous familial fiction frenzies. In that realm, it’s hard to top the three Bronte sisters — with Charlotte’s classic Jane Eyre, Emily’s classic Wuthering Heights, and Anne’s good Agnes Grey all released in 1847. Then came Anne’s excellent The Tenant of Wildfell Hall in 1848.

Any authorial creative bursts you’d like to mention?

The great Canadian podcaster Rebecca Budd, who often comments here under the name Clanmother, invited Russian-literature blogger Elisabeth van der Meer of Finland and myself in Montclair, New Jersey, to a long-distance, three-way conversation about enduring themes in fiction. Among the works we discussed were Pride and Prejudice, The Handmaid’s Tale, All Quiet on the Western Front, Animal Farm, Lorna Doone, Eugene Onegin, One Day in the Life of Ivan Denisovich, and The Lord of the Rings. The podcast can be heard here.

My 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 2003-started/award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — about an upcoming referendum for an elected school board — is here.

The 1960s: a Novel Decade

After writing about Stoner a couple weeks ago, I thought about how the 1960s were a very interesting time for literature.

Actually, John Williams’ superb 1965 novel — a character study of an academic who lived and died before the ’60s began — was somewhat atypical for a decade known for Vietnam War protests; the civil rights, feminist, and gay rights movements; “the sexual revolution”; the counterculture; defiance of authority; and more. Some of the decade’s best-known novels included lots of sociopolitical elements along with memorable characters. I’m thinking of titanic titles such as Harper Lee’s 1960 To Kill a Mockingbird (which addressed racism), Joseph Heller’s 1961 Catch-22 and Kurt Vonnegut’s 1969 Slaughterhouse-Five (both with war/antiwar themes), and Gabriel Garcia Marquez’s 1967 One Hundred Years of Solitude (which addressed just about everything).

Other excellent but not masterpiece-quality ’60s novels also referenced topical issues in addition to depicting characters that stick in one’s mind. Among them were Margaret Atwood’s feminist debut novel The Edible Woman (1969), Philip Roth’s sexually candid Portnoy’s Complaint (also 1969), and Ken Kesey’s authority-defying One Flew Over the Cuckoo’s Nest (1962).

Meanwhile, the decade saw notable late-career works by several literary giants. They included John Steinbeck’s 1961 The Winter of Our Discontent (with its interesting take on ethics and materialism), Erich Maria Remarque’s 1962 The Night in Lisbon (a mesmerizing World War II novel), Aldous Huxley’s 1962 Island (a utopian counterpart to the author’s dystopian Brave New World), and Daphne du Maurier’s 1969 The House on the Strand (a fascinating time-travel novel).

Other highly regarded novels of the decade (as in the rest of this post, I’m just naming ones I’ve read) included John Updike’s Rabbit, Run and Sheila Burnford’s The Incredible Journey (1960); Muriel Spark’s The Prime of Miss Jean Brodie and Walker Percy’s The Moviegoer (1961); Vladimir Nabokov’s Pale Fire, Anthony Burgess’ A Clockwork Orange, Aleksandr Solzhenitsyn’s One Day in the Life of Ivan Denisovich, Madeleine L’Engle’s A Wrinkle in Time, and Ray Bradbury’s Something Wicked This Way Comes (1962); Sylvia Plath’s The Bell Jar and James Michener’s Caravans (1963); Jean Rhys’ Wide Sargasso Sea, Daniel Keyes’ Flowers for Algernon, Bernard Malamud’s The Fixer, and Dorothy Gilman’s The Unexpected Mrs. Pollifax (1966); S.E. Hinton’s The Outsiders and Alistair MacLean’s Where Eagles Dare (1967); Charles Portis’ True Grit (1968); and Mario Puzo’s The Godfather and Maya Angelou’s I Know Why the Caged Bird Sings (1969). That last work was a memoir, of course, but almost feels like a novel.

The book I just started reading is Shirley Jackson’s We Have Always Lived in the Castle (1962).

Your favorite novels published during the 1960s? Any other thoughts on literature in that decade?

My 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 2003-started/award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — about the planned reopening of a historic movie theater — is here.

Very Much Alone

I’ve written about loners in novels before, but what about characters who are literally alone — cut off from all contact with other humans?

Though that situation might seem like a possible recipe for reader boredom, there is actually plenty of potential drama of a tense and poignant nature. How does the alone person handle that dire situation? How does she or he pass the time? How does she or he get out of the situation, if that happens? Etc. We certainly feel sympathy for those without companionship.

All that occurred to me last week as I read The Valley of Horses, the very good first sequel to Jean M. Auel’s great The Clan of the Cave Bear. Cro-Magnon protagonist Ayla is no longer living with the Neanderthal group with which she spent much of her childhood, and is now seeking people of her own kind in sparsely populated prehistoric Europe. The resourceful/proto-feminist young woman ends up being solo for quite a long time, just trying to survive — though, as is the case with some novels of this type, she does find some memorable animal companionship.

Then there are novels in which a character is stranded alone on an island — with Daniel Defoe’s Robinson Crusoe probably the most famous example.

There are also fictional prisoners in solitary confinement — with one of the most famous Edmond Dantes, unjustly incarcerated for years in an island jail in Alexandre Dumas’ The Count of Monte Cristo.

Characters can be stranded in outer space, too; one recent example is Mark Watney of Andy Weir’s The Martian. The astro-botanist/engineer becomes The Martian of the title when stuck on The Red Planet.

In the above categories, sometimes rescue or self-rescue will happen and sometimes it won’t. Hope for a happy ending can certainly encourage readers to stick with a grim story line.

Apocalyptic novels in which millions devastatingly die can also find surviving characters alone; the title of Mary Shelley’s The Last Man clearly offers more than a clue to THAT scenario.

Of course, a novel starring a completely isolated character might or might not juxtapose scenes with people living more normal social existences. That’s the case in The Valley of Horses, which alternates chapters spotlighting Ayla with chapters featuring two journeying Cro-Magnon brothers who fall in with a Cro-Magnon clan different than their own. When charismatic “ladies’ man” Jondalar tells brother Thonolan that he doesn’t want to settle down yet because of a desire to hold out for an extraordinary woman, we sense he and Ayla might eventually meet…

Any “aloner” fiction you’d like to mention?

My 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 2003-started/award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — about school and pool reopenings, and a welcome new ordinance banning gas-powered leaf blowers for part of each year — is here.

An Appreciation of Underappreciated Novels

The image on the cover of Stoner.

Real life isn’t fair, and the same goes for fiction. Some stellar novels deserve more reader love, but remain relatively obscure.

Among the many books that should be much better known is one I just read after it was enthusiastically recommended by several of this blog’s frequent visitors (credited in the comments section). The novel is John Williams’ Stoner, and it left me absolutely gobsmacked with admiration. It’s exquisitely written, with a near-perfect authorial voice. Plus one feels such sympathy for the beleaguered, achingly three-dimensional protagonist William Stoner (yes, the 1965 novel’s title is the last name of its lead character, not a reference to being stoned).

So the question is why Stoner didn’t become as famous as other exceptional 1960s novels such as One Hundred Years of Solitude, To Kill a Mockingbird, Slaughterhouse-Five, and Catch-22. I’ll offer several theories, while first noting that the reasons for a novel not achieving widespread recognition can be inexplicable — bad luck or something. Or perhaps inadequate initial marketing in certain cases.

Speaking specifically of Stoner, its bleakness might be a turnoff to a portion of potential readers; the book is heartbreaking. Yet I couldn’t put it down; devouring it in a day.

Also, some readers might feel the novel isn’t sweeping enough. William Stoner is a farm boy-turned-English professor who seldom leaves Missouri. Fictional works with that kind of narrow lens, or that are set in academia, are not everyone’s cup of tea. Still, a focus on mostly one life can “contain multitudes,” and the novel does glance at outside events: World War I, the Depression, World War II.

In addition, William is not a particularly charismatic protagonist — indeed, he’s often rather passive. But he’s a decent sort many readers can relate to, and we’re devastated as bad things happen to him (even as his life does have some happy moments). The novel is still inspiring at times as we admire William’s stoicism in the face of what fate metes out, and appreciate his unbending love of learning and literature.

Another novel that doesn’t receive nearly its due is Elsa Morante’s stunning History (1974), whose title conveys how it’s partly a chronicle of the World War II era in Rome even as it focuses on one woman (Ida Ramundo) and her two sons (Antonio and Giuseppe). It sold pretty well in Italy during its decade of publication, but never became very well known outside that country, then or now.

Why? There could be some bias against a female author writing a novel set in wartime. Also, like William Stoner, Ida is a passive character who has bad things happen to her. But Giuseppe is one of the most precocious kids you’ll find in literature, and there’s a memorable dog, too.

L.M. Montgomery’s novel The Blue Castle has periodically enjoyed a modest level of popularity since its 1926 release, but it’s much less famous than the author’s Anne of Green Gables — even as The Blue Castle is just as compelling, poignant, and funny as it focuses on what the feisty Valancy Stirling does after receiving a shocking medical diagnosis. Perhaps part of the reason The Blue Castle is somewhat obscure is that it’s an adult novel and Montgomery is pigeon-holed as a writer for younger readers.

Sometimes a novel is grossly underappreciated when it’s first published, before later capturing the public imagination. Such is the case with Herman Melville’s Moby-Dick (1851), which initially sold poorly and was dismissed by many critics. Perhaps it was just too deep (pun not intended) for its time — plus people who had read Melville’s earlier, less-complex sea sagas may not have been prepared for the author’s leap into masterpiece territory. It wasn’t until decades after Melville’s 1891 death that Moby-Dick deservedly became a phenomenon.

Any great novels you’d like to mention that aren’t as known as they should be? (Not an easy question to answer, of course, because there’s less chance we’d have heard of a book if it’s underappreciated. 🙂 😦 )

My 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 2003-started/award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — about a return to school, an immigrant jail, and library funding — is here.

When a Book Title’s Words Return

Tommy Orange and his novel.

Amid the big pleasures of reading fiction are some small pleasures, and one of them is when a novel’s title appears in the body of the book.

I’m of course not talking about novels whose titles are a person or place; those names will inevitably be mentioned multiple times in a book’s pages. I’m talking about the more evocative matter of novels with titles you might initially puzzle over, or with titles you’re kind of familiar with but are curious how they’ll be used in the book.

I just read There There, whose title can be interpreted in various ways. Tommy Orange’s impressive, compelling, VERY painful 2018 novel focuses on about a dozen contemporary Native-American characters — mostly residents of Oakland, Calif., and its urban milieu. Many of the characters are struggling with racism (at the hands of the white power structure), poverty, broken families, addiction, and other problems. They are “accidents waiting to happen,” which happens to be a line in Radiohead’s 2003 song “There There” — a song Orange mentions in the book. Later on, the author also mentions Gertrude Stein’s famous quote “There is no there there” — about…Oakland, Calif.

On top of that, Orange constantly bounces the narrative from one character to another, or, to put it a different way, from one household (there) to another household (there). Finally, we think of “there, there…” as a phrase expressing sympathy — something many of Orange’s characters can use, especially during the novel’s shattering climax.

Another impressive, compelling, VERY painful recent novel — Angie Thomas’ The Hate U Give — has a title many readers have heard somewhere before. Sure enough, the book mentions rapper Tupac Shakur’s concept of “THUG LIFE”: “The Hate U Give Little Infants Fucks Everybody.” The traumatic events in Thomas’ 2017 novel — about a white cop’s murder of a young black man and what ensues — certainly bear that out.

The two words in Zadie Smith’s intriguingly titled White Teeth show up more than once in her multiethnic novel. Those words refer to how people of all types are essentially the same (most originally have white teeth) yet have some differences (teeth can turn yellow or be in various other conditions). And one way racism is historically mentioned in Smith’s novel is via the horrid memory of racist/murderous white soldiers spotting vulnerable Africans in the dark by the contrast of their white teeth and dark skin.

John Steinbeck’s The Grapes of Wrath has a title that of course conveys the anger of exploited, impoverished people (including the Joad family) treated badly by such entities as American big business and law enforcement. But will those four words, also known for being part of the 19th-century “Battle Hymn of the Republic,” turn up in the novel? They do, in this memorably striking passage: “…and in the eyes of the people there is the failure; and in the eyes of the hungry there is a growing wrath. In the souls of the people the grapes of wrath are filling and growing heavy, growing heavy for the vintage.”

In some cases, readers think a title means one thing but it turns out to mean something else when the words pop up in the novel — an ambiguity often crafted deliberately by the authors. For instance, the latest Jack Reacher thriller by Lee Child and Andrew Child is called The Sentinel and one of course thinks of someone who stands guard. But we eventually learn that “The Sentinel” is the name of a software program pivotal to the novel’s plot.

Any examples you’d like to offer that fit the theme of this post?

My 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 2003-started/award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which looks at allegations of mayoral conflicts of interest — is here.

Memorable Moments of Fearlessness in Fiction

My cat Misty, who gets a leashed stroll every morning, during an adventurous fence walk.

Some characters in novels take major risks out of desperation, to courageously save someone, to feed a daredevil nature, or for other reasons. Those scenes can be ultra-memorable, staying in readers’ minds for years. Here are a few such scenes — including some with spoilers, even as I tried fudging things a bit, so continue at your peril: 🙂

One of the most heart-stopping examples of fearlessness in fiction involves the cruelly pursued Eliza clutching her young son as she tries to escape slavery by leaping northward from ice floe to ice floe across the Ohio River in Harriet Beecher Stowe’s Uncle Tom’s Cabin.

In Jean M. Auel’s The Clan of the Cave Bear, which I discussed last week in a different context, young Cro-Magnon protagonist Ayla attempts to save a Neanderthal boy from drowning at grave risk to her life.

Water is also a factor when long-jailed innocent Edmond Dantes, star of Alexandre Dumas’ The Count of Monte Cristo, strives to make a desperate swimming escape from the Chateau d’If island prison off Marseille.

Speaking of prisons, among the many heroic scenes in Diana Gabaldon’s Outlander series is one in the first book when Claire sneaks into a heavily fortified jail to try to save her husband Jamie — and even fights off a ravenous wolf soon after.

Among hobbit Samwise Gangee’s courageous acts in J.R.R. Tolkien’s The Lord of the Rings trilogy is daringly trying to rescue Frodo Baggins from the Tower of Cirith Ungol. And then there’s that climactic scene at Mount Doom…

Another series with all kinds of heroism is J.K. Rowling’s Harry Potter saga. Harry, Hermione, Ron, and other kid and adult characters do many brave things, of course, but teen Neville Longbottom’s gutsiness in the presence of archvillain Lord Voldemort near the end of the final novel particularly resonates because Neville was very timid and put-upon in the early books.

As is the case with many other stars of crime-fiction series, Jack Reacher is nearly fearless in Lee Child’s novels. But the massive and somewhat claustrophobic Jack is especially valiant in 61 Hours as he squirms around a small underground bunker in snowy South Dakota to try to nab that novel’s villain.

There are quieter forms of boldness, too, as when Alice Howland of Lisa Genova’s Still Alice gives a public speech after her early-onset Alzheimer’s disease has gotten much worse.

Last but not least, there are few actions braver than trying to take the place of a person who’s about to be executed. Such was the intention of Sydney Carton in Charles Dickens’ A Tale of Two Cities — leading to one of literature’s most memorable closing scenes and closing lines.

Examples of courage you most remember in novels?

My 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 2003-started/award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which criticizes a departing Board of Education member for criticizing teachers — is here.

The Clan of Novels Set Far in the Past

Jean M. Auel

Every novel is a work of imagination, but sometimes the imagination can be more striking than usual. That’s certainly the case with fiction set way back in time.

By “way back in time” I don’t mean several centuries. I’m talking about novels written in our modern age that are set millennia ago, perhaps MANY millennia. When a story is that far in the past, there are usually few or no documents for an author to draw on during the research phase of writing — and life was VERY different then. So, more imaginative leaping is needed by the novelist.

I’m currently reading Jean M. Auel’s impressive prehistoric saga The Clan of the Cave Bear, which takes place more than 25,000 years ago — a time when the Neanderthal race was reaching the end of the line and Cro-Magnon people were becoming ascendant. Auel did plenty of research, but obviously had to make up and theorize about many things relating to her characters’ thoughts, day-to-day existence, etc. I have no idea how accurate it all is, but The Clan of the Cave Bear is well done, compelling, and often absolutely riveting. It helps that human emotions never really change — quite recognizable in the 1980 novel is the infighting among some of the Neanderthals, the tension between them and adopted Cro-Magnon orphan girl Ayla, the interactions between women and men, the interactions between younger and older characters, and more.

Auel’s book was followed by five sequels in the “Earth’s Children” series.

Another novel set early in human evolution is Jack London’s 1907 book Before Adam, although that setting is in a dream by a modern character tapping into distant ancestral memories. Still, ancient people and their lives are the focus of what is one of London’s lesser — but still interesting — books.

Set not as far back in history but still pretty far is Anita Diamant’s 1997 novel The Red Tent, which unfolds not quite 4,000 years ago in the time of Jacob and Leah. Told from the vantage point of their daughter Dinah, the book obviously relies on the Old Testament (fact, fiction, or both?) for some of its source material even as Diamant uses plenty of imagination to envision the life of the historically little-documented Dinah.

Then there’s Anthony Burgess’ The Kingdom of the Wicked, set around the time of Christianity’s birth 2,000 years ago. This 1985 novel relies a lot on the New Testament (fact, fiction, or both?), but, again, the author makes up plenty of things to help advance the story.

Taking place during roughly the same period, in the early days of the Roman Empire, are the events in Robert Graves’ 1934 novel I, Claudius (perhaps best known for the 1970s TV series). The book is yet another example of partly fictionalized history, as is often the case in works with way-back settings.

Novels you like that were written in modern times yet set long ago?

My 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 2003-started/award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — about my town’s elementary schools reopening, a new local LGBTQ organization, and local reaction to another horrific murder of a Black citizen by a white cop — is here.

Book Selections Come From All Directions

With all the novels out there, how do we decide which ones to read?

Throwing darts in the general direction of library or bookstore shelves is one way, but not recommended. If you want a novel with holes, you don’t need darts to end up with Louis Sachar’s…Holes.

Anyway, several factors affect what I choose to read. For one thing, I’ve mostly given up nonfiction books for the time being in order to concentrate on fiction. That helps me read as many novels as possible, and feed this blog! Still, I miss nonfiction books — especially the biographies I used to relish — and eventually might return to them when the U.S. Congress passes a law expanding days to 48 hours.

But how do I pick which novels to read? Many are recommended by family, friends, and of course the literature aficionados who post great comments on this blog. 🙂 Also, if I like one novel by an author, I’m sure to immediately or eventually try others — whether it’s another stand-alone book or the next installment of a series. Familiarity breeds content(ment).

Selecting what I read also takes variety into account — making sure I mix literary and mass-audience fiction, different genres (mustn’t miss the occasional thriller), old classics and contemporary novels, long and short novels, fiction by women and men, fiction by authors of color and white authors, fiction by LGBTQ and straight writers, novels by authors from various countries, novels by authors from various planets… Well, maybe not the last category, but if Ray Bradbury could write The Martian Chronicles, why can’t a Martian wordsmith write The Earthly Chronicles?

Another factor behind what I read involves which titles my local library happens to have on its shelves when I visit. If certain novels on my list aren’t there that day, I immediately move on to others. And sometimes I see a book I had no plans to read (or never heard of) that intrigues me. I think that’s called serendipity; I hope to serendipitously stumble on an online dictionary to know for sure.

Other times, I read about a book or an author in a review or article and become interested. Or I receive a novel as a gift. Also, there are occasions where what I select to read is just kind of random and not really explainable. Finally, there are book-choosing methods that I’ve probably forgotten and thus don’t appear in this blog post. Agatha Christie wrote Elephants Can Remember, but that doesn’t mean human bloggers always do.

How do you choose which books to read?

My 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 2003-started/award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest piece — which opposes an unpopular annual standardized test — is here.

COVID Causes Comical Fiction Revision

Is that a big syringe rather than a harpoon Queequeg is holding?

We’re sure to see many future novels that are about COVID or at least mention COVID. Until then, we’ll have to make do with revising the plots of classics…

Moby-Dick, pandemic edition: Captain Ahab learns that M-D the whale has contracted the coronavirus, and embarks on an obsessive sea voyage that enables harpooner Queequeg to hurl a huge Moderna-vaccine-filled syringe into the flipper of said whale.

Middlemarch, pandemic edition: Dorothea Brooke gets her first Pfizer shot in February, and, in an effort to remember that her second shot is scheduled for the 15th of the following month, successfully lobbies local leaders to change the name of her town from Earlyapril to…

Bleak House, pandemic edition: Things get kind of…bleak when characters from every Dickens novel have to quarantine together in a…house after an ill-advised American tour led by Martin Chuzzlewit. When the group orders food online from FreshDirect, Oliver Twist tells the deliverer: “Please, sir, I want some more.”

Crime and Punishment, pandemic edition: Raskolnikov denies killing two people, claiming they died of the coronavirus after flying Anachronism Airlines from St. Petersburg to Trump’s COVID-protocol-ignoring White House. Sonya starts to wonder if Raskolnikov is capable of redemption.

A Farewell to Arms, pandemic edition: After Hemingway’s protagonists say goodbye to their upper limbs, they have no arms left for getting jabbed with the COVID vaccine. But they still have legs to run with the bulls in Pamplona, where one never-stationary bull earns the nickname “A Moveable Beast.”

Their Eyes Were Watching God, pandemic edition. But their noses and mouths weren’t doing much of anything behind those light-blue disposable masks.

Of Human Bondage, pandemic edition: Philip and Mildred get tangled in one of the aforementioned masks and live unhappily ever after.

Far from the Madding Crowd, pandemic edition: Being far from ANY crowd makes it easier for Thomas Hardy’s characters to social-distance, even as the mayor of Casterbridge allows restaurants and fitness centers to reopen too soon.

One Hundred Years of Solitude, pandemic edition: The ultimate in social-distancing, lasting a century.

The Yearling, pandemic edition: Life in 1870s Florida gets more exciting for young Jody Baxter and his fawn when the National Basketball Association moves its COVID-truncated season to a “bubble” near Orlando, after which LeBron James and the fawn shoot a beer commercial.

Anne of Avonlea, pandemic edition: In the first Anne of Green Gables sequel, Anne Shirley experiences some frustration teaching online after her school closes due to COVID. Anne lives in the 19th century, so barely half of her students have WiFi.

The Count of Monte Cristo, pandemic edition: Edmond Dantès escapes the Chateau d’If island prison and sets out to wreak vengeance against the men who framed him for the theft of Napoleon’s laminated vaccination card.

Any pandemic-related revisions you’d like to suggest for famous novels?

My 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 2003-started/award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest piece — which has an April Fools theme befitting its April 1 publishing date — is here.

When One Finally Reads a Famous Writer

My cat Misty leaves John
le Carré’s name uncovered

Because we can only read so much, it might take years to try the work of some bold-faced names in the fiction realm. And when we ARE ready, we wonder if those authors will live up to the hype.

Or, if we for some reason have a negative impression of not-yet-read writers, we wonder if we’ll like their work after all.

In short, many people love the novels of famous authors, but, given that everyone’s tastes are of course different, we don’t know if WE’LL love their books.

All that was on my mind as I prepared to finally read a novel by John le Carré — who I’ve heard about for years (including in comments on this blog) and is considered a master of what might be called the international spy thriller.

The le Carré novel I chose at random was The Russia House, which I read much of last week (not finished yet). Well, le Carré delivered. He obviously knows his stuff — having worked in secret intelligence himself — and the characters are nicely fleshed out, the plot page-turning, the prose smooth, and the occasional touches of humor welcome.

Moving to other authors, many commenters in the early days of this 2014-launched blog raved about Liane Moriarty — whose first novel was published in 2004. So I belatedly started reading her books, and they totally lived up to the hype. Among her terrific titles are The Hypnotist’s Love Story, The Husband’s Secret, and especially Big Little Lies.

I also waited a long time to read Edith Wharton. I had the impression that the born-from-wealth Wharton focused mostly on high-society rich people in her books, something I didn’t find particularly appealing. But the first novel I read of hers, the riveting Ethan Frome, features non-affluent characters. And the Wharton books that DO focus a lot on the rich — such as The House of Mirth and The Age of Innocence — look at many of the wealthy characters with a jaundiced eye that partly stemmed from Wharton’s insider knowledge of her class.

Miguel de Cervantes? His Don Quixote was much more readable and funny than I expected from a 400-year-old novel when I finally got to it about a decade ago. Hermann Hesse? His Steppenwolf was depressingly entertaining in a way I hadn’t expected from a writer with such a “deep,” intellectual reputation.

Taking a brief detour into the short-story realm, there’s Anton Chekhov (also a playwright, of course). I finally grabbed two collections of his stories from the library five or so years ago, and was very impressed. Chekhov’s superb tales are not especially plot-driven, but are notable for their subtlety and psychological nuance.

John Grisham has been writing novels for more than three decades, but I didn’t read him until the 2010s — starting with The Client. I was hooked, and he’s never disappointed since. (Except for Calico Joe being so-so, don’t you know.)

Then there are super-popular series writers in the thriller/mystery/detective/crime realms. I was late to the party in trying Lee Child’s Jack Reacher books, Sue Grafton’s alphabet novels, Janet Evanovich’s numbered-title offerings, and Walter Mosley’s Easy Rawlins saga. All as good as I expected. Maybe not great literature, but written really well and hard to stop reading once you start.

Of course there are going to be mixed feelings or disappointments, too. When I finally read William Faulkner, there were novels I liked a lot (especially Light in August) and others I found near-incomprehensible (The Sound and the Fury). Marcel Proust’s In Search of Lost Time is beautifully written, but tedious enough for me at times to eventually stop reading it. James Patterson? Not impressed. Kate Atkinson’s work? Didn’t grab me, either. But of course the writers and novels mentioned in this paragraph are loved by many other readers.

Your experiences finally reading famous authors years later than you could have?

My 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 2003-started/award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest piece — which laments that a young participant in the Trump-incited Capitol riot was from my town — is here.