Tuesday, February 5, 2019

A new review and the executioner's call for Google+

First the good news, as they say.

I'm grateful to Peppermint Ph.D. for a glowing review of A Hangman for Ghosts. What's intriguing to a writer about this review is the list of "Historical 'stuff' I've Been Googling." It's a pleasure to see the nuggets of historical detail one scatters, large and small, being picked up by a reader.

Now, my normal response to a review such as this, among other things, would be to click the G+ button, which adds a "like" to your stream on the Google+ social network. Google+, however, as many of us will know, is condemned, and the executioner is little moved by the small and active communities among writers and others that found a home there.

I should assure readers that Blogger, and Displaced Pieces, are going nowhere, but the option to share and +1 posts on Google+, as well as any Google+ comments coming back to the blog, will be deleted as of February 4.

If you are a follower of my work through Google+, please keep coming back to Displaced Pieces, and the excellent network of blogs around historical and mystery fiction.

Tuesday, November 6, 2018

The Saruman trap — or Tolkien on politics

The Lord of the Rings is not overtly a political work, being more concerned, broadly, with the problem of power, but where we can say that questions of politics are also questions of power, then this recent piece on the "Saruman Trap" has particular resonance.

Saruman is, of course, the greatest of all the wizards of Middle Earth, who chooses, nevertheless, to side with Sauron, his justification being that Sauron's victory is inevitable, but with the even more insidious rationale that his wisdom, his persuasion and knowledge, can direct and control the brute strength of Mordor, guiding evil to high ends while deploring its methods.

This, as Gandalf knows, is nonsense, but it is persuasive nonsense, just as the "voice of Saruman", subtle, insinuating, lying, is a metaphor for the worst forms of political persuasion, the reasoned tones that cloak abhorrent policy.

This year, in the mid-term elections, many of us may consider the Saruman trap, particularly those conservatives whose Republican Party has been captured by extremism and naked bigotry under the cloak of populism, but also, perhaps, those progressives who are berated for their lack of civility in debates with figures who have no concern themselves for civil liberties or reasoned positions.

Tolkien had first-hand experience of totalitarianism in its most dreadful forms, and Donald Trump is neither Sauron nor Hitler, which is not to diminish the grave danger his posturing, lying, self-aggrandizing incompetence and cruelty pose to American democracy. But Tolkien understood the  risks of opposing totalitarianism on its own terms, of confronting brutality with brutality, and lies with lies, or tacit acceptance that ends up as complicity. Gandalf chooses the path that is neither, knowing the dangers, but knowing also that it is better to answer a lie with a simple truth, no matter how dangerous to the truth-teller.

When Saruman makes his last, most formidable appeal from the balcony of his ruined tower, Gandalf can only laugh, and the spell is broken.

Sunday, July 29, 2018

The System – and two more reviews

One of the questions that emerge in the course of A Hangman for Ghosts, and a question that also preoccupied Dickens, most notably in Bleak House, is whether social systems represent and embody human intentions, or inevitably come to supersede them.

The legal system and its demands gives rise to the system of transportation. Transportation necessitates the penal system, and yet piece by piece the penal colony generates its own systems: magistrates, constables, free-convicts, settlement, commerce, trade, and land transfer, until the colony becomes its own state. Human beings in the story are subject to the system, and yet from the top and the bottom they also seek to subvert it, and bend it to their ends, both moral and immoral.

This is one of Carver's greatest tests: even as hangman, does he rely on the system to evade his past and give his life structure, however cruel? And later, as he takes up the magistrate's cause, is he twisting the system to his own ends even as he advances in it? Is he able to maintain his integrity, even as he discovers how the system can be both abused and perpetrate abuses?

Perhaps this question, along with the others, was part of the interest for these two generous reviews for A Hangman for Ghosts.

Yvonne, from A Darn Good Read:

Stephanie, from 100 Pages A Day:

Thursday, June 7, 2018

Barnes & Noble Presents - A Hangman for Ghosts

A Hangman for Ghosts has been selected (handpicked, in faith) for the B&N Press Presents list for June and July!

Cover of Hangman for Ghosts, with noose
Cover, A Hangman for Ghosts

Here's the full link: https://www.barnesandnoble.com/w/a-hangman-for-ghosts-andrei-baltakmens/1127881675?ean=2940158956652

Great exposure for A Hangman for Ghosts, and great news for Nook readers.

Tuesday, May 15, 2018

A Hangman for Ghosts - early reviews

The blog has been a little quiet of late, although I'm shocked to see how long ago the last post was. To stir things up, here are two early reviews for A Hangman for Ghosts.

Without editorializing too much on these independent reviews, phrases that include "vivid", "compelling" and "page turner", or comparisons with the 19-century masters, are exactly what the author looks for.

Foreword Reviews

A Hangman for Ghosts
Andrei Baltakmens

Top Five Books (Jul 1, 2018) Softcover $15.99 (288pp) 978-1-938938-28-3


Set in the roiling, corrupt world of an 1829 prison colony, Andrei Baltakmens’s A Hangman for Ghosts is a historical mystery that brings regency-era Australia to life.

Gabriel Carver, the hangman of Sydney, is dark, lonely figure. Soaked in rum and regret, Carver becomes an unlikely detective when a woman from his past is accused of murder. As Carver follows the clues through Sydney’s underbelly, he encounters a cast of bleakly Dickensian characters, from whistling streetwalkers to baby-faced policemen. As he works to solve the murder, the mystery of Carver’s own origins unravels as well. With rich historical details that evoke Australia’s early colonial days, this is a wonderful, traditional novel.

A Hangman For Ghosts is Baltakmens’s second novel. With a PhD in English literature with a focus on Dickens, he’s well versed in his subject, but the Sydney that Carver stalks through is neither dry nor academic. Baltakmens depicts a filthy, unpredictable, densely populated society where transported convicts mix with sailors and “fallen women.” Descriptions have a dreamlike quality, as though seen through antique glass: a woman is “too bright, fatally bright, for her skirts were on fire, a river of flame in the dark.”

The novel does lean a bit on the Dickensian tradition, and some chapters feel repetitive, as though serialized; however, the mystery’s thread keeps spinning at a satisfying pace. Folding in vivid details, bright characters, and compelling dialogue, the story is a page-turner, a savory treat to be devoured.

This delightfully grim historical mystery is true to Dickens’s style, and holds on to its secrets with tight, clammy fists. CLAIRE FOSTER (July/August 2018)

Disclosure: This article is not an endorsement, but a review. The author of this book provided free copies of the book to have their book reviewed by a professional reviewer. No fee was paid by the author for this review. Foreword Reviews only recommends books that we love. Foreword Magazine, Inc. is disclosing this in accordance with the Federal Trade Commission’s 16 CFR, Part 255.

A link to the review is coming soon. Already online, is an equally positive review from Kirkus reviews.

Kirkus Reviews

My favourite line in this review:
Baltakmens (The Raven’s Seal, 2012), echoing the voices of 19th-century masters like Conrad and Melville, combines adventure and mystery in a high-stakes tale of class, morality, and justice.

Tuesday, September 26, 2017

For the week in free speech

This week has furnished us with two object lessons in the debate over free speech in the US.

On the one hand, NFL athletes kneel in protest during the national anthem in protest at the deaths of black American at police hands, and the minority president himself sees fit to berate them and call for their silencing.

On the other hand, a putative "Free Speech Week" planned by alt-right agitators across the Bay from me at UC Berkeley collapses in a fog of confusion and acrimony.

Do both equally merit our concern?

The athletes follow their consciences and protest without harming or insulting anyone. Their views merit our consideration, for surely there is a case to answer for natural justice and equality when innocent black lives are lost and no one is held to account or remedy.

Now, the paid champions of right-wing "free speech" follow their speaking fees and political patrons, but their opinions amount only to their assertion of the right to their own opinions. When pressed to actually make their case, they produce only bigotry and personal abuse. The free-speech "radicals" and their supporters often offer the canard that colleges and universities have become "echo chambers", but nothing echoes more loudly, or frequently, than a bigot's opinion that he is entitled to his opinion, whereas you are not entitled to question, much less dismiss, the same. We might lend them credence or even some of our time if they had a case to make, but not otherwise. A robust diversity of opinion does not necessitate a universality of folly.

Friday, July 14, 2017

Ready Player One - Ernest Cline

My water-damaged, crumpled copy of Ernest Cline's geek friendly science-fiction adventure Ready Player One certainly now looks like a vacation read, and as an entertaining ride that ultimately offers few challenges to the reader, a vacation read is probably the best summary of its qualities. In this case, appearance and reality coincide.

Which is not to say that the premise, an extended dive through a global virtual-reality game that has come to stand in for the Internet in search of a departed billionaire's fortune is not both intriguing and well-executed. The execution of the plot is pitch-perfect, and the near-future dystopia, in which the energy crisis and global warming have driven human beings into the refuge of a virtual world, is intriguing. But the game ultimately proves more compelling than the characters' fictional reality, and so as speculative fiction, Ready Player One falls short.

The quest for the Easter Egg buried in the vast, shared virtual-reality world of OASIS, which grants access to the entire game as well as its creator's legacy, is as much a tour of Geek culture as the story itself. No movie title or song goes by without its due, reverent, acknowledgement. The products of Eighties geek culture, from arcade games to D&D to Monty Python to John Hughes' movies, all get their moment on screen, but there's no lightness of touch or satire in Cline's relentless referencing. This means that, firstly, the culture is predominantly the dominant culture of US media and games, but that Cline also conveniently leaps over cyberpunk, over Willam Gibson (Neuromancer, 1984) over Philip K. Dick, over the all the science fiction and culture of the 80s and beyond that has taken the same ideas about reality and virtual reality, the real and the fake, but questioned them with much more rigor and effect.

The effect of this is that as speculative fiction, Ready Player One falls enticingly short. The real world of the novel, including stacks of mobile homes that make for compelling cover art on my water-damaged edition, with its collapsing energy economy, galloping inequality, and corporate slavery, is intriguing, but Cline never attacks these themes head on, and the ramifications of the tension between material realities and virtual realities are handled more predictably than analytically. Although Wade's online best friend does turn out to be black, female, and gay, rather than a white gamer bro, this is no surprise, and Wade's love interest remains "the girl", minor blemishes aside. Wade and his friends fight and hack a murderous corporate entity to win the prize, but the fact is the prize is.... control over an even more ubiquitous corporate entity.

The end of the novel makes a gesture towards rejecting the virtual reality that Wade has always used as an escape from a collapsing world, but this is only possible because Wade and his friends have mastered the Geekosphere and escaped from virtual reality to the even more tenuous reality of the ultra-rich. They may choose to save the world at this stage, but never ask what world, exactly, is worth rescuing. Other works in the same vein, such as Charles Yu's sardonic "Hero Absorbs Major Damage" (of which I hope to say much more) bring a sharper critical eye to bear in less space.

Which is not to diminish the fun of this airplane read, but only to observe that Ready Player One would be stronger, and more memorable, if its contemporary cyber-nostalgia was tempered with more of the spirit of cyberpunk.