I’m happy to announce that SAINT, my novel about resurrection 
of human memory via biogenetics and neuroscience, is now available at Barnes & Noble for download to the Nook Simple Touch, Nook Color and Nook Tablet.
Get SAINT at the NOOK Book Store right now!
This novel was published after the phenomenon that was THE ENGLISH PATIENT. It is more grounded in human tragedy than PATIENT, and hews more closely to the female protagonist’s (Anil’s) story than PATIENT’s Hana.
Ondaatje’s achievement here is capturing horrible truths in asides. It is in the actions of supporting characters that he makes his case for the best and worst aspects of the human experience.
In THE ENGLISH PATIENT, Kip the sapper lives and works at the edges of the novel’s principal plot. Yet it is in his seemingly incongruent actions that he is so effective a presence. For example, he hoists Hana on a line into the high shadows of the Church of San Francesco in Arezzo so that she can glimpse the 
centuries-old frescoes. In doing so, he lifts her above the nightmare of Nazi occupation in WW-II Italy and transports her across time to the heights of mankind’s artistic triumph.
In ANIL’S GHOST, we are dropped into the terror of Sri Lanka’s civil war. There she is caught between three intractable forces: leftist and separatist insurrections and the government’s ruthless repression. Here she collaborates with two brothers – one an archealogist and the other a doctor. In their world, abduction is to be expected, torture is a fact of life, and the aspirations of their professions – discovery, knowledge, compassion – are dark and threatening ideas. They are ultimately loyal to these values, these abstractions of light, shadow, and hope.
It is especially relevant reading now, when what appears to be nascient civil war threatens the Middle East from Tripoli to Tehran.
GHOST is deeply researched and written. It is a good addition to the literature of our time.
Related: Michael Ondaatje: Auteur, Author
Auditioning new thriller authors is a gamble. We develop a relationship with selected authors, their characters, plots, and settings. Investing time in a complex literary reading experience written by a new author entails a leap of faith. Yet risk can pay. Discovering a talented author who possesses a wealth of experience and who has so much to share is satisfying. While I’ve enjoyed thrillers by Tom Clancy, Anthony Hyde, Frederick Forsyth, John LeCarre, and Daniel Silva, I was ready for new material and a fresh narrator’s voice.
I decided to try Alex Berenson’s writing. Berenson is a New York Times reporter who has covered stories ranging from the occupation of Iraq to the flooding of New Orleans to the financial crimes of Bernie Madoff. Reading his first novel, The FAITHFUL SPY (Jove paper 2008), looked like a good way to get acquainted.
John Wells is an American Central Intelligence Agency agent who, by all appearances, has gone over to the other side and is now a member of Al Qaeda. He has converted to Islam and is a devout Muslim. He has not been heard from in several years, yet the CIA takes note of occasional reports that a tall American matching Well’s description has surfaced in the company of Al Qaeda fighters.
John has earned the respect and trust of his fighters after years of sacrifice, living, fighting, and sacrificing as they do. As the novel opens, he maneuvers his squad into an attack on American special forces in Afghanistan that he knows will devastate his team. All of his fellow fighters are killed by the Americans, and John ‘surfaces,’ revealing his identity complete with the code phrase that he has not used in many years, to notify Washington that he is still loyal to the CIA. From there, the plot moves to a planned attack in America, and his need to remain undercover to learn details from his secretive Al Qaeda handlers in the hopes of averting another disastrous attack on America.
In Langley, CIA administrators and managers distrust Wells. They don’t buy his story. He is a rogue. There is little the bureaucrats fear more than individual initiative. All except for his handler, Exley, who believes in him, yet must tread carefully to avoid being kicked out of the the agency and everything she has worked so hard to achieve. Wells remains caught between America’s intelligence apparatus, law enforcement officials, and lethal Al Qaeda believers. He must operate effectively in both cultures and does so at great personal cost.
Ultimately, Wells confronts the Al Qaeda villain who drives a car bomb loaded with radioactive elements that will render several square miles of midtown Manhattan uninhabitable for a century. The authorities who are hunting for Wells will certainly shoot first, and ask questions later. It comes down to Wells against the fury of radical Islam on a street with no place to hide. It will either be Wells or his Al Qaeda nemesis who survives, but not both…
The FAITHFUL SPY: Recommended. Berenson’s sure voice, direct writing style and pacing kept me turning pages. I look forward to reading the next.
The Invention of Truth (1995), by Marta Morazzoni was inspired by John Ruskin‘s quote: we can imagine falsities, we can compose falsehoods, but only truth can be invented, and interweaves two stories set in Amiens, France.
In the 11th century, young Anne Elizabeth journeys to Amiens to assist Queen Matilda (1031-1083) in the embroidery of a tapestry that will later become known to the world as the Bayeux Tapestry. Her life is defined by this quiet encounter with the most powerful woman on earth.
In 1879, Victorian master art critic, John Ruskin (1819-1900), makes his final journey to Amiens where his experience inspires his book, The BIBLE OF AMIENS.
Both Anne Elizabeth and John Ruskin discover their individual ‘truths’ through their art. Anne Elizabeth experiences her proximity to the Queen more authentically through observations and appreciations of the Queen’s skill with her needle and thread than as a subject of the all powerful royal. John Ruskin touches the French soul and reveals himself most powerfully through his focus on French art.
Seven hundred years separate these two lives, yet the artist in you will recognize the theme that connects them.
Journalist Mikael Blomkvist, co-founder and editor of Millennium Magazine, receives a guilty verdict for aggravated libel of the businessman and market speculator, Hans-Erik Wennerström. He is 
sentenced to prison for his attack on Wennerström’s otherwise well-protected reputation. Mikael knows that he is innocent, yet he is resigned to the fact that the corrupt and admittedly more powerful Wennerström has bested him.
Lisbeth Salander is a twenty four-year old misfit with significant socialization deficits. Yet she is a savant, a prodigy at least, in the ways of obtaining information even the most sophisticated private investigators are unable to access.
Henrik Vanger is the elderly former captain of the Vanger Corporation, obsessed with learning the fate of his niece, Harriet, who vanished in 1966. He suspects she was murdered. Vanger hires Mikael to research and write a Vanger a family history as cover for his real assignment, which is to learn what happened to Harriet.
Blomkvist, seeing no better option for the next year of his currently difficult life, accepts Vanger’s offer. He steps down from his editorship at Millennium; leaves his best friend and occasional lover, Erika Berger; and moves to Hedestad.
Mikael hires Lisbeth Salander to be his researcher. Soon, the two misfits are extraordinary partners. Mikael learns that all is not as it appears with the petite, tattooed, anti-social Lisbeth. For her part, Lisbeth learns that she is capable of trusting another person for the first time in her life. Over time, her feelings for Mikael deepen and she grows in new ways that are foreign, even startling to her. Together, they discover the facts of Harriet’s disappearance forty-plus years earlier and an ugly, depraved, sadistic vein in the Vanger family.
The Girl With The Dragon Tattoo merits the excitement that preceded its arrival in America from Europe where it is an unprecedented publishing phenomenon. Larsson’s writing has a steady grasp on the pace and dynamics of mystery storytelling. Unfortunately for us, he died after finishing the third in this series.
Some first novels arrive from nowhere and become milestones in their genres, touchstones to understanding the world through specific stories. Anthony Hyde’s first novel, THE RED FOX (1986), is such a book.
When journalist Robert Thorne’s ex-fiancee, May Brightman, asks him to locate her missing father, Thorne is wary. 
Years ago, May broke their engagement and cut Thorne adrift. Since then, he’s moved on. Despite himself, reluctantly, he agrees to search for Harry. Soon, he discovers that Harry wasn’t your ordinary fiance’s father. His background is as dark, conflicted and dangerous as any in contemporary fiction. Others are after Harry, too. Thorne is savvy. He knows that he is in over his head, and yet he follows the trail of clues anyway.
Evocative of time, place, character and motivation, THE RED FOX provides a strong sense of presence in a world dominated by Cold War espionage. Hyde’s deft literary hand displays the discipline and attitude of the journalist. His voice is often energetic, sometimes self-deprecating, always erudite. A remarkable achievement for a first novel.
Hyde published this novel just after John Le Carre’s THE LITTLE DRUMMER GIRL swept the market and advanced Le Carre’s already iconic standing as a master novelist. Robert Ludlum’s BOURNE SUPREMACY also came to bookstores that year. The average life was overshadowed by superpower tensions and yet change was in the wind. Whether for the better or the worse remained to be seen. Terror came from just two polarized political systems and their overwhelming national firepower. An entirely different world environment from the more complicated, fragmented terror we know today.
The story of THE RED FOX grows from diverse and intense emotions – anger, hurt, betrayal – and is delivered with a constancy that derives from a deeply embedded moral compass. It is visual and tactile and was a feast for readers of the late 1980′s who were navigating the changeable cultural seas between the pre- and post-Internet revolutions. Written in the pre-Internet time period, it is satisfying to re-experience the journalist’s life pre-Google and pre-smartphone, to be reminded of the discipline and skills required to ferret out disparate bits of information, connect the dots and develop understanding at a comparatively reflective pace. And yet, events move on apace and we are pulled from page to page, setting to sinister setting.
In 1991, Gretel Ehrlich was struck by lightning while walking her dogs on her Wyoming ranch.
Before electricity carved its blue path toward me, before the negative charge shot down from cloud to ground, before “streamers” jumped the positive charge back up from ground to cloud, before air expanded and contracted producing loud pressure pulses I could not hear because I was already dead, I had been walking.
A Match to the Heart, page 5
She regains consciousness and with her dogs manages to get to the house. 
She is in shock, singed, disoriented, lame, plagued by furiously burning pains, her throat is paralyzed, and her nervous system is seared, broken and fragmented. Somehow she dials 911. So begins her journey from blinding light through years of shadows.
Hospitalized and severely debilitated, she begins a battle that will take more than two years for her to regain her health and a sense of confidence and autonomy. As compelling as being struck dead by lightning may be, it is Ehrlich’s narrative of her return to life that is extraordinary.
As in her other work, Ehrlich explores existence from all angles and perspectives. Even she, the victim, is not spared the Nature writer’s intense probing, research and exploration in search of understanding. She studies thunder, lightning, and storms and discovers comfort in their fierce science. She seeks out other victims of lightning strikes and finds many others who have experienced the indescribable pains that are invisible to medical specialists, impossible-to-explain personal transformations, and isolation due to society’s ignorance.
As she did in THE SOLACE OF OPEN SPACES (1985), and ISLANDS, THE UNIVERSE, HOME (1991), Ehrlich generously shares her unblinking observations along her uneven path to understanding with us.
I heard her read from MATCH and speak at the Los Angeles Public Library in December 1994. Her humility, commitment to nature, and passion for expressing the often inexpressible were moving.
A MATCH TO THE HEART, One Woman’s Story of Being Struck by Lightning. Pantheon, New York, 1994.
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Several Decembers ago, while walking up a side street in the Colorado Rockies, I experienced a sense of being transported across time to another life. It should have scared me. Yet I knew exactly where I was – the Silver Boom-era Victorian houses, the approaching winter storm’s metallic taste in the air – and knew to a certainty that I had not been there before in this life. I was in surroundings that felt like home, just not my then current home. This effect happened to me again when I read the first page of PER PETTERSON‘s novel OUT STEALING HORSES, which begins:
Early November. It’s nine o’clock. The titmice are banging against the window. Sometimes they fly dizzily off after the impact, other times they fall and lie struggling in the new snow until they can take off again. I don’t know what they want that I have. I look out the window at the forest. There is a reddish light over the trees by the lake. It is starting to blow. I can see the shape of the wind on the water.
That paragraph evokes sense memories that clarify and transport. Per Petterson has said that he worked extensively on the English translation with Anne Born and that he prefers the English text to his original Norwegian. Reading this, it is possible to understand why.
We imagine other lives in the flickering cinema or while reading a good book. This is the effect when Per Petterson’s narrator in HORSES, Trond Sander, includes us in his thoughts as he adjusts to life in the rural cottage to which he has retreated after the death of his wife and a career as an Oslo professional. We are drawn into his shrinking world and the occasional tricks of his memory as he shares past events with candid, unassuming, transparent detail. Trond is without artifice. We like him immediately. Even when he is not so accepting of himself, perhaps the more so because of his mild surprise at his own decay.
It is this contract of decent, at times self-deprecating truth-telling he establishes with us that enables some significant coincidences to pass into our accepting state of mind. His meeting the former boyhood friend, Lars, half a century after life altering tragedy seems right in Trond’s contracting universe. His daughter Ellen’s sudden reappearance after his abrupt escape to anonymity brings still more validation of his life’s choices and in Trond’s chosen time. We trust that we will learn what we need to know. And we do.
OUT STEALING HORSES is a book for writers. We read, hope to occasionally glimpse a little of how he does it, perhaps detect a pattern, some clue to technique, yet Petterson’s style is organic, so thoroughly in tune with his mind that it is unlikely any of us can parse it successfully for its underlying machinery. He may not even be aware of precisely how he accomplishes such precise emotional resonance. One gets the sense that Per Petterson trusts himself to navigate the cross currents of the average life’s rapids, like when as a boy he discovers one of his father’s secrets, he knows he should be troubled yet intuits that he should keep it to himself until he can determine its meaning. When young Trond drops from a high branch to a horse’s back, he trusts that Zorro’s ghost will guide him to a suitably valiant flight on the mare’s back through the ancient Norwegian forest. When instead his crotch meets the horse’s fence line of bone at the withers, he suffers the ignominy of busted balls and blinding, legendary pain, we wince and shift in our seat, relive our own first such catastrophe and invest a little more of ourselves in Trond’s story.
There is an intimate quality to Petterson’s writing here that brings Barry Lopez’s writing to mind. It is hard to imagine a more unexpected connection. Lopez, who is best known for his excellent non-fiction accounts that compete for impact with the best fiction, is a master of erudition, intimate detail, ethics and how the individual relates to him/herself. Petterson’s writing is simultaneously understated and precise, a daring combination for fiction.
OUT STEALING HORSES won the International IMPAC Dublin Literary Award in 2007. I have added Per Petterson to my list of authors to watch and look forward to reading his other work.
OUT STEALING HORSES is the story of a man who has settled into a rustic cabin in an isolated part of eastern Norway to live the rest of his life with quiet deliberation. A meeting with his only neighbor, however, forces him to reflect on a fateful childhood summer. Petterson’s subtle prose and profound vision make OUT STEALING HORSES an unforgettable novel.
The writing in this novella is lean and economical. It tells a tale that sets the hook and guides the reader 
through several surprises to the final reveal. For me, this book belongs on the same shelf with “The Ledge“ (1959) by Lawrence Sargent Hall, THE OLD MAN AND THE SEA (1952) by Ernest Hemingway and “To Build A Fire“ (1908) by Jack London.
As a teenager, Les Galloway (1912-1990) shipped out to New Zealand as a seaman and a few years later, dropped out of college to enlist in the Bolivian army. Most of his life he was a commercial fisherman out of San Francisco. His stories were published in Esquire and Prairie Schooner.
This is the story of a frozen heart.
Peter Peterson fell in love with a girl 
who tolerated him, perhaps even led him on. Peter followed her from Iceland to Denmark in 1941 where he learned that she opened to another young man. He still loves her, denies that she is lost to him and arranges a weekend away with her. When in his burning desire for her he attempts to make love to her, she rejects him utterly. He takes revenge by informing on her lover to German authorities in occupied Copenhagen. This crime imprisons him for the remainder of his damaged, closed life.
The writing is spare and lucid. The slow-burning fuse of the narrator’s guilt propels the reader forward through the thickets of an average lonely life. There is a distance in the narrative, however, that holds the reader at arms length. As a result, this reader’s take-away is qualified; similar to a footnote that sticks in the memory after details of the tale break apart and fade.
