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!
Biogeneticist Andrew Shepard resurrects the memory of an ancient in a living human subject. Simon Peter is reborn.
For the faithful, it is a miracle. For the world’s political and spiritual leaders, it is a crisis. For humankind, it changes everything.
Peter escapes from the BioGenera lab in a desperate attempt to return to Rome and to confront the Pontiff, while being stalked by an assassin intent on silencing him once and for all.
First e-book edition
SAINT, my novel about the resurrection of human memory via biogenetics and neuroscience, is now available for download to the Kindle and Kindle-friendly devices including the iPhone, iPad, Mac, Droid and PC.
Read SAINT on Kindle
Kindle & The Evolution of a Writer
For readers, all that is left after the decline, fall, and selling-off of Borders bookstores down to the fixtures, is grief. And memories of what a bookstore can mean to our quality of life. So many of my favorite weekend moments were spent in the stacks at my local Borders. Knowledgeable sales staff, friendly fellow explorers on the path to enlightenment picking through towering shelves of books, looking for one book, discovering dozens of others that informed new directions in their journey.
Sales of e-books surpassed sales of physical books earlier this year. This isn’t a trend. We all know that our relationship to the written word is evolving. Schoolchildren totally get it; why carry a heavy backpack of textbooks when they can carry all the texts they will ever need in a featherlight tablet? So what is the value of ink on paper? Sentimentalism? For some, perhaps. For many, it is something deeper, much like the preference for live theater over cinema, or cinema over television, or television over netcast. For some, it is a physical connection, a tactile interaction with the process of reading. Like peeling back the layers of clues in a good mystery.
So what is to become of the book loyalist? Where is s/he to go? There is Amazon, of course. And Abe’s, Powell’s, Tattered Cover, Book Barn, B&N and others. Those are distant purveyors. The wandering weekend explorer has fewer options.
Karen Hayes and Ann Patchett open Parnassus Books. Photo: Josh Anderson, New York Times
Now, in an interesting new reaction to digital media and the vanishing bookstore experience, we have the novelist opening a book store, a bricks and mortar emporium of the printed word. Whether Ann Patchett’s new Parnassus Books in Nashville is the start of a new stage of publishing and distribution, or a quaint exhibit on the timeline of literature’s evolution is to be seen. I hope it is the opening sentence in a powerful and engaging new story.
Julie Bosman | NYT: Novelist Fights the Tide by Opening a Bookstore
Per Petterson’s novel of personal grief, guilt and redemption is palpably authentic as release, if not renewal.
Petterson’s set-up is inventive – Arvid Jansen regains consciousness pressed against a bookstore’s closed 
glass door – and his writing is masterful. He hews close to a minimalist style with just enough character bubbling through to reinforce our sense of the narrator as human, in pain, and shouldering on. Arvid is flawed, not very much of the good person most of us hope for ourselves, yet he possesses the strength of the genuine loner. He is not railing against God or others. He is just afloat and fighting the drift.
Disoriented and beside himself, Arvid is buffeted by flashes of sorrow. We discover that his parents and brother are dead, killed in a ferry fire that was nearly his own fate. He is estranged from his wife and daughters, one of whom recognizes her father’s free fall and is showing signs of the girl child mothering the grown man. Arvid navigates turbulent dark emotions, confronts the paralyzing losses, climbs back to his feet and takes the first courageous steps toward resumption of life. Not his former life, for that is utterly gone, but a life to be lived.
IN THE WAKE is the novel that Petterson wrote prior to his breakout bestseller, OUT STEALING HORSES, which is a more restrained and ultimately more timeless work.
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.
A short story evolves to become a short novel, and is published. The author achieves success with his modest yarns about life on Cape Cod. He publishes his tales in the Saturday Evening Post, enjoys a respectable living from his writing, summers on the northern Jersey shore, and dies in Winter Park, Florida. Through his stories, readers discover a Cape Cod populated by dreamers and doers, practical idealists who define success in terms of personal codes more than popular myths of the America’s 20th century success machine. Readers travel from afar to experience his Cape Cod, and residents help them realize the dream. Soon, the Cape becomes a destination, an ideal of a better time in America, and a vacationer’s mecca.
In 1911, Joseph Crosby Lincoln (1870-1944), 41, published
his story The Woman-Haters: A Yarn of Eastboro Twin-lights (A.L. Burt Company, NYC). He was a third of the way through his career as a spinner of popular yarns set on Cape Cod, in a part of the country that was invisible to all but a few thousand residents and their occasional visitors from nearby Boston. It was a place apart from the nation’s rambunctious urban centers, a throwback to an earlier, self-reliant America. Its people were taciturn, pragmatic, and passionate about life’s possibilities. Lincoln distrusted modern progress and so he kept returning in his stories to the childhood home from which he had been taken after his father died and his mother moved him to the mainland. Lincoln’s anti-modernist tendencies found expression in stories about this Yankee outpost on a narrow finger of sand so far out to sea that on especially clear days residents might fancy seeing their ancestors’ old country to the east. Here adversity was vanquished, justice prevailed, and romance was eventually, ultimately requited.
In The Woman-Haters, once-married Seth Atkins and Emeline Bascom accidentally reunite on a beach at the extreme easternmost tip of the nation. In this fantasy realm between sand and sea, they see their past actions in new light, comprehend their lives afresh, and rediscover their former attraction.
In 2010, enter Daniel Adams, a veteran writer-producer-actor-director who likes the cut of Lincoln’s literary jib. Adams is one of movie-making’s working class heroes who keep the dream of movie magic alive by gathering friends, locals, and would-be filmmakers together to put on a show. He attracts popular stars to his troupe, works long hours, stretches a dollar to the breaking point, and captures moments on film that become movie memories for the rest of us. Previously, he had directed an adaptation of Lincoln’s 1911 story, Cap’n Eri: A Story of the Coast into The Golden Boys (2009). Recently, he adapted Joe Lincoln’s The Woman-Haters: A Yarn of Eastboro Twin-lights a full one hundred years after it was published into the small feature film, The Lightkeepers.
Whether The Lightkeepers is a commercial or artistic success is not at issue here. As of this writing, it has grossed an estimated 4.5 million dollars, which does not qualify it as a commercial success in 2010. The 1911 equivalent, by the way, would have been $193,500. Reviews are mixed. Some critics have faulted the language, the staging, and Richard Dreyfuss’ interpretation of former sea captain Seth Atkins. Positive reviews have cited The Lightkeepers’ grown-up love story, the palpable sense of place, and the distinctively Yankee knack for understatement.
What counts is that Joseph Lincoln lived life and wrote stories his way. He spun yarns that made readers feel good about themselves. And Daniel Adams is living his life and making movies his way. Hats off to both artists. Thanks for keeping the dream alive.
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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.
2010 Amazon Breakthrough Novel Award Winner
Congratulations to Patricia McArdle, winner of the 2010 Amazon Breakthrough Novel Award in General Fiction for her novel, Farishta. Read an extended excerpt, and check out the experts’ reviews.
2010 Amazon Breakthrough Novel Award Winner
Congratulations to Amy Ackley, winner of the 2010 Amazon Breakthrough Novel Award in Young Adult Fiction for her novel, Sign Language. Read an extended excerpt, and check out the experts’ reviews.
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2009 ABNA Winner: Bill Warrington’s Last Chance by Jack King
2008 ABNA Winner: Fresh Kills by Bill Loehfelm
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.
