***Selection Day

Mumbai, cricket

photo: David Brossard, creative commons license

By Aravind Adiga, narrated by Sartaj Garewal – Adiga’s 2017 novel purports to be about two brothers, growing up in a Mumbai slum, under the obsessive protection of their cricket-crazy father—a helicopter parent with a swinging cricket bat for a rotor blade. Adiga’s debut novel The White Tiger was such a witty, penetrating exploration of economics and capitalism and how they affect the average person (and a winner of the Man Booker Prize) that I eagerly awaited this one. If he can make economics entertaining, cricket should be a snap, right?

To read the book, it thankfully isn’t necessary to understand cricket’s impenetrable mysteries. The novel is in essence a coming-of-age story, a story of when to hold on to parental values and when to abandon them, of the choices that come the boys’ way and what they do with them, and the intrusions of fate.

There are some wonderful characters: the boys Radha Kumar and his principal rival in cricket and in life, his younger brother Manju, their clueless dad—the lowly chutney salesman Mohan—and the local cricket talent scout Tommy Sir, among many others. Years of effort are guiding the boys’ efforts to “selection day,” when just a couple of up-and-coming 17-year-olds will be chosen to play for Bombay Cricket. That one day will make the boys’ future or break their father’s heart. Possibly both.

One of the best aspects of the book is the relationship between the boys. Said Carmela Ciuraru in the San Francisco Chronicle, “Adiga superbly captures the intimacy between the two brothers, as they bicker, tease and protect each other” and as Manju struggles with his sexuality. Also entertaining were the cricket officials’ efforts to keep the father away from the playing fields. Anyone who’s been especially close to a brother or who’s observed the obsessive parents at their children’s sporting events can identify with the dilemmas of this striving family. Again, says Ciuraru, Adiga’s take is “both satirical and affectionate as he shows how the sport is less a means of lifting gifted kids out of poverty than reinforcing boundaries of privilege in rather ruthless ways.”

The book begins three years before the Selection Day in which Radha will participate and a short concluding section takes place eleven years later. As a tremendous fan of audio books, I was quite disappointed in the narration by Sartaj Garewal and believe it is at least partly responsible for my not becoming fully engaged with this book. Read a print version.

*****The Sellout

Elephant - Sam Felder

photo: Sam Felder, creative commons license

By Paul Beatty, narrated by Prentice Onayemi – I write, knowing this review cannot do justice to this stunning satire—winner of both the Man Booker Prize and the National Book Critics Circle Award—which tackles a tricky subject: U.S. race relations and the essential absurdity of the human species. I can only urge you to read it for yourself as a journey to important places, dark and light.

Near the end of the story, Beatty’s narrator, Bonbon Me comments on a black comic who m.c.’s the Dum Dum Donuts open mic nights. He says the comedian “did more than tell jokes; he plucked out your subconscious and beat you silly with it, not until you were unrecognizable, but until you were recognizable.” Beatty has just spent 285 pages doing exactly that with his readers’ every racial attitude and carefully buried prejudice, whether toward blacks, Mexicans, Chinese, or whites.

Perhaps the only way for Americans to approach this difficult subject is with the tools Beatty wields so well: wicked perceptiveness and devastating humor. He slaps them down like a bricklayer troweling thick mortar, building his case brick by brick.

At first I thought his approach was to come at racism obliquely, like an artist using negative space, rendering everything around an object, not the object itself. Draw all the plants and trees, the shape of the dirt patch, the rocks, the pond, the lines of fencing, and every other feature surrounding an elephant and, when you’re done—voilà—out pops the pachyderm.

His descriptions of his southwest Los Angeles neighborhood, his administratively erased home town of Dickens, his father and his friends, with their intellectual floundering and frustrations as members of the Dum Dum Donut Intellectuals, “the local think tank.” All seemed designed to produce that elephant.

We meet unforgettable characters, not least Bonbon himself: erudite, fearless, hell-bent on offending and sure to succeed. Bonbon’s father was a psychologist who subjected his son to bizarre experiments growing up, which the boy’s psyche was lucky to survive. His slave (yes) Hominy Jenkins, was a minor celebrity in his youth as a member of the Little Rascals cast; on-again girlfriend and city bus driver, Marpessa, tries to talk sense to him. And more. Much.

However, as the story proceeds, Beatty brings the hammer down. As a joke, Bonbon puts a temporary sign inside a bus that reads “Priority Seating for Whites.” When it’s inadvertently left in place, behavior on the bus becomes exemplary. People are treated with respect. Marpessa says, “Crip, Blood, or cholo, they press the Stop Request button one time and one fucking time only. You know where the kids go do their homework? Not home, not the library, but the bus. That’s how safe it is.” The sign is just the start of a Bonbon crusade. If there’s a word for “this is sooo crazy, it just might work,” Bonbon must have had that word in mind.

The book’s Prologue at the U.S. Supreme Court was a little slow for me, but when Beatty starts to roll, you are in for an amazing, hilarious, heart-breaking ride. Bonbon never breaks character. But at some point, all the comedy flips and you see it for what it is, the mask of tragedy.

It’s also a feast for people who love language. Beatty’s talent as a poet shows up in the rhythm of his prose; in multi-meaning slant rhymes, like the name of his lawyer, Hamilton Fiske; in direct rhymes, like the reference to his father’s farm, “forty acres and a fool”; and his imagery, “he was unpaid-electricity-bill dark.”

I’m sure reading this book in print would be transformative, with the advantage of being able to go back and reread and pause to reflect. Yet, Prentice Onayemi’s narration of the audio version was pitch-perfect. His Hominy addresses Bonbon as “Massa,” with just the right combination of obsequiousness and insolence; Foy Cheshire and the Dum Dum Donut Intellectuals bloviate convincingly; Marpessa keeps her wits about her. You see each of them in front of you, just like you cannot avoid seeing the elephant in the middle of our collective living room.

Paul Beatty is coming to Princeton on February 8, 2017, and will appear at the Berlind Theater, 4:30 p.m., sponsored by the Lewis Center for the Arts. Open to the public. Free.

***American Quartet

lincoln, Mount Rushmore

photo: Aaron Vowels

By Warren Adler, narrated by Julie Griffin – You can’t help but enjoy the clever criminal lurking behind the scenes in this 1982 classic. Set in Washington, DC, around 1980 (it was a presidential election year, so thereabouts), a time when I lived in the Nation’s Capital, this police procedural includes many reminders of that place and time.

The novel’s protagonist, Fiona Fitzgerald, has abandoned the path expected of her as the daughter of a US Senator and serves as a Sergeant in the DC Metropolitan Police Department’s homicide division—a white woman in what was then a black male bastion. (This is one place where 35 years has made a profound difference. Today, DC’s mayor is a woman, its just-retiring police commissioner is a white woman, and the department is trending white.)

Fitzgerald and her partner face a baffling set of murders, but the reader/listener knows something the police do not: the perpetrator is recreating, to the extent practicable, the assassinations of past U.S. presidents on their anniversary dates. After the first two “copycat crimes” (James Garfield and William McKinley), you anticipate the perpetrator’s inevitable further recreations (John F. Kennedy and Abraham Lincoln)—with a growing sense of dread. Garfield, McKinley, Kennedy, Lincoln: the American quartet.

I found it hard to believe no one in the police, the media, or the local citizenry—full of  history and political buffs—tumbled to the similarities between current and past events, especially after the two deaths on November 22, the anniversary of JFK’s murder. Adler makes the point that Americans are oblivious about their history, and I’ll give him that. But, thanks to television, the Kennedy killing is seared into the national memory, especially in Washington DC. In 1980, it was only 17 years in the past. About how long ago Y2K is now.

Fitzgerald (sharing a name with the martyred president) may be distracted by her love life. Her politician boyfriend faces a tough reelection battle in Queens. His congressional district’s demographics have moved away from him, and he needs cash (some new ideas also would help). What might save him is the financial support of failed Senatorial candidate Thaddeus Remington, a wealthy player in the Washington party circuit. I liked all the politics and, if there were some aspects of the story that seemed far-fetched, the time-capsule attributes were strong.

Listening to a book is a different experience than reading it. Most of the principal characters in this book are men, and Julie Griffin does a good job with them. Yet, I kept checking my iPod to make sure I hadn’t inadvertently clicked a 1.5 reading speed. Also, I wonder that there’s no one (the equivalent of an editor) to correct startling mis-readings. The point isn’t to ding the narrator on the kind of mistake any of us might make from time to time, but to emphasize that such persistent errors—like egregious typographical errors—take the listener out of the story.

*****Hamlet, Prince of Denmark: A Novel

Hamlet, Kenneth Branagh

Kenneth Branagh as Hamlet

By A.J. Hartley and David Hewson, narrated by Richard Armitage – Ok, Ok, before you say “been there, done that Hamlet thing—five times, maybe ten!” this is another Hamlet animal altogether. As an inveterate audiobook fan, I will say that the Hartley/Hewson Macbeth, narrated by Alan Cumming (be still, my heart) was one of the best audio books I’ve ever “read.” So, I was eagerly anticipating listening to the their Hamlet.

Perhaps this Hamlet doesn’t quite reach the stratospheric genius of Macbeth, but it gives the listener plenty to chew on. I think Hartley (a Shakespeare scholar) and Hewson (a mystery/thriller writer, interviewed here)—an inspired pairing if there ever was one—have truly done it again. They fill in the leaps and gaps in the Bard’s plot, they provide background information that heightens appreciation of the stakes and therefore the tension, they infuse the text with modern psychological insights. In short, they have made Hamlet more real than perhaps you have ever felt him before.

No need to dwell on plot. We all know it. But what they have done in novelizing Shakespeare’s text is brilliant. First, they’re fleshed out some (potential) action scenes. The play’s glancing reference to pirates receives a full treatment here, which shows Hamlet to be more a man of action than the black-garbed, skull-staring  brooder we have come to associate with the Danish prince. Ophelia’s death also has a much more robust development than the usual wan, flower-strewn suicide.

Perhaps Hartley and Hewson’s cleverest stroke was in creating a son of Yorick to be Hamlet’s constant friend and goad, to share and prompt him with the lines of the famous soliloquies. I was so taken with this creation that I didn’t fully appreciate its subtle origins and intent until the story’s conclusion. Listening to the interviews with Hartley and Hewson that follow the novel explains how and why they arrived at this fictional device.

Purists, take note. There is nothing here that is not fully suggested or believable in the context of the play. Before you get your doublet in a knot, recall that the play itself was not created out of cloth entire, but built on folk tales and previous works. The authors are merely taking the creative armamentarium of Shakespeare himself and aiming it at 21st century sensibilities.

Hamlet is a ghost story; it is a murder story; it is a tale of guilt and revenge; it is about treachery and lust. Everything that makes a good crime thriller!

Richard Armitage is well suited to take on the narrative challenge. He has appeared in numerous television and film roles and played John Proctor in The Old Vic’s production of Arthur Miller’s The Crucible, where he earned an Olivier Award nomination. He won the 2014 Best Audiobook of the Year Award for this rendering of Hamlet. While it’s also available for the Kindle, let Armitage tell you the story.

This review appeared on CrimeFictionLover.com.

*****Redemption Road

rural church

photo: Wayne Stadler, creative commons license

Written by John Hart, narrated by Scott Shepherd. You’d never guess this crime thriller is award-winning author John Hart’s first novel with a female protagonist. He writes from her point of view compellingly and expertly slips himself into her high heels where gender perspective makes a difference—as a detective partner, as a daughter, and as unofficial guardian to two troubled teens.

Elizabeth Black is a detective in a mid-sized North Carolina city who over 13 years has proved herself a good cop, though the men around her seem anxious to dismiss all that as soon as she encounters difficulties. And she encounters them by the bushel.

When a radio call leads her to an abandoned house where a missing 18-year-old girl, Channing Shore, might be hidden away, Elizabeth doesn’t wait for backup. A few hours later, Elizabeth and Channing walk out. In the basement are the bodies of Brendan and Titus Monroe with 18 bullet wounds. Bullets lodged in the floor suggest at least some of the shots occurred after the men were down.

There’s no question Channing was raped and tortured for 40 hours and that Elizabeth saved her. But the case has drawn the attention of the North Carolina attorney general, who sends state police investigators to determine whether the brothers’ death involved police brutality. A newspaper headline says it all: “Hero Cop or Angel of Death?”

As a rookie, Elizabeth looked up to and perhaps even loved a detective named Adrian Wall, a detective’s detective whom other cops and the media admired. Wall has spent the last dozen years in prison for a murder he didn’t commit. He’s released just as the pressure on Elizabeth Black is mounting, but he’s no sooner out than a second woman’s body is found killed in the same way. Then a third.

From that point on, the two stories—Elizabeth’s quest to clear her reputation and be reinstated on the force and her desire to prove Adrian Wall’s innocence of the women’s murders are intertwined.

One consistent ally is retired lawyer Faircloth “Crybaby” Jones, nearly 90, who unsuccessfully defended Wall during his trial and has regretted that failure ever since. Crybaby is a wonderful character who combines the courtliness of the Old South with a fox’s wily instincts.

In a post-book interview, author Hart revealed that he’d basically written the book—some 300 pages—before discovering that the protagonist was not whom he had chosen. He found that the center of the book, its heart, was Elizabeth. Changing the point of view of a novel involves a lot more than changing “he’s” to “she’s.” That was a decision with time-gobbling consequences that has really paid off for readers.

Actor Scott Shepherd does a brilliant job narrating this novel with its range of characters. Often a female narrator is selected for a book with a female protagonist, but his rendering of Elizabeth is perfect. She’s female, but not in any clichéd way. The same goes for Channing and the several other women. He has just the right amount of easygoing South in his voice and avoids caricature. Amazing how one talent can produce all these different people! Just terrific.

***A Tapping at My Door

The Raven, MWA, Poe

Page by Ian Burt (photo: c2.staticflickr.com)

By David Jackson, narrated by Jonathan Keeble – The early chapters of this police procedural are tremendously intriguing. A woman copper in Liverpool is murdered in her back garden, with a dead raven splayed over her face. Only when the crime scene investigators remove the bird do they learn her eyes have been gouged—pecked?—out. And that the raven has a note attached to its leg saying ‘nevermore.’

Even for people who are not fans of Edgar Allen Poe, that’s spooky. And, it’s a puzzle the police must struggle to work out. Not too long afterward, another police officer is found murdered in his home, again with a dead bird nearby, carrying a new message.

While these crimes are bizarre, at least there’s something to work with. Both murdered officers were implicated in the death in custody of a mentally challenged youth a few years earlier. An investigation cleared the two officers of wrongdoing, but the family and a large segment of the public still blame them for this death. Accordingly, the family is questioned, with all the renewed mutual hostility one might anticipate.

When two more police are killed who seem to have no connection to the earlier tragedy, what are the investigators to think? Are these new deaths merely a diversion? Jackson does a good job portraying the fractured relationships between the community and the coppers, writ small in this family tragedy, and writ large. He presents the action through alternating perspectives, mostly those of DS Nathan Cody and the unknown murderer, whose motives ultimately—well, you can pass judgment on that.

Cody is the principal investigator of the crimes, and to his surprise he’s teamed up with a new murder unit detective, Megan Webley. Unbeknownst to the powers that be, Cody and Webley were once an item, engaged to be married even, until his love of the job put a wedge between them. They dance around each other, not wanting to bring up the past and wanting to get on with their current assignment. There’s a cop-killer out there, after all.

But Cody become unhinged in several run-of-the-mill situations and Webley is starting to doubt his mental stability. His strange outbursts and reckless self-endangerment hearken back to an experience a year earlier in which he was held and tortured by a mysterious group of kidnappers.

About the time of the lengthy flashback in which Cody relives this hostage situation for the sympathetic Webley—an experience he has refused to seek any counseling for—I began to lose interest. The gruesome nature of the torture seemed intended to titillate, not interest me in Cody as a character. From there on out, the plot followed the well-trodden path of escalating craziness and bad decisions, woman-of-interest in danger, and drawn-out final resolution, with a particularly ham-handed, flashinglightsallaround ‘sequel!!’ signaled at the end.

Since this was an audiobook, the narration inevitably affected my reaction. In some passages Jonathan Keeble was terrific, but in others, it was as if he were narrating a silent film (you can listen to a bit through the Amazon link below). They were jarringly melodramatic. In other words, a mixed bag.

****The Narrow Road to the Deep North

Thailand-Burma Death Railway, Pacific Theater

Hellfire Pass (photo: David Diliff, creative commons license, CC BY SA 2.5)

By Richard Flanagan, read by David Atlas – This epic tale from a Tasmanian author won the 2015 Man Booker Prize. It centers on the life of Dorrigo Evans, a young surgeon, before, during, and after World War II, when he eventually becomes regarded as an Australian war hero.

A notorious womanizer in later life, Dorrigo can never recapture his early passion for Amy, the young wife of his uncle, and their lost love. Their affair was cut short when he received his orders to ship out and he had no chance to say good-bye to her then, or ever, because of two lies.

During the war, his unit is captured by the Japanese. Its members are forced, despite illness, injury, starvation, and dangerously impossible conditions to work on a railway “for the Emperor,” the infamous Thailand-Burma Death Railway. An estimated 112,000 Asian forced laborers and Allied prisoners of war died during its construction. If you’ve seen The Bridge on the River Kwai, you have an inkling. Flanagan’s own father was a survivor of the Death Railway and died the day Richard told him this novel was finally finished. “He trusted me not to get his story wrong,” Flanagan has said.

Because Dorrigo is a surgeon and an officer, the Japanese don’t require him to work on the construction, but he is plenty busy managing the desperately ill and dying men in his care.

After the war, the narrative takes a detour to tell us the fate of several characters from the camp—its head man, Major Nakamura; the reviled Korean contract guard the prisoners called the Goanna; and a group of ex-prisoners who have an alcohol-fueled rendezvous in memory of one of their fallen.

The climactic (or climatic, given its meteorological link) section of the book involves Dorrigo’s attempts to rescue his wife and children from the devastating fires overtaking a large swath of Tasmania near the capital of Hobart, another real-life event that took place in 1967.

Even though the book is described as “a love story unfolding over half a century,” I thought Flanagan’s best, most moving writing involved the prisoner of war camp. His detailed portrayals of several of the men, especially one named Darky Gardiner, are vivid and compelling. The author did a service in trying to explain the inexplicable when he also probed the character of the camp overlords.

Americans generally know less about World War II’s Pacific Theater than events in Europe, though it was no less horrifying. Some readers may be turned off by the violence of the book, but it’s a war story as well as a romance, and war is not romantic. Stick with it, and you’ll have an indelible picture of the suffering inflicted and endured. Atlas’s narration is straightforward and true.

The book’s title—a metaphor for the railway itself—comes from a famous book by Japanese poet Bashō, which Flanagan’s character Colonel Kota (a beheading expert) says “sums up in one book the genius of the Japanese spirit.” Flanagan explained in an excellent interview in The Telegraph, “I wanted to use what was most beautiful and extraordinary in their culture in writing a book about what was most terrible, because I thought that might liberate me from judgment. And it did help me.”

****The Short Drop

noose

(photo: Petri Damstén, creative commons license)

By Matthew FitzSimmons, narrated by James Patrick Cronin – In this fast-paced thriller, 28-year-old Gibson Vaughn is drawn into a renewed effort to solve the decade-old disappearance of a childhood friend, fourteen-year-old Suzanne Lombard. She was the daughter of prominent political figure and now presidential candidate Benjamin Lombard, and the impending tenth anniversary of when she went missing is bringing up painful memories.

As a teenager, Gibson hacked into Ben Lombard’s computers in an attempted campaign financing expose and traded a potential prison sentence for a stint in the Marines. Now he’s home and having difficulty finding work. Despite his skills, he carries too much baggage.

George Abe, Lombard’s former chief of security—a man Gibson has every reason not to trust—dangles the possibility Suzanne is alive or at least that they can finally learn her fate. He ensures Gibson’s participation with the one statement he knows will be irresistible: Suzanne loved you better than anyone.

Abe shows Gibson clever new electronic evidence that has surfaced, and with two members of Abe’s team, Gibson sets out to track it down. They end up in Somerset, Pennsylvania, on the trail of another hacker who stays one step ahead.

The timing couldn’t be worse, with Ben Lombard—whom Richard Lipez in The Washington Post calls the book’s “least interesting character”—about to be picked as his party’s presidential nominee. Would resurrecting Suzanne’s case influence the election? Would it garner Lombard the sympathy vote? A lot is at stake, and the political players are ruthless. Among the people trying to stop Gibson and crew are a sociopath who makes one mistake with shoes and the kind of political junkie only Washington can breed.

Gibson is an engaging protagonist, and, as Lipez says, “One of FitzSimmons’s many skills is making the ins and outs of Internet technology more or less comprehensible for techno-klutzy readers, a true public service.”

A debut novelist, FitzSimmons has handled his complex plot deftly, and although there are numerous characters, the excellence of Cronin’s reading kept them all straight for me. This was both an Amazon and a GoodReads Best Book of December 2015. Oh, and “the short drop”? You probably don’t want to know what that is.

****The Drifter

wild dog

(photo: numb photo, creative commons license)

By Nicholas Petrie, narrated by Stephen Mendel – This exciting debut thriller pits U.S. Marine lieutenant and veteran of the Iraq and Afghanistan wars Peter Ash against a mysterious conspiracy involving psychologically damaged vets, some serious explosives, and $400,000 in cash. Ash has post-traumatic stress, a “white static” that rises up whenever he’s indoors too long. This extreme claustrophobia promises to be more than an inconvenience with winter coming on in Milwaukee, Wisconsin, where the story is set.

When Ash hears of the suicide of his former comrade Big Jimmie Johnson, guilt motivates him to try to make it up to his widow Dinah and her two young sons. He invents a Marine Corps program that supports families by doing free home repairs and sets to work first on the Johnson family’s dilapidated porch. But he can’t rebuild the porch supports until he does something about the huge, vicious, and rank-smelling dog that’s taken up residence underneath it.

Once the dog is secure, he finds another surprise: a Samsonite suitcase filled with money and four packs of explosives. Dinah says she knows nothing about the money, but someone does, because the house was recently broken into and is still being watched by a man driving a big black SUV.

Ash wants to protect Dinah and the boys, but he also wants to get to the bottom of Johnson’s death. At first he buys the police story that his former sergeant was a suicide, but the more he finds out about Jimmie’s recent actions, the more he suspects something else was in play. Although what Jimmie might have gotten himself involved in—either as a participant or a sleuth—is unclear, it must be serious, or people wouldn’t have started trying to kill Ash too.

Rehabilitating the wild dog Mingus, author Petrie has said, was Ash’s “first useful act.” Certainly it has powerful parallels to Ash’s own need to learn how to live with people and civilization again.

Petrie went a little overboard in describing the construction the bad guys’ bomb. I was prepared to accept that the bomb-maker—after all, his nickname was “Boomer”—knew what he was doing. But most of the descriptions of damage done, whether to people, property, vehicles, or psyches, was just right. I also appreciated that Ash’s “everyday” home repair skills were put to new and creative purposes. They make Ash a down-to-earth hero readers can easily identify with and get behind.

Television and movie actor Stephen Mendel—who seems to make a specialty of narrating the thriller genre—does a nice job in the book’s audio version. The characters’ voices are believable—regardless of race or social class—and easy to distinguish, and the women and children are realistic. With his portrayal of Peter Ash, Mendel has made his own contribution to the creation of a likeable protagonist.

A longer version of this review appeared on the Crime Fiction Lover website.

Going Like Hell Again!

Ford GT, auto racing, LeMans

(photo: Ford Motor Company)

Caught up in publicity about Ford Motor Company’s return to the prestigious 24-hour LeMans endurance race, only four months away, I’m reproducing my review of the epic battle between Enzo Ferrari and Henry Ford II (“The Deuce”) below. It’s a terrific read!

Once again, in this year’s race, a Ford GT will represent the company, this time with a lightweight carbon fiber chassis and advanced aerodynamics. Most surprising, it will be running on a V6 EcoBoost engine against the V8s and V12s of its competitors. Ford is confident the V6 EcoBoost can do the job because it has powered Fords to the checkered flag at both the 12-hour Sebring in 2014 and the Rolex 24 at Daytona last year. See how this bright new red-white-and-Ford-Blue competitor evolved from its predecessors.

Go Like Hell: Ford, Ferrari, and Their Battle for Speed and Glory at Le Mans, by A. J. Baime, read by Jones Allen, recounts classic duels of machines and drivers in the French countryside. It includes just enough biography of Henry Ford II and Enzo Ferrari to understand the motivations of these two rivals, willing to stake their fortunes, their companies’ futures, and (all too often) their drivers’ lives on this grueling competition. The Deuce believed—correctly—that supremacy in the racing circuit would lead to sales of Ford cars. And, when the Ford GTs came in 1-2-3 in 1966, his big gamble paid off. This sweep was followed up with wins in the next three LeMans races.

The components that had to be developed to survive the 24-hour race at Le Mans were testaments to product reliability as well as power, and many advances originally developed for racing vehicles—such as independent suspensions, high-performance tires, disc brakes, and push-button starters—have found their way into passenger cars. (The new 2016 racer already has inspired features built into Ford’s GT Supercar, available this year.)

For Enzo Ferrari, whose interest in consumer cars was always secondary to racing, the point was being the world’s best and proving it in the world’s most prestigious and dangerous sports car race, Le Mans. If you’re at all familiar with auto racing’s “golden age,” the big names are all here in this book: Carroll Shelby, A. J. Foyt, Dan Gurney, Phil Hill, John Surtees, Ken Miles, Bruce McLaren, and an upstart kid from Nazareth, Pennsylvania, who took the pole position in the Indianapolis 500 the year I saw the race, Mario Andretti. To get an idea of the speeds they achieve, Baime noted that at top speed they complete the 100-yard distance of a football field in one second.

This was a fast, fun read that shifts between Dearborn, Shelby’s racing car development team working for Ford in Southern California, and Ferrari’s workshop in Maranello, Italy. For a Detroit girl like me, whose grandfather, father, and many uncles worked for the Ford Motor Company, it was a thrill a minute! But even for people who don’t get goosebumps when they hear those Formula One engines roar, Baime’s cinematic recreation of the classic Le Mans races of 1965, 66, and 67, with all their frustrations, excitement, and tragedy is a spectacular true story.