Category Archives: Character

Topdog/Underdog

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The final production of the 2019 season at Princeton Summer Theater is Suzan-Lori Parks’s 2002 Pulitzer Prize winning Top Dog/Underdog, directed by Lori Elizabeth Parquet. The show premiered August 8 and runs through August 18 at Princeton University’s Hamilton Murray Theater.

Sibling rivalry that boils over into violence is as old as Cain and Abel, with the line between love and hate ever-shifting. African American brothers Booth (Travis Raeburn) and Lincoln (Nathaniel J. Ryan), five years older, have an uneasy relationship made more acute by their dwindling life prospects. Despite Booth’s determination to change his name to Three-Card, the brothers seem constrained by the names their father chose for them as a cruel joke.

Booth has a one-room apartment and a girlfriend whom we never see (and who may be apocryphal); Lincoln has come to live with him after his wife threw him out, and Booth would like to get rid of him too, but Lincoln has a job and income, even if paltry. In a tangle of symbolism, he works in a carnival, in whiteface and dressed up as Abraham Lincoln. People pay to come into his booth and shoot him with a gun filled with blanks. They carnival hired him because they can pay him less, but even that meager income is threatened, because management plans to replace him with a wax dummy.

In the old days, Lincoln made a good living fleecing tourists with the Three-card Monte con, but initially refuses to take up the cards again. Booth would like to develop a Three-card Monte racket of his own. In the opening scene, he’s practicing his card-handling skills and patter at the front of the stage, when his brother enters, in full Lincoln regalia. Startled by Lincoln’s entrance, Booth pulls his gun, then lies about what he was doing. Playing solitaire, he says.

Throughout the course of the play, much comes out about the brothers’ reaction to being abandoned by their parents when they were 16 and 11 and their uneasy relationship in the ensuing twenty years or so. Which of them is the top dog and which the underdog shifts back and forth many times.

Raeburn gives an energetic performance as Booth, ever the kid brother, teasing and bouncing to keep Lincoln’s attention. Much of the comedy in the production comes from his portrayal. Ryan starts out as the ghostly Lincoln, morose and beaten down not just by his bizarre job but the even more awful prospect that he may lose it. He resists Booth’s importuning to go back to his Three-card Monte days, and finally, alone in the apartment, really comes to life when he takes up the cards again.

Rakesh Potluri produced the set (the vividly floral wallcoverings were inspired by the work of artist Kehinde Wiley, who created the portrait of Barack Obama at the National Portrait Gallery). Music from the hip-hop duo Outkast’s 1998 album Aquemini, which like the play is thematically influenced by differences between the two principals.

Princeton Summer Theater productions are staged in Hamilton Murray Theater on the university campus, easily reached from New York by car or train. Take New Jersey Transit to the Princeton Junction station, then the shuttle train into Princeton. The shuttle ends a short walk from the theater, which is also walking distance from numerous restaurants.

For tickets, call the box office at 732-997-0205 or visit the ticket office online.

Booky, Booky

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Reading

Four books out of sync with my new crime fiction reviewing.

Yes, even I occasionally tire of a reading life of crime. And sometimes I want to catch up with a book from prior years.

And book clubs make choices . . .

****Eleanor Oliphant is Completely Fine

By Gail Honeyman – Which of us hasn’t felt saddled by a critical parent? One whose admonishing voice we hear when we least need it? Who among us isn’t more likely to remember a parent’s upbraiding rather than the praise? Eleanor remembers, to a miserable extreme. Patterning herself after her ultra-demanding mother, she needs to (to learn how to) unwind a bit, no, a lot. She longs for human connection and gets in her own way when she tries. Vodka helps, until it doesn’t. Although the plot doesn’t surprise, Honeyman has established a strong, if painful, voice for Eleanor, just too smart to stay locked inside herself forever. A prime example of the new literary trend called up-lit—“books that give us hope.” In many ways similarly plotted to Where the Crawdads Sing, it raises both hope and skepticism for the same reasons. The author, not the character, seems in charge, if that makes any sense.

****Murmur

By Will Eaves – This is literary fiction and far from as straightforward in the telling as Eleanor Oliphant. It’s based on the life of Alan Turing (Alec Pryor in the book), the brilliant British mathematician and computer scientist (now on the £50 note) who later led the Bletchley Park team that helped unravel the secrets of the Nazi code machine, Enigma. Ping-ponging between dreams, memories, letters with a woman friend, and more in the months before his suicide, the novel has been called “a hallucinatory masterwork.” Much of it looks back to Pryor’s adolescence, his discovery of his homosexuality, and the social and school problems that resulted. Murmur has won numerous prizes. Will Eaves is a poet and a teacher, as well as a novelist. This is the first of his books published in the United States.

***Blood Sisters

By Kim Yideum, translated from the Korean by Jiyoon Lee – I joined a book club that sends novels by international authors several times a year, as a way to become acquainted with other voices and sensibilities. This book was a hard go in the beginning, partly because of the unadorned writing style, but became easier, page by page. The narrator has left home (more difficult, hypercritical parents), and lives as cheaply as possible in a room over a café called Instant Paradise (yeah, right). She has a great many challenges including physical injuries, a parent who deserted her, plus an unexpected romance. Wait, am I writing about Eleanor Oliphant again? Totally different books, striking parallels, but without the too-easy resolution.

****The Word is Murder

By Anthony Horowitz – OK, back to my comfort zone. Horowitz is a crimewriter and TV scriptwriter (Midsomer Murders, Foyle’s War). This novel starts with the murder of a woman who appears to have predicted her own demise. A gruff former police detective, Daniel Hawthorne, is called in to take a look at the case, joined by a clueless writer named Anthony Horowitz who’s looking for some new plot ideas and manages to blunder about spectacularly. “Full of surprises and suspense,” said The Washington BookReview. And comic moments. This adventure has been followed up by 2019’s The Sentence is Death, again featuring Hawthorne and Horowitz.

Lawyers, Guns, and Money: CrimeCONN 2019

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lawyer

Organizers of this year’s CrimeCONN—led by Chris Knopf and Charles Salzberg—truly delivered. Their MWA-NY sponsored committee put together excellent panels and presentations, followed by entertaining keynote speaker Peter Blauner, whose resume includes the award-winning novel Slow Motion Rider and several seasons of Law & Order.

Lawyers as Characters

Authors who are lawyers or are writing legal thrillers peopled several panels. Some of them use their lawyer-character as a nexus of the story’s conflict. The conflicts may be external to their character and arise because of the inherent contentiousness of situations they set up, essentially because of the conflict between the lawbreakers they represent and orderly society. They also use characters who are advocacy lawyers—say, working for an environmental or women’s rights group—to raise issues without clunky exposition.

By contrast, other authors said their emphasis is on the character they are developing, and the fact the character is a lawyer is almost incidental to the story. These characters’ conflicts are often internal, when their needs and values conflict with the actions required of them.

Either way, writers and lawyers are professional storytellers following a loosely analogous process. A lawyer starts a case with the facts (novel set-up), makes arguments (development of the novel’s plot), and arrives at a conclusion/summation (denouement).

Attorney-author Connie Hambley said when she writes, she envisions her reader as “very smart opposing counsel,” answering in one way or another all the objections that reader might make. A variation on this point was the observation that lawyers are logical, accustomed to preparing their cases in a logical way, and a crime story also generally follows a trail of logic, through its accumulation and interpretation of evidence.

What Goes Wrong?

We remember the things that bug us, and though novels/tv/movies get a lot of details right, panelists had a long list of pet peeves. These included stories in which: surveillance is easy (and affordable); extradition happens almost overnight; judges make snap decisions about motions; and if it’s an organized crime case, there’s lots of electronic evidence. IRL, organized crime figures know what our politicians haven’t figured out: no emails, no texts, no Instagrams. And here’s one of my eye-rollers: DNA evidence that comes back in 24 hours. At the same time, panelists agreed that a story that strictly followed what happens in an investigation or in the courtroom would be unreadable (and cited this article).

They said witness testimony is often presented as too black-or-white. Either a witness is a truth-teller or a liar, when, in real life, witnesses do a bit of both. What’s more, they may not be intentionally lying, they may misinterpret something, they may misremember or simply forget.

Topic Pivot: CIA Fun

For what goes wrong (and right) with spycraft in the movies, see this entertaining video with Jonna Mendez from Wired. It’s a followup to her previous film of CIA tips on developing an effective disguise.

Tomorrow: Tidbits that might make good plot points

Photo: “Bewigged man.” by gappa01 is licensed under CC BY-NC 2.0

A Christmas Carol

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Greg Wood as Ebenezer Scrooge; photo: T. Charles Erickson

This is the third season for McCarter Theatre Center’s most recent and most joyous version of A Christmas Carol, its delightful return to Christmas in the Age of Dickens. Opening night was December 7, and this sparkler of a show, based on playwright David Thompson’s adaptation and directed by Adam Immerwahr, runs through December 29.

Immerwahr’s intent when he took on this holiday staple was to explore how Scrooge’s redemption “isn’t just the redemption of one man . . . when a person changes, it can transform an entire community.” His version is filled with songs from what Immerwahr calls “the treasure trove of terrific Christmas music of Dickens’s era.” Even some carols not used explicitly have “become part of the underscoring of the play,” whose music was composed by the late Obie-award winning composer Michael Friedman.

The show exemplifies McCarter’s goal of celebrating creativity, community, and diversity in the presence onstage—and before the curtain, in the lobby and theater aisles—of a cheerful community ensemble of 26 adults and a dozen children. The entire audience is involved in singing the opening carol, and probably no one in the audience avoided beaming and foot-tapping during the Fezziwigs’ Christmas party, with its exuberant, full-cast dance.

Ebenezer Scrooge (played by Greg Wood) has never said “Bah! Humbug!” with more feeling, Bob Cratchit (Jon Norman Schneider) has never been more patiently put-upon, and the rest of the cast, mostly playing multiple parts, is as lively as ever, bringing Dickens’s memorable characters wonderfully to life.

The familiar tale of a miser’s comeuppance is all there. The Ghost of Christmas Past reminds him how he gave up his youthful opportunities for happiness in order to pursue wealth; the Ghost of Christmas Present shows him how others, especially the Cratchits, live; and the Ghost of Christmas Future presents a frightening scenario that causes him to vow to change. Old Marley’s ghost (Frank X) is particularly effective and delivers my favorite line, the sententious “I wear the chain I forged in life.I made it link by link and yard by yard.” The early dark scenes change to light as Scrooge wakes Christmas morning a reformed man.

Underscoring the production’s goal of community engagement is the scheduling of a sensory-sensitive, relaxed matinee performance on December 28, to enable a wider range of people to enjoy a live performance. For tickets, call the box office at 609-258-2787 or visit the box office online.

Trying: A Play by Joanna Glass

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The story of 20th century figure Judge Francis Biddle comes alive in Trying, an engaging play by Joanna McClelland Glass, who was Biddle’s assistant during his last year of life. On stage at the George Street Playhouse through April 8, the play is directed by Jim Jack.

It has an apt title, because the irascible judge was very trying during this period, plagued by illnesses, painful arthritis, and growing infirmities. But he also wanted to finish his memoirs, and Glass (in the play, her character’s name is Sarah) must cajole and persuade and badger him to “try.” She learns to work with the prickly, demanding Biddle, and they develop a strong mutual affection and a relationship that contains a healthy dose of humor.

Biddle was the quintessential “Philadelphia lawyer,” accomplished, educated at elite U.S. institutions and related to or acquainted with a significant number of the country’s patrician leaders. He served numerous posts in the administration of Franklin Roosevelt, including as U.S. Solicitor General and U.S. Attorney General.

When the internment of Japanese-Americans was proposed, he initially opposed it, and regretted his later support. (In the play, he expresses this regret and said that episode is where he learned to mistrust the phrase “military necessity.”) He took actions to support African-American civil rights. Perhaps his most notable achievements were as America’s chief judge at the post-World War II Nuremberg trials of leading Nazis. The lobby displays posters with a number of his strong human rights quotations.

Ironically, Glass says in her notes accompanying the play, at the end of his life the two events that preoccupied him were the deaths that robbed him of a young son and his own father when he was six. The lost opportunities to know those two people haunted him.

Even though there are only two actors in the cast, the story clicks right along. Biddle—“81 years old, elegant, sharply cantankerous, and trying to put his life in order”—is played by Philip Goodwin, with increasing frailty of body, but not of spirit, and Cary Zien plays off him well as a sympathetic and energetic young Sarah. The set design conveys the passage of time, with the changing weather and flora outside the window, and though spring arrives and the days grow longer, they are a constant reminder that Biddle’s days are coming to an end.

This is a lovely play, and gives audiences a lot to think about, with respect to the contributions a single person can make—Biddle in his legal career and Glass with her acute perceptions about what constitutes a well-lived life.

ICYMThem: The Good and the Bad of Recent Biopics

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Film Stars Don’t Die in Liverpool

Annette BeningThis beneath-the-radar film directed by Paul McGuigan (script by Matt Greenhalgh) shows  the last days of Academy-Award-winning actress Gloria Grahame (trailer). In her final illness, she turns to a former lover, the much younger actor, Peter Turner, and the flashbacks about their relationship in its heyday are sparkling and fun. They knew how to enjoy life and each other.

Annette Bening makes a charming, sexy Grahame, riddled with vanities, and Jamie Bell is Turner—sincere and doing the right thing. One heart-rending moment of unselfish love and compassion from each of them. Julie Walters is excellent as Turner’s mother, unaccustomed to consorting with Hollywood stars, but able to establish a strong human connection.

Rotten Tomatoes Critics Rating 80%; audiences 71%.

Mark Felt: The Man Who Brought Down the White House

Mark Felt, Liam Neeson, phone boothWhile Watergate revelations piled up daily in the early 1970s, in all the excruciating details of high-level misdeeds, one mystery remained: Who was the high-ranking source, “Deep Throat”? Washington Post reporters gave this name to one of history’s most important whistle-blowers.

Thirty years later Americans learned the source had been Mark Felt, J. Edgar Hoover’s #2, the man expected to next head the FBI. Felt was aced out of the position by the White House when Hoover died unexpectedly. Were his actions revenge? Or more noble? I saw the film and cannot answer that.

This is great material about a consequential period. Too bad the filmmakers couldn’t make better use of it. Liam Neeson (Felt) looks cadaverous, and writer/director Peter Landesman gives the actors some really wooden dialog, offering little depth (trailer).

Rotten Tomatoes Critics Rating 35%; audiences 43%.

Marshall

Marshall - Chadwick BosemanAnother biopic that doesn’t live up to its source material is Reginald Hudlin’s Marshall, written by Jacob and Michael Koskoff (trailer). Chadwick Boseman nicely plays Thurgood Marshall in his early days, fighting for equal treatment under the law for black Americans. He finds a litigation partner in a reluctant Sam Friedman (played by Josh Gad. The acting is fine, but the scenes and dialog are clichéd, and the rest of the characters two-dimensional.

End-titles mention the 33 cases Marshall argued before the Supreme Court—surely there were numerous episodes embedded in those cases that would bring new issues to light, more illuminating than the courtroom drama presented here: a black man accused of raping and trying to kill a white woman. It would have been interesting to see how the nation’s top court responded to civil rights issues, rather than the predictable provincial racism of a local justice system. We’ve seen that scenario before. Says critic Indra Arriaga in the Anchorage Press, “Marshall misses opportunity after opportunity to be truthful and relevant in the world today.”

Rotten Tomatoes Critics Rating: 83%; audiences 85%.

Read the Book?

Hollywood in the White House

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LBJ - Harrelson

Woody Harrelson as LBJ (2017)

Most of the time, Hollywood moguls and the pols inside the Washington Beltway hold each other “in mutual contempt,” said film historian Max Alvarez in an entertaining talk this week at the Princeton library. Yet politicians need Hollywood’s money and clout, and filmmakers need the government for such things as copyright and First Amendment protections and favorable trade regulations. And occasionally, they look to Washington—and the White House—for juicy story lines.

Screenwriters don’t overlook our Presidents who’ve been tragic characters worthy of Shakespeare. Lincoln has been most often portrayed, with Nixon second-most. Alvarez showed three clips back-to-back from movies about our 37th President: Anthony Hopkins in Nixon, Frank Langella in Frost/Nixon, and Kevin Spacey in the comedy Elvis and Nixon. Hopkins was the smarmiest, Langella the most tightly wound, and Spacey (I know, I know)—hilarious.

At least until recently, films about presidents and the presidency mostly flopped at the box office, and early on, not many were made. There was a bit of a burst in World War II, in films that had a propaganda message. If a president did appear in these early films, he was an upstanding, respected figure. That’s sure changed.

Alvarez suggested that because Presidents Kennedy and Clinton were younger and “cooler,” the creative types in Hollywood were drawn to material that included a president or presidential candidate in the early 60s and again in the 90s. (Note that the industry insider—Ronald Reagan—did not spark such ideas.) Television contributed, too, with 156 episodes of The West Wing from 1999 to 2006. Now we have Veep.

The movies have stopped treating presidents as paragons, with Wag the Dog, Primary Colors, Absolute Power, and Clear and Present Danger examples Alvarez cited. Why the shift? A scene from the Netflix program The Crown suggests an answer. In an episode set in 1957, Lord Altrincham, a small-time newspaper publisher, editorializes against Queen Elizabeth for being priggish and out of touch. In a meeting with her, he explains that the root of the problem is that, since the war, everything has changed, but the monarchy hasn’t. “What’s changed?” she asks, and he replies, “Deference.”

House-of-Cards

Kevin Spacey’s bloody hands in House of Cards.

Does exposure to charismatic, but dysfunctional characters on, say, House of Cards (not to mention such shows as Dexter, Breaking Bad, and Mad Men) normalize dysfunctional behavior? Alvarez thinks it may. Not that we have to go to the cinema or watch tv for that.

From the Department of Free Association . . .

. . . and so we have this recent Atlantic article about how continued exposure to the perfidies of the current administration is causing ‘outrage fatigue.’ Say it isn’t so.

 

Phantom Thread

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Phantom Thread

Day-Lewis & Krieps in Phantom Thread

If this is indeed Daniel Day-Lewis’s last film, writer-director Paul Thomas Anderson’s new movie (trailer) turns out to be an odd swan song. Apparently the idea it would be his last came over Day-Lewis in reaction to this character, for reasons he can’t quite explain, but perhaps related to the draining intensity with which he prepares for his roles.

Reynolds Woodcock, the British fashion designer Day-Lewis plays, doesn’t display the physical energy of Hawkeye (in one of my favorite movies of all time, The Last of the Mohicans) or the agonizing choices facing Abraham Lincoln, or the disturbing intensity of knife-throwing Bill “The Butcher” in Gangs of New York. Woodcock’s challenge, a drive for perfection, comes not from circumstances, but eats him from within.

Woodcock is a fastidious, often languid character. Some of the dialog was included in a radio review, and I was struck by how slooowly Day-Lewis spoke and the long pauses between utterances. You’re less aware of that watching him, of course, because even when he’s not speaking, he’s doing a lot. The eyebrow, the little smile, the internal consideration, the piercing glance, the innate elegance. While the acting is wonderful, the character Woodcock is not especially likeable, and Day-Lewis is too honest an actor to try to make him so.

Woodcock runs his domain—domestic and commercial—his way, as a well turned out obsessive. He cannot abide a disturbance at breakfast or his whole day is ruined. When his new lady-love Alma (played by Vicky Krieps) scrapes the burnt bits from her toast (with a microphone hidden in the jam-pot, surely), it’s fingernails-on-the-blackboard for the entire audience.

The Fitzroy Square townhouse where he lives and conducts business is presided over by his sister Cyril (Lesley Manville), who knows exactly how to keep order. Is she a benign presence or an over-protective monster? Even she is thwarted when Alma realizes that, to keep her man, she must bring him low.

The production team had fun—Woodcock’s breakneck driving trips (an uncharacteristic unleashing of spirit), the 1950s ambience, the workshop with its dowdy middle-aged women—seamstresses in real life—producing fabulous garments they could and would never wear. Day-Lewis himself spent many months studying the craft of clothing design, and director Anderson has remarked on the actor’s fine hands, able to do work believably, to sew.

Fashion historian Alistair O’Neill has commented that the rich satin fabrics used remind him of Charles James’s post-war designs. (Luscious show about James at the Metropolitan Museum in 2014.) In its workshop and showroom scenes, the film eerily echoes the PBS mini-series, The Collection, which aired last fall. Couture in the 1950s is an infrequent setting for drama; is it the hive mind that inspires two such resonant efforts in the same few months?

The film has garnered six Academy Award nominations—best picture, actor (Day-Lewis), director, supporting actress (Manville), score, and costume design. If Mark Bridges hadn’t received that last, well-deserved nomination, surely he would have retired.

Rotten Tomatoes critics rating: 92%; audiences, 70%.

Fictional Female Investigators

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Helen Mirren, Jane Tennison

Helen Mirren as DCI Jane Tennison channeling Hamlet

“A bit of a boys’ club,” says Kristen Lepionka about the place of women detectives in the world of crime fiction. In her new novel, The Last Place You Look, she took on the task of creating a credible female private investigator and immediately discovered the female point of view involves “much more than just a difference of chromosomes.”

Women’s life experiences, and their interaction with crime (either as police, private investigators, or  amateur detectives) is just so different from men’s. In detective fiction, she says, they battle “rampant sexism, being underestimated, excluded, and harassed.” Oh, and they also must solve cases.

This lesson is oh-so-clear to me having just read a crime novel with a female protagonist, written by a man, which would have been much better had he named his main character, say, Sam instead of Samantha, and recognized he was writing a man. This character never seemed like a woman to me, though he gave her one annoying trait meant to symbolize the feminine sensibility. Every other page, she started crying.

Lepionka created a list of ten fictional female detectives she thinks really work and they’re written by both men and women. From her list, I’ve read books featuring: Antoinette Conway (a character created by Tana French); Alex Morrow (Denise Mina); and Smilla Jasperson (Peter Høeg). To her list, I’d add Nikki Liska (Tami Hoag), Maisie Dobbs (Jacqueline Winspear), and Karin Müller (David Young). And, never forget Lynda LaPlante’s development of feisty, put-upon DCI Jane Tennison: “Don’t call me Ma’am; I’m not the bloody queen.” Now I’m excited to read crime-master Michael Connelly’s new book, The Late Show—his first to feature female detective Renée Ballard. Can he do as well as he does with Harry Bosch and Mickey Haller?

Thirty-five years ago, Sara Peretsky faced the same issues as Lepionka in creating her iconic female detective, V.I. Warshawski. In a recent LitHub essay, she describes imagining a new type of detective, one who would be “neither victim nor vamp,” one “who would reflect the experience of my generation . . . who could have a sex life without it defining them as wicked. Women who could solve their own problems.”

Peretsky took her character’s ardent spirit a step further. In 1986, speaking at a conference on “Women in the Mystery,” she spoke out about the disturbing increase in explicit violence and sadism against women. Her remarks fell on receptive ears, coinciding with growing awareness of women writers’ ignored role in the mystery/crime genre, despite the continuing quality of their work. Thus was the organization Sisters in Crime—of which I am a member—born.

Not that essays like these nor a single organization can overcome all the ingrained attitudes and expectations. Perhaps it isn’t a surprise that the same new book I mentioned above with the weak female characterization includes a graphic, sadistic, and totally unnecessary threat to the investigator. More work to do. Write on!

****Beatlebone

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John Lennon

painting by Ryan Oyer; photo: Melissa Bowman, creative commons license

By Kevin Barry – Last Friday, award-winning Irish novelist Kevin Barry was in Princeton to read from his novel Beatlebone. You may recall, as I did not, that John Lennon bought a small island off far Western Ireland and made two visits there. Beatlebone describes a fictional third visit in 1978, two years before he was murdered.

He’s being hounded by media and his own creative demons, and he just wants to get away to this unpeopled dot in the ocean, though heavily and loudly populated by gulls and terns, and slick with guano. He has a driver, Cornelius O’Grady, who began, Barry said, as a peripheral character, but as sometimes happens, became vitally important to the book. He’s John’s guide to the mysteries of Ireland, his goad, and his sounding board.

Much of the book is their dialog, which Barry delivered deliciously:

About my situation, Mr. O’Grady?

Yes?

I really don’t need a f— circus right now. The most important thing is no one knows I’m out here.

Cornelius fills his mug from a silver pot and runs his eyes about the room.

John, he says, half the newspapermen in Dublin are after piling onto the Westport train.

Oh for f—sake!

But we aren’t beat yet. The train’s an hour till it’s in. We’ll throw a shape lively.

The lack of punctuation requires a little extra reader attention, but it isn’t difficult to follow. What you have is a surreal picture of a 38-year-old man who’s known incredible highs and inevitable lows, seen-all, done-all, who just needs to get out from under the weight of himself for a while. He’s a creative genius tied up in his own knots. On the island, he hopes to find inspiration for his next great album, Beatlebone.

I asked Barry how he captured Lennon’s voice. He said it was a real job of work and it took him about a year. He listened to and transcribed an awful lot of You-Tube videos. Lennon “could go from light to dark, from playful to paranoia, all in one sentence.” And because readers of the book are likely to have some sense of Lennon’s manner of speaking, that voice had to be convincing. And, he said, “the difficulty of the project created part of the attraction.” That perverse Irish nature at work, bringing us gifts.

As Steve Earle said in a laudatory review in The New York Times, “Only a literary beast, a daredevil wholly convinced he was put on this planet to write, would ever or should ever attempt to cast a person as iconic as John Lennon as a character in a tale of his own invention.”

Kevin Barry’s previous novels have all won awards, and Beatlebone won the 2015 Goldsmiths Prize for literature that “breaks the mould or extends the possibilities for the novel form.” Although he lives in County Sligo, currently he’s teaching creative writing as the Burns Scholar at Boston College. His presentation was part of the fine series sponsored by Princeton University’s Fund for Irish Studies.