I recently saw the play Patriots, which was written by Peter Morgan and directed by Rupert Gold. The production came from London where it won awards. I knew that the play had something to do with Vladimir Putin but didn’t know much beyond that. Within a few minutes, I realized, however, that I was familiar with the story from having read Masha Gessen’s book, The Man Without a Face: The Unlikely Rise of Vladimir Putin. In both the play and book, we learn how Russian oligarch Boris Berezovsky elevated the obscure bureaucrat Putin from insignificance to the dictator of Russia. The play — the set, the acting, the direction, the writing — was outstanding. I enjoyed it, but it also made me think about the creative process. How does one learn about Berezovsky and Putin and decide to make a play about their dynamics? How does one read Ron Chernow’s Hamilton and decide to make a hip-hop musical of it? How does one read American Prometheus and decide to make a movie of it?
The menu said that a dish contained “tofu and other stuff.” I eschewed it.
Are desert flowers more vibrant than others or does it just seem that way?
I apparently need to learn more about the Bible. Or football. Or perhaps both. Deion Sanders, now a football coach, in promoting his book Motivate and Dominate: 21 Ways to Win On and Off the Field, was asked: “What book (fiction or nonfiction) best captures the game of football as you know it?” Sanders replied, “The Bible.”
A friend said, “All my life I said I wanted to be someone. . . . I can see now that I should have been more specific.”
From her dress, I pegged her as a street person. She was pushing a cart filled with bulging kitchen trash bags. She reached into one. She pulled out latex gloves. She put them on. She reached back into the bag and pulled out sanitizing wipes. She then scrubbed the subway seat before sitting down.
At a New England town’s used book sale, a friend held up Smallbone Deceased and said I would like it. I did. The mystery by Michael Gilbert published in 1950 is set in a London solicitor’s office where the corpse of Marcus Smallbone is discovered in a large deed box. I had not heard of Michael Gilbert before, but I learned that he was a practicing solicitor as well as the author of many books in different styles. Perhaps what I found most intriguing is that Gilbert only wrote on his weekday commute from the suburbs to London, averaging five hundred words a day. This schedule produced over thirty novels and more than 180 short stories. I assume he commuted by train, and since I also assume that he was writing in longhand, his train rides were smoother than my subway trips.
The first mysteries I remember reading were Freddy the Pig books by Walter R. Brooks. The Library of Congress cataloging data printed on the copyright page above the ISBN for Freddy the Detective states: “Brooks, Walter R. (1886-1958) with illustrations by Kurt Wiese. Summary: Freddy the pig does some detective work in order to solve the mystery of a missing toy train.” Below the ISBN it continues: [1. Pigs—Fiction 2. Domestic animals—fiction. 3. Mystery and detective stories.] How could you not want to read this?
My idea for a book group: Everyone reads three-quarters of the same mystery and then gets together for a discussion.