Peter Robinson. A Necessary End (1989)

     Peter Robinson. A Necessary End (1989) During a demonstration against nuclear power, a policeman is murdered. Because of possible political motives, Burgess, a superintendent, is dispatched from the Met to take over the case. This puts Banks at a disadvantage, especially when he suggests that the murder may have been targeted. Burgess, a nicely drawn bigot and bully, refuses to take up this line of inquiry. Banks has a lucky break: one of the dead coppers work mates passes on information about his sadistic behaviour towards demonstrators of all kinds. Banks’s hunch proves accurate, but much unnecessary harm is done before the perpetrator suicides, and Banks discovers that it was indeed a targeted killing, and the pain will continue even after the case is officially closed.
    This is the second Inspector Banks novel. I’ll be looking for more, although I doubt I’ll be able to read them in order of writing. We care about his characters one way or another, and if we ever needed a lesson on the differences between law and justice, his books will provide them. Recommended. **½

Keith DiSantis. Sax in the Sand

     Keith DiSantis. Sax in the Sand With Dean Schneider (piano), Andy Lalasis (bass) and Clarissa Joy (vocals). Self-published CD ca. 2012. I first heard DiSantis at Niobe’s renewal of vows celebration, then a few days later on New Year’s Eve at a restaurant in Port Isabella, Texas. DiSantis is a skilled sax player, who knows how to make his instrument do exactly what he wants it to do. He and his sidesmen have played together many times, they know each other’s styles, and listen to each other. The result is a disk of standards that’s a pleasure to listen to. DiSantis doesn’t mark out any new ground, he just gives you lovely renditions of music you already know. A few of the eleven titles:  Lullaby of Birdland, the Girl From Ipanema, Misty, All the Things You Are. The cuts are longer than the 3-minute radio standard, you get about an hour of music. Recommended, if you can find it. Hang around Brownsville and Padre island, or look him up. He teaches at Los Fresnos High School. ***

Jane Johnson et al. Toasts & Quotes (2009)

     Jane Johnson et al. Toasts & Quotes (2009) Over 2,000 quotes and proverbs about all manner of subjects. Some of the attributions are suspect, but as far as I can tell, at least 99% are accurate. Reading such a compilation over several days leaves one with a funny buzz in the brain: most of the epigrams are witty, but the wit is often dark. Humour is not the aim, insight is.
     A few quotes at random:
Writing free verse is like playing tennis without a net. (Robert Frost)
The White House is the finest jail in the world. (Harry Truman)
It is only when they are wrong that machines remind you how powerful they can be. (Clive James)
Sex is like pizza. Even when it’s bad, it’s still pretty good. (Helen Childress)
     An excellent reference work, and fun to read. ***

Louis L’Amour. The Iron Marshal (1979)

     Louis L’Amour. The Iron Marshal (1979) Tom Shanaghy grows up in the criminal section of New York City. A rumble prompts him to flee, and he ends up in a small collection of shacks and barns in the middle of Kansas. The people living there think of it as a town, and they need a marshal, since the current one is more of a crook than a protector. Tom takes on the job despite his desire to take the first train back to east. A cattle rancher who wants to revenge himself for the murder of his brother, a gang of thieves planning to steal the cash and gold coming into town in anticipation of the cattle drive, a wife who wants to double cross them, the family of the previous marshal, and the gear and guns of the marshal that the town was expecting, are the complicating elements of a typical L’Amour plot. All’s well that ends well: the bad guys are caught and/or killed, Tom falls for the cutest girl and decides to stay. Average for L’Amour, in other words, a pretty good entertainment. **½

Uh-oh, NSA is watching me. (Link)

Cory Doctorow did some digging, and found out tht if you read Boing-Boing, NSA considers you a "target" for surveillance. Shades of J. Edgar Hoover and the FBI! More here.

Proof, if one was needed, that the spooks have no sense of irony, humour, the absurd, or anything other than their absurd paranoid fantasies. Follow the link at your peril.

Crazy For You. At the Stratford Festival, Stratford, Ontario.

     Crazy For You. At the Stratford Festival, Stratford, Ontario. D: Donna Feore.  With Josh Franklin, Natalie Daradich, Tom Rooney, et al. Well done. I first saw this musical as a Great Performance special on PBS. Loved it, and so had to see this version. Well worth the trip (600 or km from home) and the price.
     The story is of course as silly as any Broadway Musical: Bobby Child is heir to a fortune doesn’t want to work in the bank, doesn’t want to marry Irene, wants to sing and dance and act in a Bela Zangler show. His mother sends him to Deadrock, Nevada, to foreclose the mortgage on a theatre that hasn’t seen a show in many years and has been made into a Post Office. He falls for the owner’s daughter, but has to impersonate Bela Zangler before she pays attention to him. And from there, things get more and more implausible, but the acting (great comic timing), the writing, the dancing, the music, and the ingenious (and yet surprisingly unintrusive) set designs carry you triumphantly to the proper end of a musical comedy: the hero and heroine get married, and a bunch of others pair off, too.
     The play was written by Ken Ludwig around a number of Ira Gershwin and Irving Berlin songs, the plot loosely based on their Girl Crazy. For more about it see
https://en.wikipedia.org/wiki/Crazy_for_You_%28musical%29
     It’s modern version of the traditional Broadway Musical, and it’s a success in every way. This version satisfied my desire for a retro show, and demonstrated that Stratford can do musicals as well as anybody. ****

Louis L’Amour Passin’ Through (1985)

Louis L’Amour  Passin’ Through (1985) Passin’ Through is the narrator’s nickname. He’s a drifter who doesn’t like being shot at, and the first thing he does in Parrot City is kill Burrows, a man who challenges him. The victim’s friends decide to hang Passin’, but instead of breaking his neck they leave him to choke to death. An Indian woman and her boy whom he’d helped a scant hour before cut him down, and so save his life. He rides on and arrives at a ranch with two women. One thing leads to another, he stays on to help them, but they are not what they seem. There’s some doubt about who actually owns the ranch, Burrows’ friends want to finish their revenge, and assorted other bad guys tangle the plot. The tale ends with knots untangled and Passin’ married to the rightful owner of the ranch.
        L’Amour’s skill at making the landscape present to us is as high as ever, his plotting is complicated but clear enough, and driven by character. The first person narrator is unusual for him, and tricky to handle when you’re writing romance, which demands stereotyped heroes and villains. Passin’s sidebars about himself make the story sound like one long reminiscence, which adds to the believability of the man, who may be uneducated, but has more than his share of common sense, and a strong sense of right and wrong, a trait that makes him stay and participate in the mess despite his equally strong misgivings.
     Another well done Western romance by a master of the genre. ***