The Lightning Thief by Rick Riordan: A Book Review

I’ve been less active on my blog this week because of the happy event of finding a book I couldn’t put down. Like most such discoveries, I came to it by word of mouth.  In December, we called my sister-in-law to ask what our fifth grade nephew might want for Christmas.  She said he had really enjoyed  The Lightening Thief by Rick Riordan, the first book in a middle grade series called Percy Jackson and the Olympians.  Without even stopping to read the blurb in that hectic season, we ordered the boxed set on Amazon, had it shipped as a gift, and forgot about it – until this month, when I spotted a display of the series at the local Barnes&Noble.

I was instantly impressed as I realized these books feature the 12 year old son of Poseidon and a mortal woman in a 21st century America where the figures of Greek mythology – and their numerous offspring – are on the loose.  If you remember your Greek myths, you recall that the gods were best avoided by mortals.  There was a lot of collateral damage in the Olympians’ constant bickering.  Think of Troy.

Percy Jackson, our half-blood (aka, demigod) hero, would not wish his fate on anyone.  Dyslexic, diagnosed with ADHD, and a D student, he has been shuffled from school to school six times in six years.  And that was when his life was easy – before one of the furies and the Minotaur try to kill him.  By sheer luck, he finds refuge in Camp Half-Blood, but not for long.  Zeus believes Percy has stolen his thunderbolt thrower.  If Percy does not return it in ten days time, a battle will erupt on earth, “that will make the Trojan war look like a water-balloon fight,” according to Chiron the centaur, Percy’s mentor.

Though this book is aimed at a young audience, it has all the attributes writers are taught to build into their novels:  an engaging protagonist, a unique premise, tension on every page, and ever-rising stakes.  I love the way this story encourages younger readers to explore the classics.  One of the items I saw on display at the Barnes & Noble was an illustrated summary of the figures of Greek myth, presented in contemporary form.  Zeus had shoulder length hair, a pin stripe suit, and the good looks that could land him on the cover of a romance novel.  Dionysus was a pudgy, middle-aged reprobate, given to loud Hawaiian shirts.  Such images make the gods more immediate than the older toga and grape-eating portraits.

I am late to this party.  The Lightning Thief was published in 2005. A movie version was made in 2010. I don’t know if it was ever released, but the Wikipedia summary shows it diverges significantly from the novel.  That makes me wary since I liked the book so much.

Most of the online reviews I read were written by adults who enjoyed Riordan’s stories as much as younger readers. Several mentioned the kind of pleasure they found in Harry Potter.  I can’t say for sure, since I’ve only read the first book, but I know I’m looking forward to reading the others.

Save the Cat by Blake Snyder: A Book Review

I love (good) books on screenwriting, because of all the available guides to writing fiction, these focus most squarely on the primacy of story; first the forest, then the trees.  Last week a fortunate weblink led me to Save the Cat, 2005, a brief but idea packed gem of a book by Blake Synder (1957 – 2009).

Snyder was a successful screenwriter and a respected teacher who began his career in movies doing voice-overs for his father at the age of eight.  By his own admission, when he started writing for movies, he had only a vague idea of structure.  Discovering Syd Field’s Screenplay was a revelation:  “truly career-saving,” Snyder says, but there were still gaps in his sense of movie architecture.  Snyder developed the methods he presents in this book in response.  Because he spun things in an unusual way, and uses his own terms for concepts that may have become overly familiar, his methods move the imagination in fresh ways.

Blake Snyder 1957-2009

The title of his book, for instance, is a code for his belief in the primacy of creating characters we want to follow.  In the opening scenes of older movies, the protagonist often did something nice – like saving a cat – to bond with the audience, a step contemporary movies often skip in favor of showing a lead who is hip, slick, and cool.  Snyder cites this as the cause of failures of several recent films.

His approach is top down.  He begins with the log line and the title, and demands that the writer polish them before moving on, because they are a touchstone for writing the script itself as well as a key selling point.  This single sentence and title, when well crafted, reveal what the movie’s about, its genre, the lead characters, and (ideally) pique curiosity.  Snyder gives examples like:  “A cop comes to L.A. to to visit his estranged wife and her office building is taken over by terrorists – Die Hard.”

Snyder then suggests we do something that few writers ever dream of – pitch the concept to strangers.  He would literally pick people out in a Starbucks line, and say, “Excuse me, I’m working on a movie concept, and I wonder if I could get your feedback.”  Since he lived in L.A., the answer was often yes, but he challenges us to do the same wherever we are.

He moves through ever increasing levels of detail as he takes the reader through the development of the script, and one thing I really appreciated was his in-depth knowledge of stories:

“Jaws is just a retelling of the ancient Greek myth of the Minatour or even the dragon-slayer tales of the Middle Ages.  Superman is just a modern Hercules.  Road Trip is just an update of Chaucer’s Canterbury Tales – isn’t it?  To not know the roots of the story you’re trying to create, either from the last 100 years of movie storytelling or the last thousand, is to not honor the traditions and fundamental goals of your job.”

Though Blake Snyder died suddenly in 2009, a website serves as a blog on his methods, and offers a bulletin board as well as classes geared to both screenplays and novels.  http://www.blakesnyder.com/

I’m sure this is old news to the screenwriters who read this blog.  If so, pass it along to your novelist friends; it seems we don’t get out often enough.

The King and the Corpse by Heinrich Zimmer: A Book Review, Part Two

If you haven’t already read it, please begin with Part 1 of this review:  http://wp.me/pYql4-1vt

We left the young king in a most unusual and disconcerting situation – carrying the corpse of a hanged man across a charnel ground.  The corpse was possessed by a spirit who asked the king a riddle and said that if he knew the answer but didn’t speak, his head would explode.

"The King and the Corpse," from a presentation at the Red Arrow Gallery, Joshua Tree, CA, Sept. 2011

The king answered the question and immediately, the body flew back to the tree and the king had to return and cut it down again.  Another walk, another story, another answer and the corpse again disappeared. The king, whose name meant, “Rich in Patience,” needed all he could muster, for the gruesome routine went on and on and on. If the ruler had been thoughtless as a youth, the corpse now gave him riddles worthy of Solomon.  He solved all of them except the 24th, which went like this:

“A chief and his son were hunting in the hills.  The king was a widower and the son unmarried, so they were intrigued to find the footsteps of two women, one older, one younger.  The feet were shapely and the gait suggested refinement.  “A queen and her daughter, I think,” said the father.  They set out in pursuit and agreed that if the women were willing, the father would marry the one with the larger feet – presumably the mother, and the son would marry the other.  The women were indeed a queen and her daughter, fleeing danger, but, the daughter’s feet were larger.  Holding to their vows, the king married the daughter, and the son married her mother.  When both women gave birth to sons, how were the babies related?”

When the king kept silent, the corpse said how pleased he was with the monarch’s courage and wisdom.  He warned him that the sorcerer was a necromancer who planned to use the corpse and the king’s blood – after killing him – in a black magic rite that would give him power over the spirits of the dead.  He told the king how to slay the sorcerer, and when he did, the ghost in the corpse revealed himself as the great god, Shiva, who honored the king, and asked him to name his reward.

The king asked that the 24 riddles should always be remembered and should be told all over the earth.  Shiva assented, and indeed, the story has travelled the world since 50 BC, the time of the Hindu king, Vikramaditya (“The Sun of Valor”), the hero of this and many other legends.  The great god promised that ghosts and demons would never have power wherever the tales were told, and “whoever recites, with sincere devotion, even one of the stories shall be free from sin.”  Shiva also promised the the king dominion during his life and gave him an invincible sword.  Far more important, he opened the monarch’s eyes of spiritual illumination, and so his earthly reign was a model of “virtue and glory.”

When the story opens, the king is young, handsome, rich, and rather heedless since he accepts the beggar’s fruits as if they are his due, without thinking very much about them.  According to the wisdom of the east, he is like a sleeping man whose house is on fire, since nothing – not fruit, nor youth, nor jewels, nor life itself will last.  Also, naiveté doesn’t work too well in this world,  It draws betrayal the way a magnet draws iron.  The “holy man” has been weaving the king’s undoing for ten long years.  Where is the king going to come up with that kind of cunning, and in a hurry?

He finds it as all the heroes and heroines of folklore do, in an unlikely place, from the voice of a being the “wise” would despise.  Stories tell us that is where our guiding spirits often hide at first, as if to test our ability to see beyond appearances.  In fairytales from around the world, it’s the ugly crone, the dwarf, the wild animal, or in this case, in the body of an executed criminal who serve as our spiritual guides  Stories remind us that when we are truly stuck, doing what we have always done will not help.

When life and happiness depend on spinning straw into gold, on finding the water of life, on “going I know not whither and bringing back I know not what,” we need the guidance of our better angels, our guardian spirits, our daemons, as the Greeks called them.  Or in the case of our king, in our tutelary deity, who hides in a corpse to test his student’s faith, courage, and willingness to trust his own experience.

The saving spirit is one of the key themes that Heinrich Zimmer ponders in the stories of  The King and the Corpse, for as Zimmer tells us, “the hidden magician who projects both the ego and its mirror world can do more than any exterior force to unravel by night the web that has been spun by day.”

I consider this an essential book in the library of anyone who wants to hear the voices of wisdom that hide in the old tales that people cannot stop telling.

The King and the Corpse by Heinrich Zimmer: A Book Review – Part One

Heinrich Zimmer (1890 – 1943) was a Sanskrit scholar, an Asian art historian, and an expert in Indian philosophy and spirituality.  After the Nazis dismissed him from Heidelberg University in 1938, he made his way to the US where he taught at Columbia as a visiting professor.  The young Joseph Campbell attended some of his lectures and became a close friend.  Zimmer died of pneumonia in 1943, and Campbell spent the next 12 years editing and publishing some of his papers.  Campbell finished Zimmer’s book on folklore, The King and the Corpse, in 1948.

I discovered Zimmer’s writing as a freshman in college at the same time as I discovered Jung.  The two men, in fact, were long time friends, but their writings on myth and folklore were different.  Jung and his circle largely used story to expand and validate their theories, while Zimmer, and Campbell after him, sought to find the living essence of ancient tales that will speak to us now if we learn to listen.

In his introduction to The King and the Corpse, Zimmer called himself a “dilettante,” from the Italian verb, dilettare, “to take delight in.”   The essays in the book he said, “are for those who take delight in symbols, in conversing with them, and enjoy living with them continually in the mind.”   When I read Heinrich Zimmer, I discovered I was that sort of person.

Heinrich Zimmer, 1933

The King and the Corpse is collection of tales from around the world presented, along with Zimmer’s personal meditations, in a style of exposition later popularized by Campbell.  There’s a story from the Arabian Nights, four stories from the Arthurian cycle, and the rest come from India. The one that has always stayed with me is the title story, “The King and the Corpse.”

For ten years, every day, as a king sat in his audience chamber, an ascetic beggar appeared and wordlessly gave  him a piece of fruit.  Thinking little of it, the king gave the gift to his treasurer who tossed it over the wall into the treasure house.  One day a monkey got loose and hopped onto the king’s lap.  Playfully, the monarch gave him the fruit.  The monkey bit into it and a jewel fell out and rolled across the floor.  The king and treasurer hurried to look in the treasure house, where they found glittering jewels in the pile of rotten fruit.

It had been years since I read this tale, but I’ve seen this motif in other stories, and this time, its power jumped out at me.  The king’s attitude toward the fruit mirrors my own attitude toward health and youth in younger days, when these gifts arrived every day, with little effort on my part, almost as if life owed them to me, and there was no end in sight.  In his essay, Zimmer takes a larger perspective, suggesting each day we are given is like a piece of fruit hiding a jewel that we might discover if we only stopped to look.

The next day, when the ascetic arrived, the king demanded an interview before he would accept the gift.  The beggar said he needed a brave man, a hero, to help in a work of magic.  He asked the king to meet him at midnight on the night of the next full moon, in the funeral ground, where the dead were cremated and criminals hanged.  On the appointed night, the king strapped on his sword and strode through the smoke and flames of the funeral pyres, ignoring the clamor of ghosts and ghouls.  He found the ascetic, in sorcerer’s robes, drawing a magic circle on the ground.  “What can I do for you?” the king asked.  The magician told him to cross to a certain tree, cut down the body of a hanged man, and bring it to him.

This too, according to Zimmer, is a sign of the king’s youth and naiveté.  The realm depended on him, but without a thought, he agreed to meet a magician that he didn’t know, by himself, at the dark of the moon, at the witching hour on dangerous ground.  Yet the king was nothing if not brave.  He cut down the hanged man and hoisted the body onto his shoulder, but as he did, the corpse began to laugh.  “What is it?” the king asked.  The corpse said the way was long and offered to shorten the king’s journey by telling a story.  When the king did not reply, the corpse began.  He told the king a complex tale, filled with moral ambiguity, and then asked which character in the tale had been right.  “And by the way,” the corpse added, “If you know the answer but do not tell me, your skull will explode.”

To Be Continued.

Shangri-La in Books, Movies, and Legend

I recently wrote a short story about a group of people trying to find Shangri-La. For decades, the name has stood for an earthly paradise, difficult to attain. The name was so popular in the 30’s and 40’s that before it was renamed Camp David, Franklin D. Roosevelt named the presidential retreat ground, Shangri-La. After my story was finished, I began to research this mythical place about which I realized I knew very little.

The name, “Shangri-La” entered public awareness through a novel and a movie, which I will discuss today. In my next post, I will explore the Tibetan legend of Shambhala from which core elements of the story may derive.

In David Hilton’s 1933 novel, Lost Horizon, Hugh Conway, a world-weary British diplomat and WWI veteran, along with three others refuges from an uprising in India, board a plane that is hijacked to the remote mountains of Tibet. They crash land in the snows and find their pilot dead. The group is rescued by a postulant lama named, Chang, who leads them to the hidden lamasery of Shangri-La, high above a fertile and temperate valley. Here Conway finds peace, the stirrings of love, and a sense of purpose when the High Lama tells him he has been chosen to oversee the mission of Shangri-La – to preserve the best of modern civilization during a world war the lama, (who is 300 years old), has seen in vision.

Did Hilton foresee WWII when he wrote his book in the early 30’s? Perhaps, but he also studied a 1931 National Geographic account of an expedition to the borders Tibet. Unexpectedly temperate valleys lie along the Nepalese border, and Hilton may also have read of the legend of Shambhala, with a similar prophesy of a world war. This prophesy is part of the Kalachakra teaching cycle the Dalai Lama presents, most recently in Washington, DC, last summer.

Lost Horizon won public notice only after Hilton published, Goodbye Mr. Chips, the following year. Because it was later published as Pocketbook #1, Lost Horizon has been mistakenly called the first American paperback.

Frank Capra read Hilton’s book and immediately decided to make the movie version. Production began in 1936, with a budget of $1.25 million, the largest for any film at the time. After a $777,000 cost overrun, Lost Horizon, was released in 1937 to critical acclaim. A New York Times reviewer called it, “a grand adventure film, magnificently staged, beautifully photographed, and capitally played.” It won Oscars for Art Direction and Film Editing, and was nominated for Best Picture.

Both the book and the movie seem dated now. The romantic vision of humans-as-noble-savage will not appeal to our modern sensibility. The idea that people will be good if freed from want echoes both the pacifism that flourished after the first world war and the socialism that grew in response to the hard times of the ’30’s. I believe in the “higher vibration” of certain places, yet when Chang tells Conway the healing properties of Shangri-La have even eliminated human jealousy, it breaks my “suspension of disbelief.”

Even with this kind of flaw, I enjoyed the book and the movie. The specifics of the Lost Horizon’s 75 year old vision may be dated, but the archetypal longing for a golden age and heaven on earth is not. The book and movie tap into this, and the tale of paradise found then lost evokes our longing for the Garden of Eden, Atlantis, Avalon, and Shangri-La. “We are stardust / We are golden / and we’ve got to get ourselves back to the Garden,” sang Joni Mitchell in her song about Woodstock, another manifestation of longing for a world of peace and joy.

This longing will not go away because it expresses our true nature, according to the view that gave birth to the legend of Shangri-La. Next time we’ll look at the legend of Shambhala, which carries predictions that will echo some we have seen in Lost Horizon.

Openings

Recently I was chatting with a group of other writers about the rule of thumb that you have to grab your audience in the first few pages or lose them.  The consensus was that nowadays, you have just the first few lines.  One man said, “And you have to start with action.”

I don’t believe this, and said as much here last year (http://wp.me/pYql4-4b).  For me, character is primary, and I also have a penchant for mystery.  Action for action’s sake usually puts me off – I need to bond with Jake and Elwood before I care about the car chase.

Yet the conversation started me thinking about the kind of books that instantly draw me in.  When I got home, I pulled down some novels with openings I admire to look again at what the authors do.

One of my favorite reads of the year was Suzanne Collins, The Hunger Games, a stunningly original story and beautifully written as well.  It includes one of the best openings I have ever read.

“When I wake up, the other side of the bed is cold.  My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress.  She must have had bad dreams and climbed in with our mother.  Of course, she did.  This is the day of the reaping.”

In four sentences, we learn a lot about who we’re dealing with:  an articulate girl who notices details, loves her sister, does not have a father or very much money, and soon has to face something ominous called “the reaping.”  We meet an appealing character, two mysteries (where is her father and what is a reaping), and an instant sense of dread.  The opening of this best seller proves that you don’t need action to grab a readers attention:  nothing “happens” except the narrator reaches out and finds her sister is not in bed.

Another memorable book I read this year was The Cypress House by Michael Koryta.  The first two sentences drew me in:  “They’d been on the train for five hours before Arlen Wagner saw the first of the dead men.  To that point it had been a hell of a nice ride.”  Nothing “happens” except one man has a very unusual vision.

A favorite literary novel, Ariel’s Crossing, 2002, by Bradford Morrow starts like this:  “Dona Francisca de Pena never believed in ghosts, and even after she became one herself she couldn’t help but have her doubts.

Maybe its just the season, but half the stories I pulled down featured ghosts.  Here is another, a favorite YA novel, Ghosts I have Been, by Richard Peck, which begins:  “I tell you the world is so full of ghosts, a person wonders if there’s a soul to be found on the Other Side.  Or anybody snug in a quiet grave.  I’ve seen several haunts, and been one myself.”

Such a compelling hook does not happen by accident. Once at a reading, someone asked Richard Peck how many times he revised his opening pages. “Sixty or seventy times on average,” he said.  Because of that focus, you can open almost any one of his more than 30 novels to find an enticing beginning.  On the Wings of Heroes, an historical novel published in 2007, even begins with action, but it is not action for it’s own sake.  It is action crafted to draw in an audience of middle-grade boys:

“Home base was a branch box elder tree in front of the Hisers’ house out by the curb.  We could count on the Hisers not to mind when we pounded in from all directions to tag out on their tree.  We plowed their sod when we skidded home, bled all over their front walk when we collided, knocked loose the latticework under their porch.”

This is admittedly a small sample of books that appeal to my taste, but they prove several points.  Book openings are critical.  It takes real art and sometimes sixty or seventy drafts to draw a reader into a story.  At the same time, it is no more correct to say a book must start with action than to say that it can’t.  There are lots of ways to pique curiosity and interest, and that is what it’s really about.

The Hamish MacBeth Mysteries, by M.C. Beaton

“I was at a fishing school in Sutherland in the very north of Scotland, and I thought, what a wonderful setting for a classical detective story, 11 people isolated in this Highland wilderness. So Hamish Macbeth was born.” – M.C. Beaton

M.C Beaton is the pen name that Marion Chesney, a prolific Scottish author, uses for her mysteries, which include 28 titles featuring Highland constable, Hamish MacBeth, and 22 staring Agatha Raisin, a retired, middle-aged public relations agent who solves murders in the Cotswolds.

Beaton at her 75th birthday party this year

The first MacBeth mystery appeared in 1985.  Agatha made her debut in 1992.  Beaton, 75, has not slackened her pace; she released new titles in both series this year.

Hamish MacBeth is likable constable in the village of Lochdubh (which means, “black lake,” in Gaelic and is pronounced Lokh-DOO).  Hamish loves the town, raises sheep and chickens, and occasionally poaches salmon.  He has a well earned reputation for laziness, and several times works to avoid promotion which would force him to move to the dreary industrial town of Strathbane.  For this and other reasons, his superior, Chief Inspector Blair, despises him and threatens to close the Lochdubh station.  MacBeth must often work around “proper” channels.  Sometimes he plies Blair’s subordinate, Jimmy Anderson, with whiskey to gain information and help.

In the early books, MacBeth had an on-off relationship with Priscilla Halburton-Smyth, but their engagement ended, and Priscilla, who is more ambitious than Hamish, moved away to become a newscaster.  MacBeth’s love life foundered, and now his closest companions are Lugs the dog (the word means, “ears” in Gaelic), and Sonsie, a “domesticated” wildcat whose name means, “cheeky.”

Robert Carlyle played MacBeth in a BBC Scotland adaptation that ran from 1995-1997

MacBeth solves crimes through intuition, curiosity, and an ability to charm various locals.  There is Angus MacDonald, and old man with a reputation as a seer.  Hamish thinks he’s a fraud, but a useful source of gossip.  Nessie and Jessie Currie, twin sisters and village spinsters are also a sources of gossip, though MacBeth must sit through their strange habit of repeating each other’s phrases – repeating each other’s phrases.

The MacBeth novels are proverbial beach reads, engaging escapism, starring a likable rascal who may poach salmon now and again, but restores the balance of justice to his little world of wild beauty and engaging eccentrics.  These books are perfect for rainy weekends, or any other time when you want to leave the modern world behind and root for a man who knows how to game the system, or at least the pointy-haired bosses within it.

Washington’s Crossing by David Hackett Fischer: A Book Review

Every now and then the fit comes upon me, and I find myself avidly burrowing into American history.  My interest most often centers on the Civil War era, but not exclusively.  David Hackett Fischer presents our struggle for freedom with an in-depth study of the second half of 1776, when the leadership of George Washington transformed the American army from a beaten rabble into a force to be reckoned with in their own eyes, those of the British, and the other European powers.

In his letters, Washington articulated his central problem – how to mold a collection of very different sorts of men, with radically different ideas of freedom, into a force that could stand against the most powerful army in the world.  Shortly after Washington assumed command in New England, a Maine regiment made up of fishermen, with freed slaves among them, got into a brawl with a Virginia regiment that included slave owners.  Others rushed into the fray and soon 1000 troops were fighting each other – more than the total number of soldiers who fought at Lexington and Concord.

Washington – who really was “larger than life” – mounted his horse and galloped into the center of the fight.  He grabbed two combatants by the neck, and alternately shook them and swore.  Everyone else ran away.

In an era when history too often debunks heroes, George Washington emerges as a leader chosen by destiny, as most of his men believed him to be.  A Virginia aristocrat, who could have lived a life of leisure, he trained himself in physical endurance and chose a military career as his means of public service.  As an aid to General Braddock, during the latter’s defeat in the French and Indian War, Washington had two horses shot from under him, and four musket balls tore through his coat, but he was unscathed.  Through the revolution, he inspired his men with courage under fire, and he inspired them in other ways:  putting aside his aristocratic background, he created the first army in the world where private soldiers were addressed as, “Gentlemen,” and their grievances were seriously considered.

The British army was was undefeated in battles on five continents.  In the summer of 1776, King George committed half his total forces to putting down “the rebellion.”  A few thousand American defenders awoke one morning in July to see 500 British transports and warships in New York Harbor.  A simple feint drew the Americans to Brooklyn while the British landed 23,000 royal troops and 8,000 Hessians.  This was just the first wave.  When they moved on Manhattan, with naval cover from the rivers, the only surprise was that most of the American army escaped.

British General Howe swept through New Jersey, pushed Washington’s army across the Delaware, and threatened Philadelphia.  Thomas Payne caught the mood of the times in a pamphlet called, The American Crisis, which begins with the famous line, “These are the times that try men’s souls.”

British forces assumed the collapse of the American “peasants” was immanent – the problem was, they did not behave like defeated soldiers.  In early December, Washington sent his forces to collect and hide every boat they could find on the Delaware.  Little by little, the story unfolds of all the telling mistakes the British made:

  • General Howe spread his forces along every ford of the river, with inland garrisons to support them.  In the end, he held numerous strongpoints, but with reduced numbers in each each.
  • Howe attempted to reconcile with the population, but his troops in New Jersey undercut those efforts by plundering farms and private homes, and in some towns, with the mass rape of women and girls.  These actions swelled the ranks of American insurgents.  When British commanders threatened this “third column” with instant execution if they were caught, even more civilians joined.  Soon there were groups of as many as 600 insurgents threatening any British troops who ventured out of their garrisons.
  • Hessian Colonel Rall, who had only 1500 men at Trenton, repeatedly asked for reinforcements, but his requests were denied by a British general who refused to believe the Americans posed a credible threat.
  • Rall’s superior, Carl Von Donop, was stationed six miles away to reinforce Rall in case of trouble, but shortly before Washington’s crossing, Von Donop marched to Mt. Holly to put down a militia attack.  While he was there, Von Donop met an attractive “physician’s widow” and sequestered himself on Dec, 24, 25, and 26.  The man ordered to reinforce Trenton was “occupied” when the Americans crossed the Delaware.  The identity of this colonial Mata Hari, if that is what she was, has never been discovered – no local physicians had died in Mt. Holly.  Some speculate that it could have been Betsy Ross:  her husband had recently died in Philadelphia, she had family in Mt. Holly, and her brother-in-law was a doctor.  There is no historical proof, but after the war, more than one British officer wrote that the colonies were lost because Von Donop could not “keep his passions in check.”
  • The Hessians in Trenton were not drunk when Washinton attacked, as the popular story goes, but they were exhausted after a week of constant alarms from militia attacks that kept them on sentry duty at night in the freezing weather, and under orders to sleep in battle garb when they did get a chance to rest.
***
These are the details and human stories that make history come alive, and David Hackett Fisher’s book is filled with such accounts.  Washington and many others believed Providence would favor the side with the greatest virtue, and Washinton’s Crossing is enough to make you a believer too, both in Providence and the genius of Washington, who repeatedly understood and used “coincidences” that happened outside his plans and even against his orders.  In a fateful period of less than two weeks, his army rose from its “crisis” with stunning victories that convinced both friends and foes that the revolution could be won.  This is a fun book to read if you are in the mood to see that history can sometimes be as fantastic as fiction.