The Devil Won’t Care
A novel of betrayal and retribution
The Devil Won’t Care delves into the career of Lanny Lessner, a journalist who rockets to fame and wealth with a hard-hitting documentary about the decline of his home town after a spate of factory closings. Revered by millions, Lessner seems poised to become the Ralph Nader of his generation.
But Lessner has a dark side, replete with shady dealings, antisocial behaviour, and mean-spirited hypocrisy. The filmmaker’s saga is retold by a friend and supporter, Warren Hill, whose narrative chronicles their relationship. As the story evolves, Hill confronts a growing body of evidence that Lessner, intoxicated by his celebrity status, is a crass, deceptive, manipulative phony, whose shortcomings mimic those of the targets of his pungent wit.
The Devil Won’t Care addresses some of the flaws of a dysfunctional society in which “What’s in it for me?” is the common denominator. Checkbook photojournalism, celebrity worship, reality TV and our sound-bite culture are all laid bare. On a broader level, the book is a morality tale in which the narrator is forced to confront his deepest fears and emotions, set against a backdrop of deception, atonement and redemption.
About the Author
John Streby is a connoisseur of Broadway musicals, pre-1930 phonographs and records, and films noir. His first novel, Rabbit Stew, dealt with the incestuous mix of law and politics, and featured several characters who appear in this book. Mr. Streby is currently writing a third novel, Follow the Money.
There might well be an excellent story lurking in The Devil Won’t Care but much was obscured by the author’s bad writing habits, which really got in my way as I read. It was frustrating: I could hear echoes of John Grisham in this book, and once or twice even caught a whiff of Donna Tartt’s Secret History, which is one of my all-time favourite books: but those moments were rare, and they were swiftly buried beneath the author’s frequent lapses into verbosity and exposition.
There were several places where the author threw away what could have been scenes of great tension; and I found much of his description overwritten and far too lengthy. The author’s habit of telling the reader what had happened instead of showing us those events stopped me caring much about any of his characters or what happened to them; he frequently repeats information; and at times I felt that he was too self-consciously Doing Writing rather than telling us his story.
All of these small problems add up to a text which is slow-paced and waffly. But the biggest problem was that it was confusing: there was little flow in the text; the narrative was jerky and inconsistent; it skipped from subject to subject and back again with little consistency; and this lack of focus, along with the over-wordy vocabulary, made what should have been a fast-paced courtroom drama into a slow dull read
I suspect Mr. Streby could do so much better if he worked with a strong editor or took part in some good writing workshops: there’s the hint of a good, commercial book buried beneath his mistakes. I read eleven of this book’s four hundred and thirty five pages; but had I not been reading this for review, I wouldn’t have got past the anti-trade publishing rant which makes up the bulk of the book’s second paragraph. It’s astonishingly ill-informed and the idea of anyone with an ounce of commercial experience investing money in the business proposed is ludicrous. I strongly advise this writer to research the realities of business better before he writes any more about it.
This review also appears on my bigger blog, How Publishing Really Works. Comments there are closed so if you’d like to discuss this book or my review, you have to do it here. Please do!
Spark Your Creativity with 100 Inspiring Poses
Composition and Visual Pathway
Control Light to Scupt the Figure
Recruit and Interact with Models
Market Your Work
The human body has been an inspiration for artists since before the invention of photography. Naturally, nudes were one of the first subjects of photography as well.
This illustrated how-to guide can be enjoyed by anyone, but is written for two main audiences: the accomplished photographer who wants insight from a peer into the genre of nude photography, and the serious amateur who wants a guided introduction to the field.
The processes are arranged step-by-step. You’ll find more than just a selection of photos and a dissection of each; you’ll see full lighting diagrams as well as a frank discussion of the techniques and pitfalls in the days and weeks leading up to making a nude image. From finding your first nude model to selling your first nude photo, the guide will take you through lighting, posing, and-post processing with Photoshop.
You’ll learn from the author’s twenty years of experience photographing hundreds of nude models.
True Confessions of Nude Photography has fallen foul of the usual problems which trouble most self published books I’ve seen: slapdash punctuation, run-on sentences, jumbled sentences, missing or extra words, and claims which are not be supported by logic. I read just seven of its one hundred and twenty-two pages despite doing my best to be generous: it’s a jerky read made all the more irritating by its frequent repetitions.
I found both its title and the author’s references to “the beauty of the human body” misleading: these terms imply—to me at least—that the book discusses photographing the human body in all its forms; but the only pictures the book contains are of over-skinny, pouting young women. While I can understand that these women might well appeal to the book’s author/photographer, some of the pictures included are quite remarkably unappealing. Some of the poses he’s chosen look extremely uncomfortable; despite this, the two young women who appear together in some of his shots (both of them fit young women, of course) seem very enthusiastic about posing together. I also found some of the advice given on how to find models just a little disturbing: call me prudish, but I don’t think it’s appropriate for anyone to ask young women to pose for them without explaining right from the start that they’ll be expected to strip off their scanties. It reeks of predatory, manipulative behaviour to me, and although that might not be the author’s intention it is a tactic that I find abusive.
If you want to know how to photograph naked people, there have to be better books than this for you to learn from; but if all you want is a poorly-written, poorly-edited book featuring a few competent photos of naked young women, then this is the book for you.
It has taken ruthless dedication for Rachel Develin to achieve her in the status as a Fidelis Officer in ASO, a society born from the remains of old Britain. Here in 2050, the role of the family has been redefined and, under the leadership of Magnamater Beatrice, people live in age-related regions. In Abovo, trained professionals named Maters rear all children before they graduate to Suris, where they stay and contribute until they reach 55 and are obliged to resort to Olim. It is a time of limited resources when all energy and water supplies are strictly controlled, each garment is recycled and every child is an eagerly awaited prize.
Rachel’s highly developed physical and intellectual abilities have always commanded respect, but privately the strain is now telling. While her fragile union with Ben has survived his infidelities, she struggles to suppress the need to be with her daughter, Bera, and to ignore the growing social unrest.
Her latest assignment begins with a routine interrogation, but her investigations are forced in a more unpredictable direction by the unaccountable Death of her superior officer, Josie Kitchener, with whom she has had a long and volatile relationship.
Her discoveries, and the punishments she must administer and endure, force stark choices that irreversibly change her loyalties and threaten the stability of ASO itself.
Accompanied by a CD featuring original music tracks written and performed by the author.
Aso is a perfect example of why editors are needed. The author has a tendency to slightly wooden and over-formal dialogue, and her writing is occasionally rather muddled, an effect which is exacerbated by her habit of head-hopping. Despite these faults she does have a mostly smooth and fluent style—which she then scuppers with numerous errors in punctuation, which range from minor errors to problems which completely cloud her intended meaning.
This tendency to confusion—both in the writing style and the misuse of punctuation—leads to a rather unsatisfactory read of a book which might well have shone had it been edited more effectively.
Mackie shows promise: she seems proficient at world-building, and there is an undercurrent of a lovely, lyrical tone: but she needs to pay more attention to detail, and to have more awareness of some of the pitfalls of the craft of writing, if she is going to fully realise that promise. I read eleven pages out of three hundred and three.
This review should have been published a long time ago: my apologies for its delay.
I had high hopes for First Wolf: it has an above-average front cover (although the author’s name is in the wrong font, the wrong colour, and wrong position); and although the back cover copy is flawed (it contains a tense-change, is a little confusing, and at times reads a bit like a shopping list) it could be brought up to standard without too much trouble. The book’s premise appealed to me too, with its echoes of Alan Garner and its roots in a particularly spectacular part of our landscape and history. But, as is often the case with self-published books, the text is in need of a strong edit, and that’s what lets this book down in the end.
In my view, it suffers from a surplus of commas. I realise that not everyone will agree with me on this point: but I prefer text to be as clear and clean as possible and including commas when they’re not strictly needed makes this impossible. Before you all shout me down here, bear in mind that my preference for clarity-without-commas hasn’t developed simply because I dislike the look of them on the page: it’s because their overuse often hides a fundamental problem with the text which they adorn.
Too often, commas are used to prop up an inadequate sentence structure, or to try to improve a syntax which is forced and lacking in fluency: and that’s what has happened here. A good editor would have helped the writer correct all those errors and let the fast-paced story shine: as it is, the story’s excitement is dulled by the writer’s slightly confusing writing, her oddly over-formal tone, and her frequently illogical statements. Which is a shame, as with a proper edit this book could have been much improved. I read seven pages out of one hundred and fifty-five, and despite their flaws rather enjoyed them.
SLAVERY IS MORE THAN CHAINS AND SHACKLES
SLAVERY IS A STATE OF MIND
Immerse yourself in this highly anticipated political docu-drama set in the Deep South amidst the backdrop of the Civil Rights Movement.
Martha was a young white girl living in the Deep South, inundated with the racist sentiments of the times. But Martha’s natural curiosity and generous heart led her to question this racial divide. When she discovered a primitive Negro family living deep in the woods near her house, everyone’s life changed for ever.
Take the journey of a lifetime alongside Martha as she forges relationships that lead to self discovery and a clearer understanding of the world around her. In the Land of Cotton provides an outstanding snapshot of life in the South during those troubled times – a snapshot everyone should take a close look at, regardless of era or color.
The year was 1956.
I have a feeling that there’s a fascinating story lurking on the pages of In the Land of Cotton: the problem is that it’s buried beneath a lot of clumsy writing and careless mistakes, most of which could be cleared up by a careful edit and a thoughtful rewrite. Several sentences were so poorly-written that I had to stop and reread them in order to understand them fully; and there were a few places where entirely the wrong words had been used. The foreword is particularly badly-written and does the book no favours—I would drop it entirely; but if the writer is determined to keep it then she’d be wise to at least explain who its author is, and why his opinion of her and this book is significant: because although he’s clearly significant to her, I don’t know who he is or how he is connected to the book.
Overall, then, this book is a missed opportunity: its writer rushed into publication before she was really ready for it. Her writing is not yet good enough to be published, and her editing skills will have to be far sharper than they are right now if she wants to make the best of her work.
If she had worked harder on learning her craft and been a little less eager to get into print she’d have done herself and her readers a big favour: as it is, the book just isn’t good enough. I read seventeen pages of In the Land of Cotton, and I closed this book feeling saddened: the writer could have done so much better if she had only taken a little more time.
A self-compiled collection of modern musings. This publication ranges from the political to the comical, from the dark to the romantic.
Following the author’s journey throughout university we travel through his mind, his nights out and his emotions. While his future wife lives in a different country, he drinks too much, he parties too hard and he tries his best to hide the pain.
We move on through to his questioning of the world around him, his job, his musical ambitions and watch as he moves to the capital in search of dreams.
This ironic but beautiful collection of poems will remind you of the best of times and the worst of times.
This is the first part in an on-going collection of thoughts.
Reading this slim collection of poems I felt as though I was spying on the author: it reads like an adolescent’s journal-scribblings, and just isn’t ready to be published.
Poetry is one of the most concentrated art-forms there is: to work, poetry has to be lyrical, intense, fresh and pure, and I’m afraid that I don’t see a single one of those qualities in Boyd’s work. His poems look like real poetry on the page—or at least, they would if the book had been formatted a little better, and the typesetting had been carried out by someone more skilled at the job—but I’m afraid that’s as far as the resemblance goes.
If Mr Boyd wants to attract a decent readership then I strongly advise him to read a lot of good poetry and to do his best to develop an understanding of rhythm, imagery and depth before he publishes any more of his work. I read just three pages out of thirty-one, despite my repeated attempts at leniency.
Having grown up in eastern Missouri, Sir E. J. entered the Navy after a brief stint at the US Naval Academy. For two long years did he struggle, in and out of sleep, with the true enemy of mankind — the Beast. And for the past twenty has he struggled to give form to this book, that you, the reader, might decide to join the fray and save humanity from its self and the destructive side of its animal nature.
A TREK THROUGH THE DARK SIDE IN SEARCH OF SOUL AND THE MEANING OF LIFE
“…a truly remarkable memoir that is as much about the author as it is about the soul and their eventual reunion…”
“Haven’t you heard? The Beast has been unleashed.”
“What beast?” you ask.
“Why that part of Nature which still defies Consciousness.”
“I don’t understand,” you exclaim.
“You will by the time you finish reading this story. Trust me.”
“Why should I?” You inquire.
“You have your soul to free and heaven to gain, and little time for either.”
“Once I started reading the book, I couldn’t put it down until I’d finished it. You go where no one has ever dared. And for that you are to be commended.” David Stewart, Stewart Publishing
“It may very well go on to become the book of the century, or for that matter, the book of the millennium.” Harold Terbrock, Retired Carpenter
Sir E. J. Drury II (who is credited as the author of A Different Kind of Sentinel) has a pretty good grasp of punctuation overall, although he uses far too many commas which has the effect of stopping the flow of his words and giving his whole text a choppy, staccato beat. And this over-use of commas is part of a much larger problem: the style that this writer favours.
He habitually inverts his sentences and uses a dated and particular vocabulary. These two stylistic quirks combine to give his writing a dialect-like air, and the closest I can get to describing the origins of that dialect is to suggest that it’s a sort of pidgin-Biblical. It’s nowhere near as rich, textural or magnificent as the text of the King James version, though, and rather than accentuating and emphasising Drury’s text, these linguistic quirks of his only serve to knock his many writerly failures into sharper focus.
Drury’s uncomfortable style, his frequent and perplexing changes of tense, the many nonsensical sentences that I found, and his insistence on recounting great swathes of his own dreams within the text, meant that I read just five of this book’s two hundred and eighty six pages. Sadly, this is another self-published book which fails to please.
He Dared to Dream an Impossible Dream.He Risked Body and Soul to Make it Real.
“A VOYAGE BEYOND REASON”
On September 13, 1996, twenty four year old Benjamin Wade set out on a solo voyage in a tiny sea kayak. As he pushed off from the shores of San Felipe, his goal lay 6,000 miles away – and deep within his own soul. The chance discovery of his journals, buried on a Colombian cliff above the sea, uncovered a mystery which took many years to finally solve. His journals tell of misery and elation, of triumph and failure, of insight and insanity. Follow the events which will forge his character, and follow the mind of a young man set on achieving a dream that no amount of misfortune can dissuade him from reaching…on a journey that challenges his survival, and brings him face to face with himself.
Tom Gauthier weaves the word pictures and intimate thoughts of Benjamin Wade into a gripping story of the struggle for survival and the reshaping of a young life in a way that few of us could imagine.
As with so many of the books I’ve reviewed here, Tom Gauthier’s A Voyage Beyond Reason: An Epic of Survival Based on the Original Journals of Benjamin Wade is let down by the writing, which is often overdone and frequently relies on clever tricks rather than on good writing to make the author’s point. I found inconsistencies in the tense used; an intrusive amount of passive voice; a couple of contradictions in the text, and homophone substitutions; there were several missing hyphens and the author would do well to cut his comma-use by half. But what irritated me most was the significance with which Benjamin Wade’s name was used in the early parts of the text: this implied that I should know who he was, but no information about him was given to support that implication.
Despite that, this is one of the better books I’ve looked at here. With a strong edit it could be vastly improved and it has real potential to make a fascinating read if that is done: but as it is, I found my fifteen mistakes within its first seven pages. A shame.