It’s a good season for robust and interesting writing. I have two book recommendations, one fiction and one nonfiction.
The Coming of Cactus Jim
Kansas sheriff James Early makes his debut in Early’s Fall, by Jerry Peterson. Known to his friends as “Cactus”—and I guess I’ll have to read another book or two to find out what that’s about—Early is a cowboy sort of guy, equally at home riding the range on horseback or in a sheriff’s department jeep.
The book, set in the 1940s, opens with a bold-as-brass daylight bank robbery in a sleepy little town. Early and his deputy scour the countryside in a high-speed, all-terrain chase, to no avail. Before they can catch the taunting, whimsical bank robber, they get distracted by a grisly murder.
As Early methodically investigates likely suspects in the murder, he stops a passenger train, interrogates an Israeli secret agent, and is forced to balance his professional duties with care for his pregnant wife’s mental aberrations. Everything unravels inexorably to an exciting and moving finish.
Peterson, a seasoned author with fourteen books to his credit, knows how to keep a story moving at a compelling pace. His diction is strong and his images stirring. You won’t lightly put down Early’s Fall.
Norwegian journalist and author Lars Mytting has three critically acclaimed novels to his credit. But the book that made him a household name in the Nordic world is the nonfiction classic Norwegian Wood: Chopping, Stacking, and Drying Wood the Scandinavian Way.
Mytting’s book comes along at just the right time to make me a better-informed woodsman. Some of his practical advice—about axes, chainsaws, and such—tallies with my own observations over the year. Some, however, has given me a new understanding of the best ways to process timber for burning in my fireplace or my cozy little woodstove.
I had long assumed—I don’t know why, wishful thinking perhaps—that if logs sit in the open air for up to a year before being split, they will be better seasoned and thus will split better, or at least easier. Wrong, says Mytting. Log should be split just after the timber is felled. Not only does the wood split easiest when it is fresh; the splitting itself is essential to the proper seasoning of the wood. To dry quickly and fully, the inner wood must be exposed. A log that sits, fully wrapped in bark, for any length of time will start to decompose from the inside out. Even a little bit of this internal rot eliminates hot gases needed for efficient burning and guarantees that the log will never fully dry.
So from now on, I’ll split all my wood as soon as I get it.
For me, that was the great lesson from this informative book; for you, something else might be. Writing with fluid and engaging clarity, Mytting delves into all aspects of the Scandinavian firewood experience, as witness his chapter heads: “The Cold,” “The Forest,” “The Tools,” “The Chopping Block,” “The Woodpile,” “The Seasoning,” “The Stove,” and “The Fire.” Each subject, by turn, is thoughtfully and fully explained. The whole book is well-illustrated with photos of lovely and creative woodpiles.
If you burn any wood at home, this book is sure to tell you things you’ll wish you had known before.
Two books, Early’s Fall and Norwegian Wood. Great books for the he-men, and the she-women, among you. Go now and read.
Bereft of people to see and places to be, I turn to the dwindling wood-pile in the rack along my garage wall.
A couple of years ago our friend Kevin rebuilt our old miscellaneous junk depot, making it into a newly inviting sunroom. It’s an awkwardly long space with a lot of windows but no connection to the furnace that warms the rest of our house. So Kevin installed a cast-iron woodstove at the far end of the room.
That woodstove has become a great blessing to Your New Favorite Writer. It means I can write in the calm of our sunroom in warm weather, in the cooler times of spring and fall, and even in the deepest part of winter.
But the cost is: Procuring enough firewood and splitting the logs to stack for drying and burning.
Into the Trees
Old-timers say firewood warms you twice: First when you cut it, haul it, and stack it; and second when you burn it.
I like to get logs for free, rather than pay money. From time to time, someone in the neighborhood has a tree felled; usually this work is done by hired arborists. If the homeowner does not want the wood, the wood cutters must haul the logs to a dump for disposal—an added expense I can lighten for them by taking some logs off their hands. It never hurts to ask.
After hauling a few heavy, 4- to 6-foot logs home in the back of my SUV, I need to cut them to fireplace lengths. I use a small, seven-pound Stihl chainsaw with a 14-inch bar. Small beats large where chainsaws are concerned. Schlepping a 23-pound, 20-inch murder machine around a tangled logjam will knock the stuffing out of you in half an hour. Very few men or women who are not woodsmen by trade can put a large chainsaw to good use. And fatigue will make the urban lumberjack a danger to self and others.
The timber is sawn, ideally, into 16-inch segments; then the real fun begins. Logs need to be split (1) so they’ll dry more efficiently, for the bark holds moisture in; (2) so they’ll fit conveniently in the stove; (3) so they’ll burn more readily as flames lap at their exposed innards; and (4) so Your New Favorite Writer may enjoy the satisfaction of cleaving a pillar of wood with the bite of a sharp axe.
Good blocks of beech it was I split, As large around as the chopping block; And every piece I squarely hit Fell splinterless as a cloven rock. The blows that a life of self-control Spares to strike for the common good That day, giving a loose to my soul, I spent on the unimportant wood.
Scavenging for wood seldom brings me “good blocks of beech” that fall “splinterless as a cloven rock.” Quite often I’m using, by turns, my axe, a heavy splitting maul, or even wedges and a sledgehammer to demolish a twisty, knotted specimen of brutish maple or fruitwood with desperately cross-tangled fibers. It’s frustrating to try to smash such a godforsaken glob of sylvan perversity to flinders.
But, ah! when I do score a nice chunk of straight-grained hardwood—such a joy to plummet the steel down upon it and pick up the halves on either side, to set the halves again on the chopping block and knock them into clean, glistening quarters. If you have ever done this kind of elemental work, then you know the peace it bestows.
Splitting wood adds rest and harmony to the soul.
Some of my neighbors use hydraulic splitters that can shiver a timber to its component parts in seconds. I have no quarrel with this efficient practice. I just like my way better.
Pride of Axemanship
Frost mentions a pair of bystanders who watched him at his beech-splitting chore:
Men of the woods and lumberjacks, They judged me by their appropriate tool. Except as a fellow handled an ax, They had no way of knowing a fool.
So there’s that, too. Pride, you see, rears its ugly head. I am proud of the little wood lore I have gained over my 75 years on God’s green earth, starting as a Boy Scout and continuing to the present day. Whatever small skill of axemanship I possess has been earned through uncounted hours of practice on “the unimportant wood.”
Let us say, rather: The importance of wood may be more in its first warming than in the second.
Owing to my amateur status as an axeman, and also to the amateur status of some of the trees I scrounge, my woodpile is far from a thing of beauty. Unlike those geometric wonders of forest engineering you see gracing the pages of coffee table books, my woodrack has all sorts of bent and twisted knots and gnarls, wood of all descriptions protruding rudely to snag the sweater of a careless passer-by. It’s almost disgraceful.
But here’s the thing, Gentle Reader: I intend to burn up all the evidence.
The menace of this season’s global pandemic, with its mandated idleness, has simply led back to roots, and branches, that are dear to me for their own sake.
Here’s hoping you likewise may find blessed paths to pursue as we patiently await good tidings from our common future.
It means, “prevalent over a whole area, country, etc.; universal, general . . . .” It is usually applied to disease, thus giving rise to its use as a noun, “a pandemic,” meaning, “a disease which is pandemic.” But it could really be used for almost anything that is widely distributed over the world.
Politics is pandemic. As was oft remarked of Chickenman, “It’s everywhere! It’s everywhere!”
In the midst of our current angst over COVID-19, President Trump has been accused of downplaying the threat. Trump’s opponents have been accused of weaponizing the fear of a dread disease. Players on both sides of the line of scrimmage are ripping up the Astroturf, wailing, “Unfair! They are politicizing a national disaster!”
So, what else is new?
If you read this blog regularly—a Recommended Best Practice—you may wonder, “Whence comes this commentary on current events? Is not this blog supposed to be about ‘seeking fresh meanings in our common past’?”
Okay, Dear Reader. You asked for it:
It Was Ever Thus
Politicians have made political hay out of all things sacred since the moment after time started. Many earnest combatants believe that everything is political; that exploiting all events to advance one’s political agenda is the purest form of service. (“You never let a serious crisis go to waste. And what I mean by that, it’s an opportunity to do things you think you could not do before.”—Rahm Emanuel, 2008.)
Those who seek to serve society must understand the political context in which they operate. Military leaders, in particular, often feel that war should be exempt from politics. But they would be extremely foolish to suppose that it actually is.
During the Civil War, General Ulysses S. Grant showed a canny cognizance of the political winds which blew all around him. In that conflict, almost every general, North or South, was appointed and advanced politically. Even Grant, who demonstrated the highest ability, would never have received the opportunity to demonstrate that ability without the sponsorship of his local Congressman, Rep. Elihu Washburne. The Congressman put Grant in for a brigadier general’s star, immediately began thumping for his promotion to major general, and in every possible way championed Grant’s career.
In 1863, Grant was tasked with taking the city of Vicksburg, which President Abraham Lincoln saw as “the golden key” to unlock the Confederacy. Take Vicksburg from the rebels, and you re-open the Mississippi River to Union navigation. At the same time, you dreadfully complicate Confederate efforts to get men and materiel from the Trans-Mississippi West (Arkansas, Louisiana, Texas). Vicksburg in Union hands would be the beginning of the end of the rebellion.
Trouble was, Grant’s first try—aided by loyal subordinates Sherman and Macpherson and the ambitiously disloyal McClernand—had come to naught, for reasons beyond Grant’s control. “The strategical way according to the rule,” Grant wrote in his memoirs, “would have been to go back to Memphis; establish that as a base of supplies; fortify it so that the storehouses could be held by a small garrison, and move from there along the line of the railroad, repairing as we advanced, to the Yallabusha, or to Jackson, Mississippi.”
However, “At this time the North had become very much discouraged. . . . It was my judgment at the time that to make a backward movement as long as that from Vicksburg to Memphis, would be interpreted, by many of those yet full of hope for the preservation of the Union, as a defeat, and that the draft would be resisted, desertions ensue, and the power to capture and punish deserters lost. There was nothing left to be done but to go forward to a decisive victory.”
What Grant delicately omitted was that political powers in Washington wanted Grant removed and replaced with McClernand—an officer who, despite his loyalty to the Union, was unfit for high command. So long as Grant was actively campaigning against Vicksburg, it was not too hard for Lincoln to resist these demands for his scalp. But any movement that appeared to be a retreat—back to Memphis, for example—would most likely seal his fate. I am not the first to suggest that if Grant had done anything other than what he did—go forward through the Mississippi lowlands with no established supply line, feeding his army off the land—he would have lost his job. So that’s exactly what he did.
Grant could not afford to ignore politics.
In the end, he found a way to win without losing his job.
How does this history apply to the present day? Simply in this: Those who wish to serve the country need to be entirely apolitical; but they cannot afford to ignore the politics of the situation.
There are a lot of players, political and otherwise. One is New York Governor Andrew Cuomo, an interesting figure. He is on the opposite political team from the president—but neither of them can afford to make trouble with the other in facing the coronavirus challenge, both for political reasons, and for the sake of people’s health.
Cuomo, like any experienced governor, knows quite a bit about handling emergencies. I saw him on TV the other day, revealing one of the key things about emergencies—a lesson I learned years ago as a worker in Wisconsin’s state emergency operations. There are two things, Cuomo said—I’m loosely paraphrasing—two things: One is the objective state of things: the resources, the damage, the things that need to be repaired; or in the case of a pandemic disease, the infection rates, testing kits, all that operational stuff. The other thing is the public perception of the situation. The latter is what drives rumors, panics, compliance with relief plans or the lack of compliance, etc. Often, Cuomo said, that second factor, the public perception, gets to be a greater problem than the disaster scenario itself.
Cuomo is dead accurate on that. (Your New Favorite Writer’s note to self: Write a blog post sometime about the 1996 Weyauwega, Wisconsin, train derailment.)
The only thing leaders can do about the second factor, the public perception, is to provide a steady flow of factual information from official sources. Credibility is key. People know when they’re being lied to, and it’s the kiss of death in handling an emergency.
Enter Dr. Anthony Fauci, and his sidekicks Dr. Deborah Brix, Admiral Brett Giroir, and Surgeon General Jerome Adams. These people are the key medical players on the President’s Coronavirus Task Force. They are physicians with impeccable credentials and experienced public health leaders. Their usefulness on the task force is based on their ability to help move key decisions. But just as important is the straightness of their dialog with the American public as principal briefers of this ongoing emergency.
What makes them useful is that they never say anything that is not factual. Their credibility is gilt-edged. It is a remarkable feat, day in and day out, to speak the truth, the whole truth, and nothing but the truth, from the epicenter of a hurricane of fear, anxiety, and political games.
As Executive Branch employees, they work under the authority of President Donald J. Trump—a gargantuan figure and one who speaks in momentarily expedient approximations. Fauci ranks as a genius, saying what is true and correcting what is false, while affirming truths uttered by the president and never crossing swords with him over statements that may be less reliable.
Without being himself a politician, Anthony Fauci knows how to survive in a tough political environment, giving good service and straight advice with an easy grace.
He reminds me of Ulysses S. Grant, who made virtues of necessities and got the military job done without having to bother Abe Lincoln overmuch with messy details.
Funny how often parts of the present resemble parts of the past.
When vast public ills descend on us, usually we can pinpoint the moment, or the day, when they became manifest.
In the case of sudden events—the eruption of Vesuvius, the bombing of Pearl Harbor, the assassination of John F. Kennedy, etc.—the time of their occurrence, even to the second, is obvious to all.
Other disasters roll out more slowly, and the precise moment we later remember is really an instant of realization, a time when the nature and dimensions of the threat suddenly crystallized. Thus it was at the Battle of Shiloh—April 6-7, 1862—when the emergence of forty thousand yipping rebels from the woods near a Tennessee River landing destroyed the wishful Northern hope that the Secession had almost run its course. Likewise, in the spring of 1965, the Students for a Democratic Society’s march on Washington served notice that the Vietnam War would not be, like previous wars, supported by most of the American public.
The Slow Roll
So it is with the COVID-19 pandemic. It has been raging, in China, since 1 December 2019. On 7 January 2020 the U.S. Centers for Disease Control and Prevention issued a travel notice for travelers to Wuhan, relating to “the cluster of cases of pneumonia of an unknown etiology.” On 9 January the World Health Organization confirmed the existence of a “novel coronavirus,” and the first death occurred in China.
On 19 January, cases began appearing in areas of China outside Wuhan.
On 21 January, the United States reported its first laboratory-confirmed case, in the state of Washington.
On 28 January, China’s Supreme People’s Court ruled that whistleblower, Li Wenliang, had not committed the crime of spreading “rumors” when on 30 December 2019 he posted to a WeChat forum for medical school alumni that seven patients under his care appeared to have contracted SARS. In their ruling, the Supreme People’s Court stated, “If society had at the time believed those ‘rumors’. . . perhaps it would’ve meant we could better control the coronavirus today. Rumors end when there is openness.”
On 6 February, Dr. Li died of the coronavirus illness.
By that time, there were thousands of cases in China and many cases in other countries of the world and certain cruise ships at sea or quarantined in ports.
Since then, we have had daily reports of new illness and deaths in many places around the world, and in the United States. America’s and the world’s financial markets have crashed as airlines, cruise lines, and many other business have seen their customer streams and supply chains badly affected.
Moment of Truth
Yesterday—Wednesday, 11 March 2020—is when this illness became real to most of us:
Tom Hanks caught it. And his wife, Rita Wilson. They have been diagnosed in Australia, where they are making a film.
The National Collegiate Athletic Association announced that their annual basketball tournament would be played with practically nobody in the stands. (Today, they canceled the event entirely.)
The World Health Organization officially declared a global pandemic (as if we didn’t know already).
Donald J. Trump made a speech from the Oval Office. Whether you liked it or not probably depends on what you think of Trump generally.
Norway closed, for crying out loud!
Now that Tom Hanks, our national Everyman, has caught the corona bug, and now that one of our great national festivals, the NCAA Tournament, has been canceled—COVID-19, overnight, has become dire in a way it was not before.
Classes, events, gatherings everywhere are being canceled or rescheduled. My own life has been affected: The University of Wisconsin Writers’ Institute, an event many of us look forward to all year long, is suddenly off the books. We await, with bated breath, the new dates.
It’s most frustrating. But it really is necessary. A full-court press, in the realm of what we now call “social distancing,” is probably the greatest weapon we have to “flatten the curve” of the coronavirus. It will save lives—mine for sure, maybe yours, too.
I have no advice for you, Dear Reader, any better than what you can get elsewhere. As Abraham Lincoln said in a much different context, “With high hope for the future, no prediction in regard to it is ventured.”
Please do your best to stay healthy. I need all the devoted readers I can get.
One of the pleasures of my trade is reading the historical fiction other people are writing. This week it is my pleasure to give enthusiastic endorsement to a couple of wonderful books by female writers with female protagonists.
Flight of the Sparrow by Amy Belding Brown
Mary Rowlandson is a contented, if repressed, minister’s wife on the Massachusetts frontier in the 1670s. When Indians raid her village in an early phase of King Philip’s War, she and her children are taken captive, with other English colonists, in a harrowing ordeal. Eventually she is released and resumes life as a proper colonial wife.
But her season of captivity has changed her outlook on the world, and she finds that extisence within the normal Puritan channels of the Massachusetts Bay Colony no longer is a comfortable fit for her.
Amy Belding Brown’s prose is straightforward and workmanlike, rising sometimes into the lyrical, as she tells Mary’s tale. We meet a number of actual historical figures besides Mary herself, including Increase Mather, King Phillip (Metacomet), his sister-in-law the female sachem Weetamoo, missionary to the Indians John Eliot, and James Printer (Wowaus)—one of Eliot’s “Praying Indians” who mastered English, worked in the printing trade, and lived in both worlds.
The external movements of this sweeping novel are all, in the author’s words, “consistent with historical records.” However, the heart of its narrative lies in the inner turmoil of Mary Rowlandson: the easy assumptions she finds shattered, the travail of adjusting her old viewpoints to fit often-unpleasant new realities of her life, and her fearless encounter of love’s contradictory pulls on her heart.
Anyone interested in history, in the mysteries of the human heart, or both, will enjoy this book.
Tinsmith 1865 by Sara Dahmen
In Tinsmith 1865 a young woman, Marie Kotlarczyk, transplanted to the Dakota frontier, must take up and succeed at her family’s trade of tinsmithing, despite being a woman. The voice of Marie, often tormented by the decisions she must make and the feats she must perform, is strong and compelling. Romance is a strong part of this story but it would be wrong to call it a “romance.” It is historical fiction, with emphasis on the real struggles of a community of well-drawn characters in the post-Civil War American West. The book highlights the varying ethnicities present in the fictional Flats Town—especially Marie’s Polish family and friends and several Norwegians who sometimes help and sometimes hinder her quest to be her own woman. I was fascinated by the story’s authentic historical detail and was continually drawn into Marie’s personal struggle.
The author, Sara Dahmen, says, “Today, I am, as far as I can tell, the only female coppersmith in America who builds copper cookware, re-tins and restores vintage pieces, and custom-designs them.” Besides the practice of smithery and the design and marketing of her own cookware line, Sara is the author of both nonfiction and fiction books, including her Flats Junction Series, of which Tinsmith 1865 is the second installment.
Hope you will enjoy one or both of these outstanding books as much as I did.
You were regaled last week with the tale of how I became a full-time writer and embarked on a major work of historical fiction. (If by chance you missed out on this gripping account, you can make up for lost time here.)
My novel, Freedom’s Purchase, tells of a young man, Anders, and a young woman, Maria, who sail from Norway to America and settle in Central Illinois just before the Civil War. Those were years when our nation was in great turmoil, when slave hunters roamed the prairie looking for escapees from Southern plantations, or even for free blacks they could kidnap into slavery. It was inevitable that my characters, Anders and Maria, would come in conflict with Slavery and its minions.
Anders and Maria are based on my real-life ancestors—but they are wholly fictional characters. In other words, they are not the real Anders Gunstensen and Maria Nybro from whom I am descended. But there is some basis, you see, in the common usages of our common past.
While starting to work out the plot for my novel, I attended the University of Wisconsin – Continuing Studies Program’s annual “Write by the Lake” conference; my breakout was a workshop on “Know Your Genre,” taught by Laurie Scheer. We learned what genres are: Mainly, they are categories that allow agents and publishers to know how to pitch your story, and booksellers to know where to shelve it. I told Laurie my idea for a historical novel about Norwegian immigrants in the time of the Civil War.
“An immigrant saga!” she said.
“Yes,” I said. “That’s it.”
She encouraged me to write it. Because of her encouragement, I started to think, “Maybe I could.”
How to Be a Writer, in 1,672 Easy Lessons
I was finding my niche. I had taken T.S. Eliot’s lines as my watchword—
We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time.
By the time I began writing the first draft of Anders and Maria, I had hooked up with a great writing critique group, Tuesdays With Story. We meet twice a month, under the leadership of Jerry Peterson—to read and comment on one another’s work. This task is indispensable to any writer who is serious about developing his or her craft. You need to hear just how your work strikes someone who does not have the big advantage you have—the advantage of living inside your own mind and already knowing what it is you’re trying to convey. It’s all too easy to write things that convey to readers something other than what you intended. The Tuesdays with Story Group is a valuable backstop.
Also, to be a writer in today’s market, you must become a Major Literary Figure on day one. Besides writing and revising your own work, you spend many hours reading and commenting on other people’s work. You do theirs because they do yours; one hand washes the other.
But you also find yourself constantly immersed in many already-published books, both within and outside of your genre. The good, the bad, and the ugly. You can learn something from each one of them, Grasshopper.
And let’s not forget magazines—The Writer and Writer’s Digest—which are de rigeur, and conferences, such as “Write by the Lake” and the UW’s annual spring Writers’ Institute. A good writers’ conference brings together hundreds of people who share this creepy compulsion to put words on paper and have people read them.
The first time I attended the UW Writers’ Institute, in 2018, I knew right away I had found my tribe. We are all different, yet all the same. We have to write. Whether or not we’re any good at it. Whether or not we can sell it. Whether or not we grab the brass ring of fame and fortune.
Later this month I will attend my third Writers’ Institute. I will see old friends and make new ones. I will pitch my book to bona fide literary agents and learn new and better ways to navigate the literary marketplace.
Standing on a Platform
Above all, experts say, “an author needs a platform.” But “platform” has no exact definition. Arnold Palmer, the golfer, had a platform, only it was called an army—“Arnie’s Army,” thousands of devoted fans who showed up and paid good money to follow Arnie across any golf course, in fair weather or foul, whether he was shooting well or ill. That is a platform.
Say you’re famous. You’re Hillary Clinton, or Donald Trump, or Wayne Gretzky, or Ellen DeGeneres. You already have a platform. Just whisper a hint that you might write a book, and top publishers will give you a seven-figure advance.
If you’re a regular person and just hope somebody will read your book, a platform is harder to come by. If you’re already a published author, that’s a start. Readers who loved your cozy mystery The Chocolate Cake Caper might also buy The Apple Pie Fiasco. But if you’re not famous and have nothing in print, then all you have is friends and family. And—what else?—Social Media.
So, about the time I started writing Freedom’s Purchase, I added a “Larry F. Sommers, Writer” page to my Facebook presence. I didn’t know what I would do with it, and in truth, I have not done much. But I use it now and then to mention some little victory or struggle in my ongoing quest as a writer. Right now there are 227 followers on that page. I also have 611 friends on my regular Facebook page. What does that mean? It just means I have friends and followers. Which is good, right? (If you’re not already a friend and follower, I invite you to hop on the bandwagon at https://www.facebook.com/larryfsommers and https://www.facebook.com/LarryFSommersWriter/.)
Into the Blogosphere
Then, about a year ago, I decided to launch this blog. Let me assure you, Kind Reader, I did not do so lightly.
Some folks told me, “Oh, a blog is soeasy! No trouble, no time, a lead-pipe cinch.”
Well, Gentle Reader, Your New Favorite Writer is not among those who just fell off the turnip truck yesterday. No, sir. I knew it would be a grind. Nothing worthwhile is accomplished without significant time and effort.
I decided to do it anyway, because: This blog—titled “Reflections” and subtitled “seeking fresh meanings in our common past”—is not just a promotional device for my novel. Rather, it is a way to relate directly with you and others who like to read about old times and ponder what meanings we might derive from them. So it is not only a way to promote my writing; it IS my writing, so far more than 50,000 words and counting.
Though I approached the project with trepidation, I have been pleasantly surprised by how much I enjoy doing it. Especially I enjoy getting hints from time to time that my work has really connected with a reader. When I read a comment on my blog, or on my Facebook page, that just makes my day. Especially when that person says, “Your story reminded me of . . .”—and then proceeds to tell me a little story from their own experience and recollection. What I wrote stimulated their thoughts about their own past and its meaning.
That is why I am doing it, friends.
So I hope you enjoy it, and I hope you’ll spread the word to others—by mentioning this “Reflections” blog at https://LarryFSommers.com, by sharing it on Facebook, by tweeting it on Twitter, or whatever. And I hope you’ll come back often. We’ll explore a diverse range of human experiences and try to puzzle them out together. And when Freedom’s Purchase—or my new novel, which is completely different—is published, you’ll be among the first to know.