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Book Review - Crisis of the House Never United by Chuck DeVore
June 02, 2023
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Every few months, it seems that the vast majority of Twitter is suddenly comprised of experts in US Constitutional law. Then we slip into a morass of sticky arguments about the role of the government: “Do we want more freedom, or more safety?” “More regulation or less?” “Is it time for a national divorce?” What we may not realize is that these questions have existed in one form or another from the moment of our founding.

While I would never claim to be expert in anything legal, I know enough world history to understand that the US Constitution is unique and the greatest legal document ever written. What I never considered is how US history would be different (or even exist) if it hadn’t been ratified. Precious things tend to be fragile, especially in their infancy. So too with the creation of our system of government. 

Which brings us to Crisis of the House never United.

Author Chuck DeVore takes a different approach to alternate history. And given his background serving in both the military and government, he’s more than qualified to reconsider the past and write of battles, both with ballots and bullets (to borrow from the back cover). Usually authors include some fantastic element like a major technological advancement as justification for altering events. The closest thing to which I can compare Crisis of the House Never United is Susanna Clarke's Jonathan Strange & Mr. Norrell, and even that framed its retelling of the Napoleonic Wars with magic.

There's nothing like that here, let me be clear so that so no one quits this book frustrated. Rather, DeVore's novel attempts to answer the question "What would have happened if the Constitution had not been ratified?" Put another way, "What if key players in US history, like Aaron Burr, hadn't miscalculated their opponents?" and "What if (as many of today's generation complain) slavery had been abolished immediately at our founding?"

The answer, it seems, would be a national divorce, an idea that's come into vogue as of late. And it's not pretty.

All history eventually becomes story, and real-life figures morph into characters no more or less real to us than Luke Skywalker or Huckleberry Finn. In an undertaking like this, it falls to the author to research and replicate the once-living men and women in close approximation to how they truly were. The reader can tell that DeVore did his homework as he writes of the time with meticulous detail and authority, so one can safely assume he did the same with Aaron Burr, Alexander Hamilton, Thomas Paine, et al. At the back of the book are copious notes explaining the historical deviations for those without an encyclopedic knowledge of events.

It's frustrating to me that there are so few novels (and films, and TV shows) set during our nation's founding. Having visited Colonial Williamsburg, I know that it was a vibrant and fascinating time. So even though war is hell and this novel speculates a much darker post-Revolutionary War era than the difficult reality, I savored the depictions of day-to-day life.

Through this narrative speculation, we're reminded that this country which the whole world takes for granted has always been poised on the edge of a knife. Sometimes the edge has been a little sharper than at others. There's never been a nation like the United States, and there likely never will be again, for all our successes over the last 250 years. To suggest that we burn it all down and start over, that if we'd been there we would have done better, or that smashing it to pieces now would improve things, is foolish and dangerous.

One small criticism: I wish that DeVore had taken on a co-author schooled in writing fiction just to polish the dialog and narration. The plot flows organically and maintains its logic, yet the writing is sometimes stilted and the dialog awkward. Those flaws take away from the pleasant experience of reading a novel, though the intent here is to be thought provoking more than entertaining.

That aside, I recommend Crisis of the House Never United for anyone who loves the era, or would like some context for how we arrived where we are today and what stands to be lost if we don't fight to preserve it.

 

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Content warning: language and sexual situations.

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Star Wars is dead and the more apathy you show the faster it will be allowed to rest in peace.

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If you'd like to buy the story and read ahead, it's available in the Fall 2020 issue of Cirsova, available here: https://amzn.to/3yRRywY

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Yesterday two trailers were released for upcoming superhero projects. First, we had Marvel's Ironheart, which Disney has been sitting on for years at this point. Apparently it follows Riri Williams (Dominique Thorne), a young black woman at MIT who is (was?) intended to take over for Tony Stark as Ironwhathaveyou. If you haven't seen the trailer yet, take a look.

I stopped paying too much attention to the MCU a long time ago, but apparently Riri was introduced in Wakanda Forever, and her fans have been clamoring for a standalone show ever since (/sarcasm). Watching the trailer, I can't help but notice how many times we're told she's smart and capable. Any suggestion that she can't do something is shot down immediately. We're supposed to believe that The System is against is her because she's poor, I guess, and doesn't have Tony Stark's advantages.

Remember Tony Stark? Sure, he was rich. But he was also a self-absorbed man-child who found himself in a cave in Afghanistan who had to engineer his own escape with scrap parts. Tony Stark, who had to learn about self-sacrifice and the consequences of his actions. Robert Downey Jr. make us like the guy, with his easy charm, even though we wanted to see him grow up. There was room for a character arc. No offence to Dominique, but she doesn't have the charm, and her character clearly has nowhere to go.

A few hours later, Warner Bros./DC released the trailer for James Gunn's Superman, the latest reboot of the iconic superhero. We've been waiting for a good Superman for a long time. Something to reunite the fans, the casually interested, and possibly the entire country. And to be honest, I don't think this is gonna do it. Take a look.

Before I go any further, I want to spin my theory on the interview scene, which is a little different from what I'm hearing from most anyone else. Notice how David Corenswet pitches his voice really high when he says, "Sure!" At this point in the movie, I don't think Lois (Rachel Brasnahan) knows that Clark is Superman, and thinks he's just playacting. But when Clark drops his voice, he's showing his cards a little bit. Then, when he completely loses his cool, he's just acting how Lois thinks Superman would respond. In context (the scene is reportedly ten minutes long!), it might be interesting. Out of context, in a trailer, it's a stupid decision.

Throughout the entire trailer we see Superman smacked around, knocked out, screaming out in self-defense, and made fun of for having a dog. There are some super-heroics, to be sure, but they're mitigated by the overwhelming amount of thrashing he takes. Unlike Riri, I guess he's got some room for growth. But it doesn't inspire me to see the movie. Some are defending this approach, suggesting that someone with such a clear cut understanding of right and wrong would be frustrated and confused by our complex, political climate. And I agree. But his moral compass and grace towards an unfair world should have been set before leaving Smallville and going out into the world.

So on the one hand, we've got a flawless female character. And on the other, we've got an immature Superman. Neither character is attractive, warts and all. Neither character is relatable or inspiring in the ways the filmmakers intended, as presented. Maybe the show and movie will be good. But someone else will have to let me know. Because right now, I'm not inspired to see either one.

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What Do We Want? Familiar Originality! When Do We Want It? Now!

There is an ongoing debate over what movie audiences really want. On the one hand, there are those who bemoan the upcoming slate of films that are nothing but sequels and prequels. “People want original movies!” they say, and use the spectacular failure of recent comic book movies as proof. But when an original movie like the recent Black Bag doesn’t make a dent at the box office and is quietly shuffled onto streaming, the other side can say, “No they don’t.”

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I say, both!

The average viewer likes familiarity. That’s why every night on TV millions of people watch the latest episode of their favorite procedural. Every episode is the same. Has been for years. Doesn’t matter if you’re watching Bones, House M.D., or NCIS, at the end of the day, the story beats are invariably the same. The characters fill the same archetypes. 

Even if you aren’t a student of scriptwriting, you know the flow.

Engaging with a story is sometimes like singing a song. Sometimes you want to sit back and listen to a master perform, but other times you want to join in. And if the tune is simple and familiar, you can learn new words that much more easily. If the melody is complex, with tempo and key changes, it demands attention. That’s when you just sit back and appreciate someone else’s artistry. 

More often than not, we’re drawn to the familiar. 

We go to the movies to be entertained more than we go to be challenged.

But Hollywood seems determined to challenge us. They challenge our ideas of who are familiar are. They challenge our core beliefs about right and wrong. When they do make something that isn’t from a well established intellectual property, they challenge us to accept an unfamiliar actor, who likely isn’t attractive or charming. Why should we want to get to know this person and the character he or she is playing?

We don’t. 

Mass appeal isn’t difficult. Our mainstream entertainment providers are making it difficult, probably in large part because they don’t know or understand what we want. And unless they do, people just like us will move to replace them. 

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Book Review - The Revenant and the Cult - Book Two: The Terror in the Wychwood

In the forward to The Revenant and the Cult - Book Two: The Terror in the Wychwood, author Herman P. Hunter mentions that his influences are J.R.R. Tolkien, Robert E. Howard, C.S. Lewis, and H.P. Lovecraft. While it may seem odd to intersperse deeply religious writers with those antagonistic to the idea of a benevolent God, from a writer’s perspective it makes sense.

For a fantasy writer, particularly one of faith, they are essential.

It’s also worth remembering that all four men were producing their greatest works around the same time on opposite sides of the Atlantic. Theirs was the golden age of worldbuilding, and it’s practically impossible for today’s writer of the fantastic not be influenced by their work, consciously or through osmosis. But to fully appreciate modern genre fiction, it’s to our advantage to drink deeply from their bibliographies.

Because genre fiction doesn’t always mean science fiction and fantasy.

As I noted in my review of The Revenant and the Cult - Book One: The Missing Spy, that story draws heavily from western tropes. Howard, always one to blaze his own trails, also dabbled in Lovecraft’s mythos, but before taking his own life seemed to be moving into writing cowboy stories. He was a Texan, after all. Unlike many authors, he was never satisfied staying in category for too long. 

With his series, Hunter is doing something similar, but different.

Tolkien’s work may be the pinnacle of fantasy writing and the standard to which all fantasy writers are held, as well as the guiding influence of Hunter’s work. But with The Terror in the Wychwood, he again draws heavily from his American brethren. In this story our main trio, Halsedric, Herodiani, and Roe must traverse through a swampy forrest of Lovecraftian horrors, fighting through hoards Frank Frazetta would have been happy to depict.

Two words: Moonlight Hunters.

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Christian and otherwise, alike.

As the series has gone on, Hunter’s writing has only gotten richer. The books fly by and are pleasant reading, even with the elevated style of the classics. Anyone looking for the pulp violence of Howard, with the weird of Lovecraft, the tenderness of Lewis, and the worldview of Tolkien will feel right at home.

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