Book Review: Riding Shotgun, by Rita Mae Brown

Interesting emotional romp thru the centuries. The ending was a bit of a let down, but otherwise the story is very good.

The reason I say the ending was a bit disappointing is because it feels as if the author expended all of her energy writing the book until the last 50 pages or so, and then rushed through to get it finished. Where for most of the book we get exquisite detail about situations that range from fox hunting to traveling through time, with well-developed characters a reader can truly want to get to know, and deliciously detailed descriptions of places and events, toward the end after a major, life-changing turn of events is starting to be reconciled, the story becomes little more than a quick by-rote narration of events, including some that are chaotic and emotionally damaging. Gone is the depth of feeling coupled with careful thought and analysis, in favor of a hair-raising churning through a family and friendship-wrecking series of experiences, galloping to an ultimately unsatisfying ending - all at once too brief and almost painful. It would have been better if the author perhaps took a break, thoroughly re-read the book to the point of the return from the multi-century foxhunt, and then carefully continued toward bringing the book to a satisfying close. If the point is, as it seems to be, for the main character to apply lessons learned from history, the same care and attention should have been paid to this portion of the book as was clearly taken in the first two-thirds.
The main character, a middle-aged woman named Pryor (which is a historical name in her family), but for some unknown reason goes by the nickname "Cig," is believable and interesting. She's widowed, self-contained, strong, and raising two teenagers with more than a little aplomb. But she's not perfect - far from it - but her flaws are not unmanageable, nor do they detract from her likability. The ensemble cast of characters is varied and authentic, and the plot for the most part flows smoothly and is easy to follow. Even when the story becomes a bit implausible, it is still very well written and therefore believable, which is the point, I believe.
The conflict that becomes the heart of the story between two sisters is very real, and Cig has long believed there is a truth that her sister Grace is hiding about what happened. In the end, the truth surprises everyone, and I'm not sure it's fully realized or acknowledged. There's a lot of crying and screaming and fit-throwing, which may or may not be cathartic. There are promises made, but whether they are fulfilled is anyone's guess. Some of that truth remains elusive, I think. There could have been more to this story, in that way, as well as others.
The historical characters were endearing and not stereotypical. The scenes during this time were very well done - you can feel the snow on your cheeks, the cold, the sunny breeze on a warm day. There are no laments about the clothing, thank goodness (a personal pet peeve). Cig sees a lot in this time to appreciate and is respectful of the differences, so she learns and adapts very well. I really love this part of the book. You can really see her starting to grow, especially as she feels herself being drawn to the people she meets, some perhaps a bit more than others. She is really good at giving people their due, and is able to develop true friendships, bonding with not only her family members but with several others.
Unfortunately the author attempts to bind the historical story with the modern one in an ultimately dissatisfying way.

Having Fritz - or his historical double - show up at the very, very end of the last two pages was about as piquant and frustrating as a mouthful of cold coffee. That touch, imho, was pure effrontery on the part of the author. A better writer would have either omitted that bit completely - I mean, we do find out what had happened to that character so there was no mystery there - or brought the character in gradually, just like the historical friendship that had blossomed originally, and quite naturally, into something more. But teasing the reader with a sudden appearance right at the very end? Gross.

Violence is depicted realistically in the book, especially in historical context, where the author shines with not only making it believable, but applicable to the plot and characters. Sadly, the depictions of violence seem either dated, gratuitous, or just wrong in the modern-day (1999) portion.
The title of the book, "Riding Shotgun," is quite dated, trite, and really doesn't apply to anything that happens in the book other than one or two references to "riding shotgun through history" - and what does that even mean? Especially in the context of this book. The main character travels back in time on horseback, where there is no "riding shotgun." It's an inept analogy at best. Books have been re-titled and this one needs to be.
I honestly wonder if the author might revisit the story and write the ending differently, too. If so, the entire book would make a fabulous movie. As a writer, I'm tempted to pen a bit of transformative fiction myself here. As it is, the last quarter of the book brought it down from an otherwise five stars to four. Still a very good read, as I said, but the story that could have been written - like the truth that Cig seeks - is still out there.

Content Warnings:
Moderate: Domestic abuse, Emotional abuse, and Physical abuse
Minor: Emotional abuse
There is minor emotional abuse that I attribute mainly to plot devices that are extremely dated now. However, toward the end, there is a violent physical altercation between two members of the Hunt Club, a married couple that is extremely disruptive, dangerous, and ends up involving others.

>The aggressor is punched in the face by a teenager, which halts the fight, and the teenager is then lauded for his "quick thinking."

No one remarks on the fact that this altercation is essentially an attempted murder right in front of everyone. No assistance or health care is even offered to the injured person, who bears heavy marks and is clearly injured; they all just get on their horses and begin the event after the fight is stopped. As I said, this part is very dated and unsatisfactory all around.

The Legend of Billie Jean's Heartfelt Brilliance: A Retrospective

I found this gem that can be watched for free on the YouTubes: The Legend of Billie Jean

Now, if you haven't watched this movie recently, or heaven forbid you never heard of this movie, run, don't walk, and WATCH IT RIGHT NOW.

This movie has aged incredibly well. In the day, I don't think certain people took it seriously. But if you were a traumatized young woman, and there were a lot more of us than perhaps people realize - Billie Jean was like a bolt of lightning. She shone like a gilded arrow soaring straight into the heart of the patriarchy. And we loved her for it.

The first five minutes of the movie are like a cold water bath in lost memory: the skinny clothes, the easy acceptance of poverty, the sweat, the feel of the wind in your hair on the back of a speeding open two-wheeled vehicle. I'd forgotten none of us wore bras. I'd forgotten we used to run around half-naked because there was no such thing as central air-conditioning. I'd forgotten how much of life we spent outside. (Would you have stayed inside those brown-paneled, dimly-lit, cigarette-smoke-filled, claustrophobic rooms? Me neither.) I also forgot just how inundated we were with sexual harassment that crossed physical boundaries, and how little equipped we were as young women and girls to deal with it. But it's there, right there, in all its obtuse ugliness.

This movie was one of the most realistic depictions of what life was like for people like me who grew up in the South in the 1970s in cinema - right up there with Virgin Suicides. Some people missed that. I read somewhere that "girls wouldn't have cut their hair like that just to be like her. That's unrealistic and made the movie seem [more trite etc etc]." Of course this was written by a male. And tell that to the thousands of people who watched the movie and then went straight into their bathrooms and cut off their own locks. Like I did. I hadn't had short hair for nearly a decade at that point, but something about BJ's shorn head called out to my recently bereaved soul: I had given a baby up for adoption, and almost no one knew how much I still grieved, nearly two years after the fact. Cutting my hair defiantly in the mirror did lead me to a beautician's chair to clean up the mess I'd made but the gesture meant something. Not for nothing did people in past centuries shave their heads when something awful happened. There's something purifying about this act, a ritual casting out of inner demons, a denial to the world that "everything's all right."

Sometimes everything is absolutely not all right, and this is one way to get people to pay attention and look a bit closer. Sometimes it's the only way to signal things are not all right. Sometimes we don't have words. Sometimes we just feel compelled to do something physically to ourselves, and we may not even know why, but it's a call we absolutely must answer. It's more than a "new look;" we're ready to step into a new identity, and take on the world.

Brava, lady. You go.

A reviewer took issue with Billie Jean's response to the 14-year old Putter's beginning of her period. The writer clearly completely misunderstood Billie Jean's advice to "lie down and take it easy" as "fear"?! Nothing of the kind. Unlike many depictions of this event in cinema both before and since that reflects the negativity about it more common in the real world, Billie Jean celebrated Putter's getting her period. "That's wonderful!" she crowed, and promptly took Putter to the dock for a ceremonial (and practical) bath, wrapping her tenderly in a big towel. When she said, "Lie down and take it easy," it was a way of saying, "Job well done! You've earned some well-deserved rest after that crazy thing we all just went through that you handled amazingly well." There was not a trace of fear in any of their responses. To think otherwise shows how little that reviewer was paying attention.

Paying attention is exactly what Billie Jean was doing. The things that happened to her and to her brother caused her to stop, pause, and consider carefully a most human and reasonable response. She shrugged off the violence that had been done to her own person (and god did that feel familiar); she just wanted the people who were responsible for wrecking her brother's scooter to pay for the repairs. It was that simple. She didn't ask them for respect, or admission of guilt. She just wanted her brother to have his scooter back in working order. But in so doing, she forced people to look at themselves and consider their actions. To recognize they had done wrong. And unfortunately, when some people do that, they lash out at the messenger: in this case, Billie Jean and her friends who supported her.

Sound familiar?

Some people have learned nothing in the nearly 40 (!) years since this movie was released. That damn film was ahead of its time; its themes of social justice, anarchic movements, and anti-capitalism seemed pragmatic and real at the time. After all, "Fair is fair!" And the fuckers eventually got what was coming to them. It's almost eerie how the youth as depicted in this movie instantly got the message that Billie Jean was sending. Surely these were lessons the world was learning. Right? Right?! ... Then again the whole damn 80s were a tease that things would be better and life was going to make more sense in the coming years. But not all of us were evolving. Not everyone wanted fairness and freedom and happiness. We underestimated the sheer tenacity and meanness of the patriarchy, unfortunately.

At the end of the movie, Billie Jean and her brother are taking off for long-talked-of Vermont. Christian Slater's character notices a red snowmobile that quite obviously reminds him of his lost Honda Elite, and he stops to admire it, proving that in spite of their troubles, his interest in fast and shiny things hasn't been destroyed. Billie Jean has her eyes on the road. She seems to hope things are going to be all right, but there's a wariness, a hard-won wisdom that she wears like a veil. She's beautiful and strong and represents all things good. But she's alone, except for a younger person she'll have to watch over and keep out of trouble. She's every single-mother and older-sister out there. One wonders where Lloyd is, what their parting was like. One hopes Putter and Ophelia are okay. But we don't know. All we can do is hope.

Plus ça change, plus c'est la même chose. (attributed to Jean-Baptiste Alphonse 1808–1890 French novelist and editor)

References:
Remembering Legend of Billie Jean: The First Great Female Superhero Movie
28 Things We Learned from the Legend of Billie Jean Commentary
44 Facts About the Movie The Legend of Billie Jean
Cult Classic Legend of Billie Jean Still Relevant Today
Wikipedia entry "The Legend of Billie Jean"

Book Review: Greta by J. S. Lemon

A sweet coming-of-age story about a young girl who experiences some of the things we all do growing up, and some very unusual things indeed. Greta and her best friend Lotti share a deep bond of friendship, and are joined by their creative friend Astrid in navigating some of the trials and tribulations of middle school - social events, homework, and boys. They feel the thrills of being noticed by someone they like, and then the disappointment and stress when things may not go the way they hoped. One of them is even sexually assaulted by the person she thought was a nice admirer, which coincides with changes that start inside her body but are soon noticeable to everyone.

The theme of the story is growth and change, sometimes painful, and in a small way, loss of innocence and becoming more aware of the dangers that can beset young girls. Greta feels herself growing stronger and more able to deal with teasing and ostracizing, and even defends - loudly - her friend Lotti when she is called names by some cruel peers. While in some ways Greta is finding change hard to deal with, especially the prospect and preparations for the upcoming family move to a larger house, the ways that she adapts and even embraces the visible and invisible changes happening to her body and personality are admirable and engaging.

The language of the book is simple and relatable, and I think middle grade readers will really enjoy the story. Thanks to NetGalley and publisher MacMillan for the advance copy in exchange for an honest review.