Book Review: An aging widow's European river cruise turns deadly in ‘Murder Takes a Vacation'
Muriel Blossom began her fictional career as a minor character in 2008, serving as an assistant to private detective Tess Monaghan, the protagonist in twelve of Laura Lippman's fine crime novels.
Over the years, she proved valuable to Tess, excellent at surveillance because of an uncanny ability to blend into the background. But now, in 'Murder Takes a Vacation,' Mrs. Blossom, as she is always called, gets her star turn.
'She was a large woman,' Lippman writes. 'OK, fine. She was fat.' But Mrs. Blossom is comfortable with her body although she occasionally feels self-conscious when she senses others are judging her.
She is in her late 60s now, widowed and a grandmother, but thanks to a winning lottery ticket she found in a parking lot, she has money for the first time in her life. One of the things she does with it is take her first trip to Europe.
On the cross-Atlantic flight, and again when she reaches Paris, younger men begin showing Mrs. Blossom a great deal of attention. She rather likes this, although she wonders if they might be after her money. But soon, after she boards the cruise ship to tour the Seine, she becomes aware that she is being followed. Eventually her stateroom is ransacked and a stranger tries to mug her.
To explain why would reveal too much of the story. Suffice it to say that Mrs. Blossom unwittingly gets caught up in something nefarious involving a jewel-encrusted bird that will remind readers of 'The Maltese Falcon.' And like Sam Spade, she has the strength and guile to deal with it.
Lippman's crime novels are often gritty and street-smart, but in this funny, charming cozy about Mrs. Blossom's vacation, both the prose and the plot are playful.
'As someone who often writes about terrible people,' she says in her author's note, 'I loved every minute I spent with Muriel Blossom.'
___
Bruce DeSilva,
winner of the Mystery Writers of America's Edgar Award, is the author of the Mulligan crime novels including 'The Dread Line.'
___
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Music Review: Bruce Springsteen takes seven 'Lost Albums' off the shelf for a new box set
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Hamilton Spectator
2 hours ago
- Hamilton Spectator
Music Review: Bruce Springsteen takes seven ‘Lost Albums' off the shelf for a new box set
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There are character studies here, and more lighthearted fare like 'Little Girl Like You,' with a single man yearning to settle down. The most striking cut is 'The Klansman,' about a boy and his racist father, yet it cries out for more development. Ultimately, Springsteen chose the right albums to release at the time. The song 'Streets of Philadelphia' was a genuine departure musically, and Springsteen decided to make an album in the same vein, with synthesizers and drum loops the dominant elements. If released in the early 1990s, this would have been the most contemporary-sounding disc of his career, with atmospherics that occasionally recall U2. Springsteen pulled it at the last minute, reasoning that the stories of doomed relationships — sample lyric: 'We loved each other like a disease' — was too much like 'Tunnel of Love.' At the same time he recorded 'The Ghost of Tom Joad' in 1995, Springsteen also convened a country band steered by pedal steel player Marty Rifkin. Their work was terrific, led by the one-two punch of 'Repo Man' and the Johnny Rivers cover, 'Poor Side of Town.' The title cut to a disc he calls 'Somewhere North of Nashville' escaped into the public some two decades later. Since the somber 'Joad' won a Grammy, who are we to second-guess his choice of what to put out? 'Nashville,' though, is a rollicking good time. 'Inyo' is similar to 'Joad' and 'Devils & Dust,' mostly acoustic-based narratives, here many of them stories of the Southwest. Springsteen even appropriately brings in mariachi bands for 'Adelita' and 'The Lost Charro.' Soozie Tyrell's violin is notable, particularly on the majestic 'When I Build My Beautiful House.' We're guessing that Springsteen may have considered 'Inyo' one album too many in the same style, but it's still strong work. At one point Springsteen considered making 'Western Stars,' his salute to early 1970s California songwriting, a double album. When he didn't, the songs on 'Twilight Hours' were left behind. Here Bacharach is the primary influence, and this almost feels like Elvis Costello's collaboration with Burt, only without him (and is the lyric 'God give me strength' a hat-tip to that project?). The crooning Bruce of 'Sunday Love' is spellbinding, maybe the box's best song. 'Lonely Town' sits at the intersection of Bacharach and Roy Orbison, while 'Dinner at Eight' is a lovely sum-up. 'Twilight Hours' may startle Springsteen fans — and impress them, too. The workmanlike songs on 'Faithless' were written on commission in two weeks, the soundtrack to a movie that was never made. It's a good bet it would have been a moody Western. When Springsteen duels with Tom Morello on the song 'Another Thin Line,' you realize how little you've heard his electric guitar on 'Tracks II.' The album 'Perfect World' is the one here made up of leftovers from different periods, with the greatest E Street Band participation. Here's the deal, though: Most good E Street Band material has already been released. The best left behind for this disc is 'You Lifted Me Up,' with minimalist lyrics and a vocal collaboration with Patti Scialfa and Steve Van Zandt. The box gives Springsteen completists plenty to mull over, and you can question whether these 'lost discs' would get more attention released separately instead of together. If it's too much, he's releasing a 20-song set of its highlights. ___ David Bauder writes about the intersection of media and entertainment for the AP. Follow him at and . ___ For more AP reviews of recent music releases, visit .
San Francisco Chronicle
7 hours ago
- San Francisco Chronicle
The home of one of the largest catalogs of Black history turns 100 in New York
NEW YORK (AP) — It is one of the largest repositories of Black history in the country — and its most devoted supporters say not enough people know about it. The Schomburg Center for Research in Black Culture hoped to change that Saturday, as it celebrated its centennial with a festival combining two of its marquee annual events. The Black Comic Book Festival and the Schomburg Literary Festival ran across a full day and featured readings, panel discussions, workshops, children's story times and cosplay, as well as a vendor marketplace. Saturday's celebration took over 135th Street in Manhattan between Malcolm X and Adam Clayton Powell boulevards. Founded in New York City during the height of the Harlem Renaissance, the Schomburg Center will spend the next year exhibiting signature objects curated from its massive catalog of Black literature, art, recordings and films. Artists, writers and community leaders have gone the center to be inspired, root their work in a deep understanding of the vastness of the African diaspora, and spread word of the global accomplishments of Black people. It is also the kind of place that, in an era of backlash against race-conscious education and diversity, equity and inclusion initiatives, exists as a free and accessible branch of the New York Public Library system. It's open to the public during regular business hours, but its acclaimed research division requires an appointment. 'The longevity the Schomburg has invested in preserving the traditions of the Black literary arts is worth celebrating, especially in how it sits in the canon of all the great writers that came beforehand,' said Mahogany Brown, an author and poet-in-residence at the Lincoln Center, who participated in the literary festival. On Saturday, Dr. Jenny Uguru, director of nursing quality at NYC Health and Hospitals, said the Schomburg Center 'stands as an archive to celebrate, recognize and uplift what Black people bring to the table, will bring to future tables.' For the centennial, the Schomburg's leaders have curated more than 100 items for an exhibition that tells the center's story through the objects, people, and the place — the historically Black neighborhood of Harlem — that shaped it. Those objects include a visitor register log from 1925-1940 featuring the signatures of Black literary icons and thought leaders, such as Zora Neale Hurston and Langston Hughes; materials from the Fab 5 Freddy collection, documenting the earliest days of hip-hop; and actor and director Ossie Davis' copy of the 'Purlie Victorious' stage play script. An audio guide to the exhibition has been narrated by actor and literacy advocate LeVar Burton, the former host of the long-running TV show 'Reading Rainbow.' Whether they are new to the center or devoted supporters, visitors to the centennial exhibition will get a broader understanding of the Schomburg's history, the communities it has served, and the people who made it possible, said Joy Bivins, the Director of the Schomburg Center, who curated the centennial collection. 'Visitors will understand how the purposeful preservation of the cultural heritage of people of African descent has generated and fueled creativity across time and disciplines,' Bivins said. Novella Ford, associate director of public programs and exhibitions, said the Schomburg Center approaches its work through a Black lens, focusing on Black being and Black aliveness as it addresses current events, theories, or issues. 'We're constantly connecting the present to the past, always looking back to move forward, and vice versa,' Ford said. Still, many people outside the Schomburg community remain unaware of the center's existence — a concerning reality at a time when the Harlem neighborhood continues to gentrify around it and when the Trump administration is actively working to restrict the kind of race-conscious education and initiatives embedded in the center's mission. 'We amplify scholars of color,' Ford said. 'It's about reawakening. It gives us the tools and the voice to push back by affirming the beauty, complexity, and presence of Black identity.' Founder's donation seeds center's legacy The Schomburg Center has 11 million items in one of the oldest and largest collections of materials documenting the history and culture of people of African descent. That is a credit to founder Arturo Schomburg, an Afro-Latino historian born to a German father and African mother in Santurce, Puerto Rico. He was inspired to collect materials on Afro-Latin Americans and African American culture after a teacher told him that Black people lacked major figures and a noteworthy history. Schomburg moved to New York in 1891 and, during the height of the Harlem Renaissance in 1926, sold his collection of approximately 4,000 books and pamphlets to the New York Public Library. Selections from Schomburg's personal holdings, known as the seed library, are part of the centennial exhibition. Ernestine Rose, who was the head librarian at the 135th Street branch, and Catherine Latimer, the New York Public Library's first Black librarian, built on Schomburg's donation by documenting Black culture to reflect the neighborhoods around the library. Today, the library serves as a research archive of art, artifacts, manuscripts, rare books, photos, moving images and recorded sound. Over the years, it has grown in size, from a reading room on the third floor to three buildings that include a small theater and an auditorium for public programs, performances and movie screenings. Aysha Schomburg, the great-granddaughter of the center's founder, said she understands why many people still don't know about the library. When her parents first met, her mother had no idea what was behind the walls of the Schomburg Center, even being from Harlem herself. 'This is with every generation,' Schomburg told The Associated Press while out at the festival on Saturday. 'We have to make sure we're intentional about inviting people in. So even the centennial festival, we're bringing the Schomburg out literally into the street, into the community and saying, 'here we are.' ' Youth scholars seen as key to center's future For years, the Schomburg aimed to uplift New York's Black community through its Junior Scholars Program, a tuition-free program that awards dozens of youth from 6th through 12th grade. The scholars gain access to the center's repository and use it to create a multimedia showcase reflecting the richness, achievements, and struggles of today's Black experience. It's a lesser-known aspect of the Schomburg Center's legacy. That's in part because some in the Harlem community felt a divide between the institution and the neighborhood it purports to serve, said Damond Haynes, a former coordinator of interpretive programs at the center, who also worked with the Junior Scholars Program. But Harlem has changed since Haynes started working for the program about two decades ago. 'The Schomburg was like a castle,' Haynes said. "It was like a church, you know what I mean? Only the members go in. You admire the building.' For those who are exposed to the center's collections, the impact on their sense of self is undeniable, Haynes said. Kids are learning about themselves like Black history scholars, and it's like many families are passing the torch in a right of passage, he said. 'A lot of the teens, the avenues that they pick during the program, media, dance, poetry, visual art, they end up going into those programs,' Haynes said. 'A lot the teens actually find their identity within the program.'
