When you first think of this word, it is with a slippery slope in mind.
I’ve been on a few of those in my time.
And while we’re on the subject, those inclines measured in degrees are very important if you want a train to get up and down the side of a mountain.
For the train, that’s an incline plane, the point where traction alone won’t get the iron horse up the hill.
Did I say ‘Iron Horse’? Sorry, regressed there, back to the mid-1800s in the American West for a moment.
It’s not that important when it comes to trucks and cars, and less so if you like four-wheel driving; getting up near-vertical mountainsides often present a welcome challenge to the true enthusiast
But for the rest of us, not so much if you find yourself sliding in reverse uncontrollably into the bay. I’m sure it’s happened more than once.
Then…
Are you inclined to go?
A very different sort of incline, ie to be disposed towards an attitude or desire.
An inclination, maybe, not to go four-wheel driving?
There is another, probably more obscure use of the word incline, and that relates to an elevated geological formation. Not the sort of reference that crops up in everyday conversation at the coffee shop.
But, you never know. Try it next time you have coffee and see what happens.
Hang about. Didn’t I read somewhere you need to plan your novel, create an outline setting the plot points, and flesh out the characters?
I’m sure it didn’t say, sit down and start writing!
Time to find a writing pad, and put my thinking cap on.
I make a list, what’s the story going to be about? Who’s going to be in it, at least at the start?
Like a newspaper story, I need a who, what, when, where, and how.
Right now.
I pick up the pen.
Character number one:
Computer nerd, ok, that’s a little close to the bone, a computer manager who is trying to be everything at once, and failing. Still me, but with a twist. Now, add a little mystery to him, and give him a secret, one that will only be revealed after a specific set of circumstance. Yes, I like that.
We’ll call him Bill, ex-regular army, a badly injured and repatriated soldier who was sent to fight a war in Vietnam, the result of which had made him, at times, unfit to live with.
He had a wife, which brings us to,
Character number two:
Ellen, Bill’s ex-wife, an army brat and a General’s daughter, and the result of one of those romances that met disapproval for so many reasons. It worked until Bill came back from the war, and from there it slowly disintegrated. There are two daughters, both by the time the novel begins, old enough to understand the ramifications of a divorce.
Character number three:
The man who is Bill’s immediate superior, the Services Department manager, a rather officious man who blindly follows orders, a man who takes pleasure in making others feel small and insignificant, and worst of all, takes the credit where none is due.
Oops, too much, that is my old boss. He’ll know immediately I’m parodying him. Tone it down, just a little, but more or less that’s him. Last name Benton. He will play a small role in the story.
Character number four:
Jennifer, the IT Department’s assistant manager, a woman who arrives in a shroud of mystery, and then, in time, to provide Bill with a shoulder to cry on when he and Ellen finally split, and perhaps something else later on.
More on her later as the story unfolds.
So far so good.
What’s the plot?
Huge corporation plotting to take over the world using computers? No, that’s been done to death.
Huge corporation, OK, let’s stop blaming the corporate world for everything wrong in the world. Corporations are not bad people, people are the bad people. That’s a rip off cliché, from guns don’t kill people, people kill people! There will be guns, and there will be dead people.
There will be people hiding behind a huge corporation, using a part of their computer network to move billions of illegally gained money around. That’s better.
Now, having got that, our ‘hero’ has to ‘discover’ this network, and the people behind it.
All we need now is to set the ball rolling, a single event that ‘throws a cat among the pigeons’.
Yes, Bill is on holidays, a welcome relief from the problems of work. He dreams of what he’s going to do for the next two weeks. The phone rings. Benton calling, the world is coming to an end, the network is down. He’s needed. A few terse words, but he relents.
Whilst in reality these steps go down to a very narrow space of the beach, and scattered rocks in the shallow water, so much more could be inspired by this photograph.
Further out that day, divers were out exploring about 100 yards offshore.
But, to me, it what you don’t see that gives it its fascination.
We could be anywhere along a 1,000-mile shoreline, one side a small village lazily gets through the day, on the other, a deserted and overgrown picnic spot that no one ever comes to anymore since the bypass road was built.
But it is not any of those. it’s in Mornington, Victoria, Australia, the pier that is not far from a small park, and that day, very, very busy.
It simply goes to show that sometimes a photograph can provide enough information to inspire a story.
I was reading an article about the bible the other day, and what I gathered to be the writer’s intent was that the end result was an accumulation of many times retold and translated stories.
It sort of relates to another story I read years ago and reenacted with a few friends to check its veracity. What happens is the first person is given the correct story, then having memorised it, relates it to the second and then so on along a chain of ten people.
The end story related by the tenth person, when compared to the original, had only parts of the original story and for some reason new elements that somehow were misinterpretations of original story elements.
This perhaps could be put down to the individual’s upbringing and background, which always gets used in the interpretation of what they are told. We all use different methods to remember things, and this will always impact how we interpret and relate information.
It’s also the same when three different eyewitnesses to an accident will rarely agree on the details. Certain elements will be the same, but others will not.
When families recall events involving all of them, each will remember seminal events differently, and usually, from their perspective, it will revolve around where they perceive they fit in the family hierarchy. A stronger brother or sister will always see it differently from a weaker one.
My childhood memories are basically different to my brothers, and I suspect those events that he fails to recall are deliberately cast away because either they didn’t affect him, or they were so horrible, that he deliberately cast them out.
We all tend to do that. Some memories he has of the so-called old days I have no recollection of.
Memories are a choice. We choose to remember the good ones and cast out the bad. Was that the case when it came to putting the biblical story down on paper (or stone as the case may be).
However we look at it, remember it, or relate it, the old days, the days of yesteryear, will always be different. For me, the 60’s and 70’s were horrible, for everyone else, well that’s another story.
Day 287 – Packing an entire world into one sentence
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Packing an Entire World into One Sentence: The Literary Economy of Charles Portis and True Grit
Charles Portis and True Grit: How One Sentence Built a World Meta Description: Explore the brilliant literary economy of Charles Portis through his masterpiece True Grit. Discover how just six novels proved that less is more.
There is a rare breed of writer who cares very little for literary fanfare, yet commands the absolute, obsessive devotion of fellow authors and devoted readers alike. Charles Portis was the patron saint of this elusive club.
Publishing a mere six novels over the course of his career, Portis never chased blockbuster status or critical preening. Instead, he crafted a body of work defined by precision, deadpan wit, and an astonishingly balanced economy of plot, character, and description.
Nowhere is this mastery more evident than in the opening sentence of his 1968 masterpiece, True Grit. With a single breath, Portis does something extraordinary: he packs an entire world, a distinct voice, and a complete worldview onto the page.
Let’s take a journey into the brilliant literary mind of Charles Portis and examine how a famously brief bibliography achieved timeless greatness through the art of economy.
The Immortal Opening: Setting the Stage in One Sentence
To understand what makes Charles Portis a master of narrative efficiency, you need only look at how True Grit begins:
“People do not often give due credence to the sorrows of young people, but those of us who have been young ourselves know differently and can remember what it was like in those sad and lonely days.”
In just thirty-one words, Portis accomplishes what other writers take whole chapters to establish.
First, he establishes voice. Through the narrator, a 14-year-old Mattie Ross looking back from old age, we immediately recognise a tone that is formal, unyielding, slightly archaic, and utterly lacking in self-pity or sentimentality.
Second, he establishes perspective. This is not a standard, bloodless Western. It is a deeply personal reckoning. By acknowledging the gravity of youth, Mattie preemptively pushes back against anyone who might dismiss her quest for vengeance as childish folly.
Without describing a horse, a dusty street, a revolver, or a badge, Portis sets the psychological and emotional stakes of the American frontier. He packs a whole world—a universe of stubborn grief and nineteenth-century grit—into a single sentence.
The Magic of Six: Quality Over Quantity in the Portis Canon
It is staggering to think that a writer of Portis’s calibre produced only six novels:
Norwood (1966)
True Grit (1968)
The Dog of the South (1979)
Masters of Atlantis (1985)
Gringos (1991)
Starlight (1999)
In an era of bloated manuscripts and multi-book fantasy series, Portis’s bibliography looks positively monastic. Yet, every single one of these books is a polished gem.
Portis had no time for literary fat. His books are famously difficult to categorise—are they comedies? Westerns? Picaresque road trips? They are all of these things, bound together by an economically balanced plot that never drags, characters who are eccentric yet undeniably human, and descriptions that are razor-sharp without ever lapsing into purple prose.
The Three Pillars of Portis’s Economy
How did Portis pull off this rare literary magic trick across his six novels? By maintaining a strict equilibrium between three essential elements:
1. The Balanced Plot: Movement Without Rush
Portis’s plots are generally simple in design—often structured as a quest or a journey. In True Grit, it’s a girl hunting her father’s killer. In The Dog of the South, it’s a man chasing his runaway wife and his stolen Ford Torino.
Because the overarching premise is usually straightforward, Portis doesn’t need to waste time on convoluted twists. The plot simply acts as a vehicle to move his wonderfully bizarre characters from one strange encounter to the next. The pacing is steady, rhythmic, and perfectly proportioned.
2. The Unforgettable Character: Eccentricity Grounded in Truth
If you ask readers to name their favourite Charles Portis characters—whether it’s Mattie Ross, the hard-drinking Rooster Cogburn, or the grandiose Lamar Jimmerson from Masters of Atlantis—you are talking about people who march to the beat of an entirely different drum.
Portis loved obsessives, grifters, pedants, and drifters. Yet, his genius lies in his restraint. He lets his characters reveal their absurdities through their own dialogue and deadpan narration. He doesn’t need to tell us they are funny; he just lets them speak, trusting the reader to appreciate the dry humour.
3. The Minimalist Description: Showing the World in Flashbacks and Brief Strokes
Portis was a former journalist (having worked as a reporter for the New York Herald Tribune), and it shows in his prose. He understood the power of the selected detail.
Instead of devoting pages to describing a sunset or a saloon, Portis gives you the one detail that matters—a slouching hat, a particular brand of canned peach, the precise legal terminology of a land dispute. His descriptions are economical because they serve a dual purpose: they anchor the scene visually while simultaneously revealing character.
Why Charles Portis Matters Today
In contemporary fiction, we often equate length and complexity with depth. We celebrate door-stopper novels that take hundreds of pages to warm up.
Charles Portis stands as a glorious antidote to this trend. He proved that a novel doesn’t need to be massive to be profound. By respecting the reader’s intelligence, stripping away every unnecessary word, and anchoring his stories in unforgettable, singular voices, Portis created a body of work that will be read and admired as long as people care about great writing.
It all started with a thirty-one-word sentence.
If you haven’t yet stepped into the wonderfully eccentric, economically crafted world of Charles Portis, open True Grit, read that first sentence, and prepare to be carried away by a master….
Escape the Crowds: Dublin’s Top 5 Hidden Gem Attractions
Dublin is a city of undeniable charm, buzzing with energy, history, and a legendary pub scene. While iconic spots like the Guinness Storehouse, Trinity College, and Dublin Castle are must-sees, they often come with lengthy queues and shoulder-to-shoulder crowds.
But what if you long for a taste of authentic Dublin culture and history without the tourist rush?
Luckily, the Irish capital is brimming with distinctive features tucked away in quieter corners. We’ve compiled a list of the top five visitor attractions in Dublin that offer unique experiences, fascinating stories, and, best of all, a peaceful respite from the throngs.
1. The Chester Beatty Library
Nestled within the walls of Dublin Castle (but often overlooked by those rushing to the main courtyard), the Chester Beatty is a true global treasure. This museum and library holds the collected works of Sir Alfred Chester Beatty, one of the greatest collectors of the 20th century.
Why it’s distinctive: This isn’t just a collection of old books. You’ll find exquisite manuscripts, rare books, miniature paintings, and decorative arts from across Asia, the Middle East, North Africa, and Europe. It houses some of the world’s most important holdings of Islamic, East Asian, and Western printed materials.
The Quiet Factor: While the Dublin Castle grounds can be busy, the library itself offers a tranquil, dimly lit haven perfect for quiet reflection. Best of all? Admission is free. Don’t forget to visit the rooftop garden café for stunning views over the city.
2. The Dublin Writers Museum (Temporarily Closed – See Alternative Below)
Note: While the original Dublin Writers Museum building is currently closed for relocation, the spirit of literary Dublin is still alive and accessible in less-crowded formats.
The Alternative: The Museum of Literature Ireland (MoLI)
Located in UCD’s stately Newman House on St. Stephen’s Green, MoLI is a beautiful, modern museum dedicated to the rich tapestry of Irish writing, from James Joyce to contemporary voices.
Why it’s distinctive: Set in the beautiful historic home where literary giants like Gerard Manley Hopkins and James Joyce once studied, MoLI offers interactive displays, beautiful exhibitions (including the original ‘Copy No. 1’ of Joyce’s Ulysses), and stunning period rooms.
The Quiet Factor: While popular with writers and literature lovers, MoLI rarely reaches the peak capacity of the larger city museums. It offers spacious exhibition rooms and one of the finest cultural gift shops in the city. The tranquil, hidden courtyard garden is a perfect spot to enjoy a coffee and escape the city noise.
3. Richmond Barracks, Inchicore
Stepping slightly outside the immediate city centre opens up historical venues of immense importance. Richmond Barracks, located in the Inchicore area, offers a deep dive into pivotal moments of Irish history, particularly the 1916 Easter Rising.
Why it’s distinctive: This site served as the primary holding place for over 3,000 men arrested after the 1916 Rising. It was here that Pádraig Pearse and the other executed leaders were court-martialed. Today, it operates as a heritage centre and a community hub, offering moving and highly informative tours detailing the barracks’ role through the centuries, including its post-independence use as housing for local families.
The Quiet Factor: Because it requires a short tram ride (the Luas Red Line to Suir Road), it naturally filters out the casual tourist crowd. You’ll likely enjoy a small, intimate guided tour that allows for detailed questions and reflection.
4. The Marsh’s Library
For those who crave the smell of old paper and the feeling of stepping back in time, Marsh’s Library is an essential visit. Dating back to 1707, it is one of the oldest public libraries in Ireland.
Why it’s distinctive: This library remains virtually unchanged since it opened its doors in the early 18th century. It features beautiful dark oak bookcases, wire cages (used to prevent the theft of valuable texts), and over 25,000 rare and fascinating books. You can walk the very aisles where writers like Bram Stoker and James Joyce once studied.
The Quiet Factor: Tucked away behind St. Patrick’s Cathedral, Marsh’s charges a small entrance fee, which helps keep visitor numbers manageable. The atmosphere is hushed and reverential—it’s an ideal place to spend an hour truly absorbing Dublin’s intellectual history without jostling for space.
5. The Botanic Gardens (National Botanic Gardens of Ireland)
While not entirely undiscovered, Dublin’s National Botanic Gardens in Glasnevin offers such a vast, sprawling space that crowds simply melt away amongst the lush greenery.
Why it’s distinctive: Spread across nearly 50 acres, the gardens feature stunning Victorian glasshouses (including the curvilinear range designed by Richard Turner), extensive plant collections, a tranquil arboretum, and historically significant grounds. It’s an essential centre for conservation and research.
The Quiet Factor: Located a short bus ride north of the city centre (near the Glasnevin Cemetery, another excellent, quiet spot), the gardens provide endless walking paths, hidden benches, and quiet corners. You can easily spend an entire afternoon wandering the grounds and enjoying the peace, particularly once you move past the main entrance and glasshouses.
Trade the Noise for Narrative
Dublin’s biggest attractions tell a powerful story, but sometimes the best narratives are found off the beaten path. By seeking out these quieter, distinctive attractions, you can enjoy a more personal, profound, and peaceful encounter with the heart and history of the Irish capital. Happy Exploring!
There’s more than one way … er, perhaps it’s better to say, there are many ways to use the word bar, which is not bad for a three-letter word.
Bar, the one you associate with drinks, in hotels, restaurants and we’ll, just bars.
Probably the best type of bar you might find me in is a Sports Bar, where you can snack on buffalo wings a tall glass of beer and watch with ice hockey in winter or baseball in summer.
It’s one I use from time to time when asked, what will we do, and the reply is often let’s go to a bar. The best bars are underground, dark and dingy, full of eclectic people, with a band playing almost passable music or better still jazz
Bar, as in the legal variety
There are so many legal references to using bar, that the one that I am most familiar with is being admitted to the bar which means that you can now practice law.
Raising the bar, if that’s possible, where the bar is that imaginary level which offers sinks very low. When someone says they’re going to try and raise the bar, you may be assured there will be a long battle ahead, simply because people generally find it hard to change.
Bar, as in we are not going to let you in here. Yes, this is the irksome one where you find yourself, often for reasons unknown, barred from somewhere or something. This may also be referred to by saying everyone may enter bar you.
Bar, as in an iron bar, the sort that is sometimes used as a blunt force object by villains to remind the victim they owe any one of a loan shark, bookie or the mafia. God help you if it is all three.
There are also iron bars of a different sort, those that are set in concrete outside a window most likely in a prison where the objective is to prevent escape.
It gives rise to an old expression, that person should be behind bars.
Then there is just a bar, such as a bar of gold, which I’m sure we’d all like to have stashed away, but not necessarily in the mattress, or the more common variety, a chocolate bar, which I have one now. What’s your favorite?
And just to add to the list of meanings you can always refer to sashes or stripes as bars.
Confused? Well, there’s still music, and the bane of yachtsmen, sand bars but I think we’ll leave it there.
Revenge is a dish best served cold – or preferably so when everything goes right
Of course, it rarely does, as Alistair, Zoe’s handler, discovers to his peril. Enter a wildcard, John, and whatever Alistair’s plan for dealing with Zoe was dies with him.
It leaves Zoe in completely unfamiliar territory.
…
John’s idyllic romance with a woman who is utterly out of his comfort zone is on borrowed time. She is still trying to reconcile her ambivalence after being so indifferent for so long.
They agree to take a break, during which she disappears. John, thinking she has left without saying goodbye, refuses to accept the inevitable and calls on an old friend for help in finding her.
After the mayhem and being briefly reunited, she recognises an inevitable truth: there is a price to pay for taking out Alistair; she must leave and find them first, and he would be wise to keep a low profile.
But keeping a low profile just isn’t possible, and enlisting another friend, a private detective and his sister, a deft computer hacker, they track her to the border between Austria and Hungary.
What John doesn’t realise is that another enemy is tracking him to find her too. It could have been a grand tour of Europe. Instead, it becomes a race against time before enemies old and new converge for what will be an inevitable showdown.
Beyond Red Square: 5 Unique Moscow Adventures on the Road Less Travelled
Moscow. The name alone conjures images of gilded domes, grand kremlins, and vast, historic squares. It’s a city of epic scale and monumental beauty, drawing millions to its iconic sights. But what if you’ve done the Red Square selfie, marvelled at St. Basil’s, and wandered the halls of the Kremlin? What if you crave a deeper, more authentic peek into the soul of this sprawling metropolis?
Fear not, intrepid traveller! Moscow is a city of endless layers, brimming with unexpected delights lurking just beyond the well-trodden tourist paths. If you’re ready to scratch beneath the gilded surface and uncover some truly unique experiences, here are five unforgettable adventures that promise a richer, more intimate understanding of Russia’s vibrant capital.
1. Step Back in Time at the Museum of Soviet Arcade Machines (Музей советских игровых автоматов)
Forget modern gaming consoles; this place is a nostalgic wonderland! Tucked away in a charming underground space, this museum is a playful pilgrimage to the Soviet era, featuring dozens of fully functional arcade machines from the 1970s and 80s. Think clunky joysticks, pixelated graphics, and wonderfully bizarre names like “Sea Battle,” “Safari,” and “Winter Hunt.”
Why it’s off the beaten path: While well-known among locals and a niche group of enthusiasts, it’s rarely on the itinerary of first-time visitors who stick to grander museums. It offers a unique cultural insight into Soviet-era leisure and technology.
What makes it special: Not only do you get to admire these relics, but your entry ticket often includes a handful of authentic 15-kopeck coins, allowing you to actually play the games! It’s a hands-on, interactive experience that’s both fun and surprisingly educational about a bygone era.
Pro-tip: Go with friends for some competitive fun. The staff are usually happy to explain the games and their history, even if your Russian is limited.
2. Wander the Fairytale Grounds of Tsaritsyno Museum-Reserve (Царицыно)
While Kolomenskoye often gets the nod for its royal history and wooden architecture, Tsaritsyno offers a completely different, equally stunning experience. This sprawling estate, once intended as Catherine the Great’s summer residence, features unique pseudo-Gothic palaces, picturesque ponds, and meticulously landscaped parks.
Why it’s off the beaten path: Located a bit further south of the city center, it requires a short metro journey, which deters many tourists. Its specific architectural style (a Russian take on Gothic Revival) is also a fascinating departure from the more common classical Russian styles.
What makes it special: The Grand Palace and the intricate bridges evoke a fantastical, almost theatrical atmosphere. The park itself is massive, perfect for a leisurely stroll, a boat ride on the ponds, or simply finding a quiet bench to soak in the beauty. Don’t miss the Singing Fountain, especially mesmerizing in the evenings (seasonal).
Pro-tip: Dedicate at least half a day. Wear comfortable shoes, as there’s a lot of ground to cover. Check their schedule for classical music concerts or light shows, which often take place in the warmer months.
3. Find Serenity at the Aptekarsky Ogorod (Botanical Garden of Moscow State University – “The Pharmacy Garden”)
Amidst Moscow’s urban hustle, this historical botanical garden is a true hidden oasis of calm. Founded by Peter the Great in 1706 as a garden for medicinal plants (hence “pharmacy garden”), it’s Moscow’s oldest botanical garden and a living museum of flora.
Why it’s off the beaten path: Despite its central location near Prospekt Mira, it’s a quiet retreat often overlooked by tourists rushing between major landmarks. It’s more of a local favourite for a peaceful escape.
What makes it special: Each season brings new beauty, from vibrant spring blooms and lush summer greenery to fiery autumn colours and serene winter landscapes. It features various themed sections, including extensive greenhouses with tropical plants, a vast collection of conifers, and charming ponds. It also hosts open-air exhibitions, concerts, and offers a lovely on-site cafe.
Pro-tip: Ideal for a relaxed afternoon. If you’re visiting in spring or early summer, you’ll be treated to an explosion of colours and fragrances. It’s perfect for photography enthusiasts seeking natural beauty away from the crowds.
4. Savor Global Flavors at Danilovsky Market (Даниловский рынок)
Forget the sterile supermarkets; Danilovsky Market is a gastronomic marvel and a vibrant hub of local life. Housed in a striking circular building with a domed roof, this renovated market seamlessly blends traditional Russian produce stalls with trendy international food vendors.
Why it’s off the beaten path: While gaining popularity, it’s still primarily a local hotspot rather than a primary tourist destination. It offers a more authentic taste of Moscow’s burgeoning food scene than many city-centre restaurants.
What makes it special: This isn’t just a place to buy groceries; it’s a culinary adventure. You can sample Georgian khachapuri, Vietnamese pho, Israeli falafel, Dagestani delicacies, and of course, classic Russian pelmeni and blini – all under one roof. The atmosphere is buzzing, friendly, and incredibly diverse.
Pro-tip: Go hungry! It’s an excellent spot for lunch or an early dinner, allowing you to graze from different stalls. It’s also a great place to pick up unique local treats and spices as souvenirs.
5. Explore the Ancient Streets of Zamoskvorechye (Замоскворечье)
Step across the Moscow River from the Kremlin, and you enter a different era. Zamoskvorechye (literally “beyond the Moskva River”) is one of Moscow’s oldest and most charming districts, known for its quiet, winding streets, traditional merchant houses, and numerous historic churches.
Why it’s off the beaten path: While home to the Tretyakov Gallery (a major draw), the neighbourhood itself is often overlooked by tourists who rush straight to the gallery and then leave. Exploring its backstreets offers a glimpse into a quieter, more preserved Moscow.
What makes it special: You’ll discover hidden courtyards, beautiful onion-domed churches (like the Church of St. Clement, Papa, a stunning example of Baroque architecture), and charming wooden houses nestled between more stately mansions. It feels like stepping into a 19th-century novel, with a tangible sense of history around every corner.
Pro-tip: Put away your map and simply wander. Get lost in its labyrinthine alleys. Pop into a small local café for a coffee. This district is best explored on foot, allowing you to soak in its unique atmosphere at your own pace.
Moscow is a city that constantly reinvents itself, yet always cherishes its past. By venturing beyond the well-worn tourist trails, you’ll discover a more nuanced, intimate, and often surprising side of this magnificent capital. So, pack your adventurous spirit, a sense of curiosity, and get ready to uncover Moscow’s hidden gems!
What hidden gems have you uncovered in Moscow? Share your discoveries in the comments below!
It was in darkness. I was sure I had left several lights on, especially over the door, so I could see to unlock it.
I looked up and saw that the globe was broken.
Instant alert.
I went to the first hiding spot for the gun, and it wasn’t there. I went to the backup, and it wasn’t there either. Someone had found my carefully hidden stash of weapons and removed them.
Who?
There were four hiding spots, and all were empty. Someone had removed the weapons. That could only mean one possibility.
I had a visitor, not necessarily here for a social call.
But, of course, being the well-trained agent I’d once been and not one to be caught unawares, I crossed over to my neighbour and relieved him of a weapon that, if found, would require a lot of explaining.
Suitably armed, it was time to return the surprise.
There were three entrances to the villa: the front door, the back door, and a rather strange escape hatch. One of the more interesting attractions of the villa I’d rented was its heritage. It was built in the late 1700s by a man who was, by all accounts, a thief. It had a hidden underground room, which had been in the past a vault but was now a wine cellar, and it had an escape hatch by which the man could come and go undetected, particularly if there was a mob outside the door baying for his blood.
It now gave me the means to enter the villa without my visitors being alerted, unless, of course, they were in the vicinity of the doorway inside the villa, but that possibility was unlikely. It was not where anyone could anticipate or expect a doorway to be.
The secret entrance was at the rear of the villa, behind a large copse, two camouflaged wooden doors built into the ground. I moved aside some of the branches that covered them and lifted one side. After I’d discovered the doors and rusty hinges, I’d oiled and cleaned them, and cleared the passageway of cobwebs and fallen rocks. It had a mildew smell, but nothing would get rid of that. I’d left torches at either end so I could see.
I closed the door after me and went quietly down the steps, enveloped in darkness till I switched on the torch. I traversed the short passage, which turned ninety degrees about halfway to the door at the other end. I carried the key to this door on the keyring, found it and opened the door. It too had been oiled and swung open soundlessly.
I stepped into the darkness and closed the door.
I was on the lower level under the kitchen, now the wine cellar, the ‘door’ doubling as a set of shelves which had very little on them, less to fall and alert anyone in the villa.
Silence, an eerie silence.
I took the steps up to the kitchen, stopping when my head was level with the floor, checking to see if anyone was waiting. There wasn’t. It seemed to me to be an unlikely spot for an ambush.
I’d already considered the possibility of someone coming after me, especially because it had been Bespalov I’d killed, and I was sure he had friends, all equally as mad as he was. Equally, I’d also considered it nigh on impossible for anyone to find out it was me who killed him because the only people who knew that were Prendergast, Alisha, a few others in the Department, and Susan.
That raised the question of who told them where I was.
If I were the man I used to be, my first suspect would be Susan. The departure this morning, and now this was too coincidental. But I was not that man.
Or was I?
I reached the start of the passageway that led from the kitchen to the front door and peered into the semi-darkness. My eyes had got used to the dark, and it was no longer an inky void. Fragments of light leaked in around the door from outside and through the edge of the window curtains where they didn’t fit properly. A bone of contention upstairs in the morning, when first light shone and invariably woke me up hours before I wanted to.
Still nothing.
I took a moment to consider how I would approach the visitor’s job. I would get a plan of the villa in my head, all entrances, where a target could be led to or attacked, and where there would be no escape.
Coming in the front door. If I were not expecting anything, I’d just open the door and walk in. One shot would be all that was required.
Contract complete.
I sidled quietly up the passage, staying close to the wall, edging closer to the front door. There was an alcove where the shooter could be waiting. It was an ideal spot to wait.
Crunch.
I stepped on some nutshells.
Not my nutshells.
I felt it before I heard it. The bullet with my name on it.
And how the shooter missed, from point-blank range, and hit me in the arm, I had no idea. I fired off two shots before a second shot from the shooter went wide and hit the door with a loud thwack.
I saw a red dot wavering as it honed in on me, and I fell to the floor, stretching out, looking up where the origin of the light was coming and pulled the trigger three times, evenly spaced, and a second later I heard the sound of a body falling down the stairs and stopping at the bottom, not very far from me.
Two assassins.
I’d not expected that.
The assassin by the door was dead, a lucky shot on my part. The second was still breathing.
I checked the body for any weapons and found a second gun and two knives. Armed to the teeth!
I pulled off the balaclava; a man, early thirties, definitely Italian. I was expecting a Russian.
I slapped his face, waking him up. Blood was leaking from several slashes on his face when his head had hit the stairs on the way down. The awkward angle of his arms and legs told me there were broken bones, probably a lot worse internally. He was not long for this earth.
“Who employed you?”
He looked at me with dead eyes, a pursed mouth, perhaps a smile. “Not today, my friend. You have made a very bad enemy.” He coughed, and blood poured out of his mouth. “There will be more …”
Friends of Bespalov, no doubt.
I would have to leave. Two unexplainable bodies, I’d have a hard time explaining my way out of this mess. I dragged the two bodies into the lounge, clearing the passageway just in case someone had heard anything.
Just in case anyone was outside at the time, I sat in the dark, at the foot of the stairs, and tried to breathe normally. I was trying not to connect the dots that led back to Susan, but the coincidence was worrying me.
A half-hour passed, and I hadn’t moved. Deep in thought, I’d forgotten about being shot, unaware that blood was running down my arm and dripping onto the floor.
Until I heard a knock on my front door.
Two thoughts: it was either the police, alerted by the neighbours, or it was the second wave, though why would they be knocking on the door?
I stood and immediately felt a stabbing pain in my arm. I took out a handkerchief and turned it into a makeshift tourniquet, then wrapped a kitchen towel around the wound.
If it were the police, this was going to be a difficult situation. Holding the gun behind my back, I opened the door a fraction and looked out.
No police, just Maria. I hoped she was not part of the next ‘wave’.
“You left your phone behind on the table. I thought you might be looking for it.” She held it out in front of her.
When I didn’t open the door any further, she looked at me quizzically and then asked, “Is anything wrong?”
I was going to thank her for returning the phone, but I heard her breathe in sharply and add, breathlessly, “You’re bleeding.”
I looked at my arm and realised it was visible through the door, and not only that, the towel was soaked in blood.
“You need to go away now.”
Should I tell her the truth? It was probably too late, and if she were any sort of law-abiding citizen, she would go straight to the police.
She showed no signs of leaving, just an unnerving curiosity. “What happened?”
I ran through several explanations, but none seemed plausible. I went with the truth. “My past caught up with me.”
“You need someone to fix that before you pass out from blood loss. It doesn’t look good.”
“I can fix it. You need to leave. It is not safe to be here with me.”
The pain in my arm was not getting any better, and the blood was starting to run down my arm again as the tourniquet loosened. She was right, I needed it fixed sooner rather than later.
I opened the door and let her in. It was a mistake, a huge mistake, and I would have to deal with the consequences. Once inside, she turned on the light and saw the pool of blood just inside the door and the trail leading to the lounge. She followed the trail and turned into the lounge, turned on the light, and no doubt saw the two dead men.
I expected her to scream. She didn’t.
She gave me a good, hard look, perhaps trying to see if I was dangerous. Killing people wasn’t something you looked the other way about. She would have to go to the police.
“What happened here?”
“I came home from the cafe and two men were waiting for me. I used to work for the Government, but no longer. I suspect these men were here to repay a debt. I was lucky.”
“Not so much, looking at your arm.”
She came closer and inspected it.
“Sit down.”
She found another towel and wrapped it around the wound, retightening the tourniquet to stem the bleeding.
“Do you have medical supplies?”
I nodded. “Upstairs.” I had a medical kit, and on the road, I usually made my own running repairs. Another old habit I hadn’t quite shaken off yet.
She went upstairs, rummaged, and then came back. I wondered briefly what she would think of the unmade bed, though I was not sure why it might interest her.
She helped me remove my shirt and then cleaned the wound. Fortunately, she didn’t have to remove a bullet. It was a clean wound but it would require stitches.
When she’d finished, she said, “Your friend said one day this might happen.”
No prizes for guessing who that friend was, and it didn’t please me that she had involved Maria.
“Alisha?”
“She didn’t tell me her name, but I think she cares a lot about you. She said trouble has a way of finding you, gave me a phone and said to call her if something like this happened.”
“That was wrong of her to do that.”
“Perhaps, perhaps not. Will you call her?”
“Yes. I can’t stay here now. You should go now. Hopefully, by the time I leave in the morning, no one will ever know what happened here, especially you.”
Day 287 – Packing an entire world into one sentence
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Packing an Entire World into One Sentence: The Literary Economy of Charles Portis and True Grit
Charles Portis and True Grit: How One Sentence Built a World Meta Description: Explore the brilliant literary economy of Charles Portis through his masterpiece True Grit. Discover how just six novels proved that less is more.
There is a rare breed of writer who cares very little for literary fanfare, yet commands the absolute, obsessive devotion of fellow authors and devoted readers alike. Charles Portis was the patron saint of this elusive club.
Publishing a mere six novels over the course of his career, Portis never chased blockbuster status or critical preening. Instead, he crafted a body of work defined by precision, deadpan wit, and an astonishingly balanced economy of plot, character, and description.
Nowhere is this mastery more evident than in the opening sentence of his 1968 masterpiece, True Grit. With a single breath, Portis does something extraordinary: he packs an entire world, a distinct voice, and a complete worldview onto the page.
Let’s take a journey into the brilliant literary mind of Charles Portis and examine how a famously brief bibliography achieved timeless greatness through the art of economy.
The Immortal Opening: Setting the Stage in One Sentence
To understand what makes Charles Portis a master of narrative efficiency, you need only look at how True Grit begins:
“People do not often give due credence to the sorrows of young people, but those of us who have been young ourselves know differently and can remember what it was like in those sad and lonely days.”
In just thirty-one words, Portis accomplishes what other writers take whole chapters to establish.
First, he establishes voice. Through the narrator, a 14-year-old Mattie Ross looking back from old age, we immediately recognise a tone that is formal, unyielding, slightly archaic, and utterly lacking in self-pity or sentimentality.
Second, he establishes perspective. This is not a standard, bloodless Western. It is a deeply personal reckoning. By acknowledging the gravity of youth, Mattie preemptively pushes back against anyone who might dismiss her quest for vengeance as childish folly.
Without describing a horse, a dusty street, a revolver, or a badge, Portis sets the psychological and emotional stakes of the American frontier. He packs a whole world—a universe of stubborn grief and nineteenth-century grit—into a single sentence.
The Magic of Six: Quality Over Quantity in the Portis Canon
It is staggering to think that a writer of Portis’s calibre produced only six novels:
Norwood (1966)
True Grit (1968)
The Dog of the South (1979)
Masters of Atlantis (1985)
Gringos (1991)
Starlight (1999)
In an era of bloated manuscripts and multi-book fantasy series, Portis’s bibliography looks positively monastic. Yet, every single one of these books is a polished gem.
Portis had no time for literary fat. His books are famously difficult to categorise—are they comedies? Westerns? Picaresque road trips? They are all of these things, bound together by an economically balanced plot that never drags, characters who are eccentric yet undeniably human, and descriptions that are razor-sharp without ever lapsing into purple prose.
The Three Pillars of Portis’s Economy
How did Portis pull off this rare literary magic trick across his six novels? By maintaining a strict equilibrium between three essential elements:
1. The Balanced Plot: Movement Without Rush
Portis’s plots are generally simple in design—often structured as a quest or a journey. In True Grit, it’s a girl hunting her father’s killer. In The Dog of the South, it’s a man chasing his runaway wife and his stolen Ford Torino.
Because the overarching premise is usually straightforward, Portis doesn’t need to waste time on convoluted twists. The plot simply acts as a vehicle to move his wonderfully bizarre characters from one strange encounter to the next. The pacing is steady, rhythmic, and perfectly proportioned.
2. The Unforgettable Character: Eccentricity Grounded in Truth
If you ask readers to name their favourite Charles Portis characters—whether it’s Mattie Ross, the hard-drinking Rooster Cogburn, or the grandiose Lamar Jimmerson from Masters of Atlantis—you are talking about people who march to the beat of an entirely different drum.
Portis loved obsessives, grifters, pedants, and drifters. Yet, his genius lies in his restraint. He lets his characters reveal their absurdities through their own dialogue and deadpan narration. He doesn’t need to tell us they are funny; he just lets them speak, trusting the reader to appreciate the dry humour.
3. The Minimalist Description: Showing the World in Flashbacks and Brief Strokes
Portis was a former journalist (having worked as a reporter for the New York Herald Tribune), and it shows in his prose. He understood the power of the selected detail.
Instead of devoting pages to describing a sunset or a saloon, Portis gives you the one detail that matters—a slouching hat, a particular brand of canned peach, the precise legal terminology of a land dispute. His descriptions are economical because they serve a dual purpose: they anchor the scene visually while simultaneously revealing character.
Why Charles Portis Matters Today
In contemporary fiction, we often equate length and complexity with depth. We celebrate door-stopper novels that take hundreds of pages to warm up.
Charles Portis stands as a glorious antidote to this trend. He proved that a novel doesn’t need to be massive to be profound. By respecting the reader’s intelligence, stripping away every unnecessary word, and anchoring his stories in unforgettable, singular voices, Portis created a body of work that will be read and admired as long as people care about great writing.
It all started with a thirty-one-word sentence.
If you haven’t yet stepped into the wonderfully eccentric, economically crafted world of Charles Portis, open True Grit, read that first sentence, and prepare to be carried away by a master….
My next destination in the quest was the hotel we believed Anne Merriweather had stayed at.
I was, in a sense, flying blind because we had no concrete evidence she had been there, and the message she had left behind didn’t quite name the hotel or where Vladimir was going to take her.
Mindful of the fact that someone might have been following me, I checked to see if the person I’d assumed had followed me to Elizabeth’s apartment was still in place, but I couldn’t see him. Next, I made a mental note of seven different candidates and committed them to memory.
Then I set off to the hotel, hailing a taxi. There was the possibility that the cab driver was one of them, but perhaps I was slightly more paranoid than I should be. I’d been watching the queue, and there were two others before me.
The journey took about an hour, during which time I kept an eye out the back to see if anyone had been following us. If anyone was, I couldn’t see them.
I had the cab drop me off a block from the hotel and then spent the next hour doing a complete circuit of the block the hotel was on, checking the front and rear entrances, the cameras in place, and the siting of the driveway into the underground carpark. There was a camera over the entrance, and one we hadn’t checked for footage. I sent a text message to Fritz to look into it.
The hotel lobby was large and busy, which was exactly what you’d want if you wanted to come and go without standing out. It would be different later at night, but I could see her arriving about mid-afternoon, and anonymous among the clientele the hotel attracted.
I spent an hour sitting in various positions in the lobby simply observing. I had already ascertained where the elevator lobby for the rooms was, and the elevator down to the car park. Fortunately, it was not ‘guarded’, but there was a steady stream of concierge staff coming and going to the lower levels, and, just from time to time, guests.
Then, when there was a commotion at the front door, what seemed to be a collision of guests and free-wheeling bags, I saw one of the seven potential taggers sitting by the front door. Waiting for me to leave? Or were they wondering why I was spending so much time there?
Taking advantage of that confusion, I picked my moment to head for the elevators that went down to the car park, pressed the down button, and waited.
There was no car on the ground level, so I had to wait, watching, like several others, the guests untangling themselves at the entrance, and keeping an eye on my potential surveillance, still absorbed in the confusion.
The doors to the left car opened, and a concierge stepped out, gave me a quick look, then headed back to his desk. I stepped into the car, pressed the first level down, the level I expected cars to arrive on, and waited what seemed like a long time for the doors to close.
As they did, I was expecting to see a hand poke through the gap, a latecomer. Nothing happened, and I put it down to a television moment.
There were three basement levels, and for a moment, I let my imagination run wild and considered the possibility that there were more levels. Of course, there was no indication on the control panel that there were any other floors, and I’d yet to see anything like it in reality.
With a shake of my head to return to reality, the car arrived, the doors opened, and I stepped out.
A car pulled up, and the driver stepped out, went around to the rear of his car, and pulled out a case. I half expected him to throw me the keys, but the instant glance he gave me told him he was not the concierge, and instead he brushed past me like I wasn’t there.
He bashed the up button several times impatiently and cursed when the doors didn’t open immediately. Not a happy man.
Another car drove past on its way down to a lower level.
I looked up and saw the CCTV camera, pointing towards the entrance, visible in the distance. A gate that lifted up was just about back in position, then clunked when it finally closed. The footage from the camera would not prove much, even if it had been working, because it didn’t cover the lift lobby, only what was in the direction of the car entrance.
The doors to the other elevator car opened, and a man in a suit stepped out.
“Can I help you, sir? You seem lost.”
Security, or something else. “It seems that way. I went to the elevator lobby, got in, and it went down rather than up. I must have been in the wrong place.”
“Lost it is, then, sir.” I could hear the contempt for Americans in his tone. “If you will accompany me, please.”
He put out a hand ready to guide me back into the elevator. I was only too happy to oblige him. There had been a sign near the button panel that said the basement levels were only to be accessed by the guests.
Once inside, he turned a key and pressed the lobby button. The doors closed, and we went up. He stood, facing the door, not speaking. A few seconds later, he was ushering me out to the lobby.
“Now, sir, if you are a guest…”
“Actually, I’m looking for one. She called me and said she would be staying in this hotel and to come down and visit her. I was trying to get to the sixth floor.”
“Good. Let’s go over to the desk and see what we can do for you.”
I followed him over to the reception desk, where he signalled one of the clerks, a young woman who looked and acted very efficiently, and told her of my request, but then remained to oversee the proceeding.
“Name of guest, sir?”
“Merriweather, Anne. I’m her brother, Alexander.” I reached into my coat pocket and pulled out my passport to prove that I was who I said I was. She glanced cursorily at it.
She typed the name into the computer, and then we waited a few seconds while it considered what to output. Then, she said, “That lady is not in the hotel, sir.”
Time to put on my best-confused look. “But she said she would be staying here for the week. I made a special trip to come here to see her.”
Another puzzled look from the clerk, then, “When did she call you?”
An interesting question to ask, and it set off a warning bell in my head. I couldn’t say today, it would have to be the day she was supposedly taken.
“Last Saturday, about four in the afternoon.”
Another look at the screen, then, “It appears she checked out Sunday morning. I’m afraid you have made a trip in vain.”
Indeed, I had. “Was she staying with anyone?”
I just managed to see the warning pass from the suited man to the clerk. I thought he had shown an interest when I mentioned the name, and now I had confirmation. He knew something about her disappearance. The trouble was, he wasn’t going to volunteer any information because he was more than just hotel security.
“No.”
“Odd,” I muttered. “I thought she told me she was staying with a man named Vladimir something or other. I’m not too good at pronouncing those Russian names. Are you sure?”
She didn’t look back at the screen. “Yes.”
“OK, now one thing I do know about staying in hotels is that you are required to ask guests with foreign passports their next destination, just in case they need to be found. Did she say where she was going next?” It was a long shot, but I thought I’d ask.
“Moscow. As I understand it, she lives in Moscow. That was the only address she gave us.”
I smiled. “Thank you. I know where that is. I probably should have gone there first.”
She didn’t answer; she didn’t have to, her expression did that perfectly.
The suited man spoke again, looking at the clerk. “Thank you.” He swivelled back to me. “I’m sorry we can’t help you.”
“No. You have more than you can know.”
“What was your name again, sir, just in case you still cannot find her?”
“Alexander Merriweather. Her brother. And if she is still missing, I will be posting a very large reward. At the moment, you can best contact me via the American Embassy.”
Money is always a great motivator, and that thoughtful expression on his face suggested he gave a moment’s thought to it.
I left him with that offer and left. If anything, the people who were holding her would know she had a brother, that her brother was looking for her, and equally that brother had money.
