This month's feature author is:
and his book:
ABOUT THE AUTHOR:
Marvin Olasky is editor-in-chief of World Magazine, a senior fellow of the Acton Institute, and a professor at the University of Texas at Austin. He and his wife Susan have been married for 30 years and have four sons. He has written 17 non-fiction books and has also started (with several others) a Christian school; he has been a crisis pregnancy center chairman, a foster parent, a Little League assistant coach, a PTA president, and an informal advisor to George W. Bush. He is a graduate of Yale University and the University of Michigan.
Stepping away from his roles as professor, historian, and creator of "compassionate conservatism," Olasky has penned an edge-of-your-seat novel that educates as well as informs.
SCIMITAR'S EDGE is the story of four unique Americans on a journey that takes them to a world of great beauty and danger. Olasky uses his vast knowledge of the culture to pen a tale about the War on Terror that is so realistic it might have been taken from today's headlines.
A FEW QUESTIONS WITH THE AUTHOR
1. What's the book about?
At its basic level it's about Americans who go to Turkey for a vacation -- I spent a month there two years ago -- and are kidnapped by Turkish Hezbollah; the question then is how to get away and whether to forget about the whole thing or attempt to fight back. In another sense Scimitar's Edge is about America and the war against terrorism: Now that it's almost five years since 9/11 many of us almost seem to be on vacation again, but the terrorists are not.
2. You're a journalist and professor by trade, with about 18 non-fiction books in your past. What led you to turn to fiction?
Largely fun. In one sense I was playing SIM Turkey: Drop four people into a harsh foreign environment, give them action and adventure, build a romance … I grew to like the characters and wanted to see what they would do. I also enjoyed the challenge: I've written lots of nonfiction books and know how to do that, but this was all new.
3. Is your research for fiction different from your nonfiction research?
The trunk is common - as I traveled through Turkey I took notes on geography, food, customs, and so forth - but the branches differ. My nonfiction research emphasizes accuracy concerning what has happened; for example, every quotation has to be exactly what a person said. In fiction, though, I'minventing dialogue, yet everything that happens has to be true to the
4. What's been the feedback from your fans since your switchto fiction? Oh, are there fans?
Actually, I've gotten excellent reactions from many of the folks who like my nonfiction. A few worry about sexual allusions - one of the characters is a serial adulterer and two of the others, as they fall in love, encounter sexual tension. Scimitar's Edge is also an action/adventure novel so there's some shooting, and one of the main characters is a terrorist who relishes lopping off heads. So anyone who wants a sugary book should look elsewhere.
5. You also include some descriptions of what's been called "the forgotten holocaust" a century ago, and explain some Turkish history.
Turkey was the proving ground for the first sustained governmental attempt at genocide, as Turks killed over one million Armenians and sent many to concentration camps; Hitler admired that effort. But Turkey has often been a central player in world affairs, not a backwater. Nearly two millennia ago Turkey became a Christian stronghold: The seven churches John addresses in the book of Revelation, for example, were in what is now Western Turkey. Going back one millennium, what is now Turkey was the front line for a clash of Christian and Muslim cultures.
6. I know you wrote your doctoral dissertation about film and politics from the 1930s through the 1960s, a time when Westerns were one of the dominant genres, and I see certain Western-like elements in this book.
Westerns came in about seven different varieties, and one of them was called the "revenge Western," where a bad man has killed a beloved person and the hero heads out to bring him to justice. In nuanced Westerns the hero at various points asks himself whether his end justifies his means and whether it's worth giving up a lot to carry out what he planned. An internal struggle of that sort occurs in this book as well.
7. Scimitar's Edge is an unusual novel that combines action against terrorists with quotations from Walker Percy. In fact, the book ends with an allusion to one of Percy's most enduring characters, Will Barrett. Were you consciously trying to walk a knife-edge between high-brow and low-brow culture?
Not consciously; that's just where I am myself. Since evangelicals are sometimes disparaged as dumb, some press to show we're not by tossing around Latin phrases or going to opera rather than popular movies -- not that there's anything wrong with opera, as long as there's a car chase within the first five minutes. To me it comes down to enjoying the pleasures God gives us, including those from both popular culture and literary culture.
8. Are you planning a sequel?
When I talk with students about careers we discuss the importance of both internal calling and external calling - do you feel God's pleasure as you do something, and do other people think you're good at it? I feel the internal call to write more novels; I'm trying to discern the external call from readers.
AND NOW...THE FIRST CHAPTER:
Note: All present-day characters are fictional except for the media and political personalities in chapter sixteen and one character in chapter twenty-one: There really is a Metropolitan Ozmen at the Deur-ul Zaferan Monastery near the Turkish- Syrian border.
Descriptions of historical characters are factual. Suleyman Mahmudi did build Castle Hosap in southeastern Turkey in 1643.
The chess game in chapter fourteen derives from one played by Gustav Richard Neumann and Adolf Anderssen in Berlin in 1864, but then it was not a matter of life or death.
Zeliha Kuris sat in her living room in Konya, scarcely believing what she was watching on TRT1, the major government-run channel in Turkey. The second of the twin towers of New York was crumpling. She cried, thinking of the horrible way so many were dying. Then came a knock on her door.
She peered out cautiously. Ever since her last book, threats from Hezbollah terrorists had come as fast as the sewage ran after heavy rains. One fatwa against her read, “She has confused and poisoned Muslims with her Western ideas. She deserves death.”
But it was only a man, Trafik Kurban, whose ailing mother she had helped. They had met in the room at the hospital where the old woman was dying of lung cancer. Trafik’s hollow cheeks and chain-smoking habits made generational continuity likely, but he had seemed friendly enough as he joked about his favorite American film, The Wizard of Oz. Zeliha opened the door to him.
“I have a present for you in my car,” he said, taking her hand in his own—it was sticky soft—and pointing to a white Mitsubishi that sat at the curb. “You showed yourself a true daughter of Turkey during my mother’s duress, and I want to thank you.”
Zeliha looked up and down the street but saw no danger signs. She smiled and followed him to the vehicle. Trafik reached in, pulled out a three-foot-tall scarecrow stuffed with straw, and handed it to her. She gave it a puzzled look before smiling and saying, “It’s lovely.”
Then Trafik stuck a needle into her arm and shoved her into the car.
She came to in a dank basement. At first all she could sense was the overpowering smell of onions. The odor hung in the air and left her struggling for breath. Her hands were bound behind her back, her legs tethered to a pillar. All was quiet, but then she heard movement and conversation on the floor above.
She strained to catch what was being said. A man with a booming voice. He sounded joyous. “Passed the initiation . . . Trafik, one of us . . . member of Hezbollah.”
Hezbollah! So Trafik was not just a petty criminal. Hezbollah! Instantly she knew what would happen though her tormentors made her wait. She lost track of the time and must have dozed because when she awoke her throat was parched and a glass of water sat just beyond her reach.
She often heard the man with the loud, harsh voice talking and then laughing outside the door. When the door opened, the smell of fresh bread wafted into the room. Only when her mouth was as dry as Saudi sand and her stomach cramped from hunger did the loud man enter. Even then he was patient, standing for a time just staring at her.
Finally he leaned close, smelling of garlic, his thick black mustache tickling her check. Spit from his mouth sprayed her face. “You wanted to be Turkey’s Salman Rushdie or Taslima Nasrin, eh? They deserve to die, and you will.”
On the first day he beat her. On the second day he dripped burning nylon on her, all the time complaining that he had to use primitive torture devices because her Western allies kept him from getting modern electroshock devices. He demanded information about the members of her conspiracy. She explained that there was no conspiracy, that she had only written what was true. He became furious.
Upstairs she could hear The Wizard of Oz playing nonstop, with the Munchkins’ song turned up loud to cover up her screams. She imagined Trafik was watching, and her one hope was that he would come to see her so she could ask him how he felt betraying the woman who had been his dying mother’s only friend. Trafik did not descend, but she heard him chortle as the Wicked Witch screamed, “I’m melting, melting.”
Finally he did stand in front of her, but instead of displaying remorse he held a camera. As the loud man did his work, Trafik silently recorded the ravages of torture. Summoning her remaining strength, Zeliha spat at him. “How could you do this?” But before he answered, if he answered, she lost consciousness and never returned to life.
Read PART ONE, INNOCENTS ABROAD at FIRST