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Tired of being blamed for Lions' shortcomings, Scott Mitchell sets the record straight

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Tired of being blamed for Lions' shortcomings, Scott Mitchell sets the record straight

SALT LAKE CITY — Scott Mitchell sinks into the soft gray sectional at 1 a.m.

Hey look, Barry Sanders is on television. It’s a promo for “Bye Bye Barry,” a documentary that debuted on Amazon Prime one hour earlier.

Watching Sanders was always a thrill, even when he was a teammate. Sometimes Mitchell was criticized for doing just that rather than following through with his play fake after handing off. The way Sanders moved was mesmerizing, and Mitchell couldn’t help himself.

Now the 56-year-old has time to watch television at 1 a.m. A few weeks earlier, he was let go from his job as a sports talk radio host for KSL Newsradio, a job he held for seven years.

Mitchell finds “Bye Bye Barry.”

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There’s Sanders saying the Lions might have won some playoff games if they hadn’t let go of some players, including Mitchell’s predecessor, Erik Kramer. There’s head coach Wayne Fontes telling Sanders, “We had every piece but the quarterback.” There’s Eminem saying the Lions could have won more if Sanders wasn’t a one-man team. There’s Jeff Daniels joining the chorus.

Mitchell isn’t attacked as much as dismissed.

He seethes, gets off the couch, makes his way to his iMac, logs on to Facebook and begins to type. As soon as he finishes, he thinks he should delete it.

Nah. He hits “Post.”


  Scott Mitchell:    I just watched “Bye Bye Barry” on Amazon Prime and It wasn’t a very pleasant experience. I was Barry Sanders teammate for five years. I had a front row seat to some of the most amazing plays in NFL history. He will never have an equal as a pure runner in the NFL. I could argue there were several backs more complete, but I won’t. Barry was great!!

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The 6-foot-6 Mitchell couldn’t do much with his feet, but with a left arm like Dumbledore’s wand, he didn’t have to. The ball left his big hand at the highest point and glided over the field, a gull over the sea. And the spin — it should have been the subject of a physicist’s thesis.

Greg Landry, Lions quarterbacks coach in 1995-96: “He could throw the heck out of the football, so accurate.”

Lomas Brown, left tackle: “Scott threw one of the prettiest balls — one of the tightest balls — I’ve ever seen. He could spin that thing, he really could.”

Herman Moore, wide receiver: “He threw probably the best ball that ever was thrown to me, just perfect passes. His was the easiest pass for me to catch.”

Marc Trestman, quarterbacks coach in 1997: “The ball always came out of his hand spinning, almost without effort. There was nothing he couldn’t do in the pocket.”

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In three years at Utah, Mitchell set 10 NCAA records and became the 11th leading passer of all time. Miami chose him in the fourth round of the 1990 draft, and he was embraced and empowered by the great Don Shula, who handed Mitchell a playbook on his first day and told him he would be calling his own plays in practice. Mitchell learned how to be a pro by backing up Dan Marino, passer of passers.

Mitchell loved being a Dolphin and bonded easily with many of his teammates. The South Florida lifestyle suited him. But it was a dead-end job, and after two seasons without attempting a pass in a game, Mitchell volunteered to play for the Orlando Thunder of the World League. He threw for the second-most yards in the league and led the Thunder to an 8-2 record.

That year, he also joined Freeman McNeil, Marcus Allen and nine other players in an antitrust suit against the NFL that resulted in unrestricted free agency for the first time in the league’s history.

Then, in Week 6 of the 1993 season, Marino tore his Achilles and Mitchell had his showcase. He was named NFL offensive player of the week after his first game as a starter. Then he was named offensive player of the month.

In the first year of free agency, Reggie White was the grand prize. In 1994, it would be Mitchell. The Dolphins wanted to make him the highest-paid backup in the league with an unheard-of-at-the-time $1.5 million-per-year offer, but richer overtures followed.

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Scott Mitchell shone in relief of Dan Marino in 1993, setting up a robust market in free agency the following offseason. (Doug Collier / Getty Images)

The charming Fontes came to Mitchell’s home and showed him the cigar he would light if Mitchell signed with Detroit. The Vikings handed him an 11-page booklet explaining why he was the only quarterback they wanted. Saints coach Jim Mora gave him a 90-minute sales pitch. Rams coach Chuck Knox pledged that, with Mitchell as his QB, no one would call him “Ground Chuck” anymore.

Mitchell had misgivings about how Fontes had used — or misused — quarterbacks in the past but decided to sign a three-year, $11 million deal with Detroit that included a $5 million signing bonus, the second largest in NFL history at the time and $500,000 more than White received from the Packers the year before. Lions GM Chuck Schmidt flew to South Florida to hand Mitchell the check.

“It was a blue check. More zeros than I had ever seen, ever,” Mitchell says. “And I was nervous, like, we need to get this in the bank.”

After making the deposit, he and Dolphins center Jeff Dellenbach celebrated at Burt and Jack’s, Burt Reynolds’ waterfront Fort Lauderdale restaurant. They ordered the two largest lobsters in the house — six-pounders — and a pair of filets so massive they needed to be butterflied to cook evenly.

The celebration ended when Mitchell arrived in Detroit.

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  Scott Mitchell:    I am so tired of hearing that I was the reason Barry Sanders never won the Super Bowl. I’m so tired of hearing that I wasn’t a good QB. My only response is F### you all! That includes Eminem and Jeff Daniels.

The Lions made the NFC Championship Game two years prior and were loaded with former or future Pro Bowlers. All they needed, the narrative went, was a quarterback.

Mitchell probably was resented in his own locker room because of that blue check. And because he wasn’t Kramer, a well-liked part-time starter over three seasons. Brown believes Lions management failed to properly integrate Mitchell into a veteran team that was “still upset with them letting Erik Kramer go.”

When he got to Detroit, Mitchell sensed something was off, but he wasn’t sure what. “I just felt like I was interrupting a party,” he says. “Of all the places I played, Detroit was the one where I felt the most disconnected from my teammates.”

Moore was the exception. The quarterback and receiver recognized that they needed one another and bonded through shared commitment. They eventually could tell what the other was thinking without words or gestures. Moore says it is no coincidence that Mitchell was his quarterback all three years he was voted first-team All-Pro.

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But Mitchell didn’t concern himself enough with chemistry, relationships, even reading the room. He would host a yearly dinner for the offense — buying prime steaks, fresh stone crabs from Florida and cheesecake from Chicago — but his focus, almost his sole focus, was being the best passer he could be. Naivete led him to believe he could succeed in any situation if he just applied himself more. It resulted, Mitchell believes, in being perceived as aloof and unapproachable.

“Scott was Scott,” Brown says. “Mostly to himself. Kind of quiet.”

In his first eight starts, Mitchell threw 11 interceptions and completed 48 percent of his throws. He was booed in his first game at the Pontiac Silverdome — and every subsequent game. He was struggling against the Packers in Week 9 when he suffered a broken right hand and was lost for the season.

In a 2012 radio interview, Brown said he purposely missed a block on the play that knocked Mitchell out for the season. Brown’s recollection of the play was faulty — he handled his assignment well while Sanders failed to pick up a blitzing safety — but he acknowledges his disgust with Michell’s play and regrets his ill intent.

“I was pissed off during the game,” he says. “I mean, I was mad.”

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Mitchell wasn’t aware of Brown’s feelings during their playing days, but the lineman’s admission hurt him. “I’d never do that to another person, let alone a teammate,” Mitchell says. “I felt I got thrown under the bus for no reason. I don’t see Lomas. I don’t talk to Lomas. I don’t want to either.”

After the season, teammates presented him with a trophy featuring a turkey on top — the “Wanker of the Year” award given annually to the biggest complainer.

“I didn’t know if it was a joke, or if they were saying I was kind of a dick,” he says. “It could have been either one.”

  Scott Mitchell:    I can’t even tell you what a disappointment it is to hear my own coach, Wayne Fontes, who went out in free agency and actively pursued me to the point of begging me to come to Detroit, say that he wanted Joe Montana and Warren Moon, and that the only thing missing from the team winning the Super Bowl was a quarterback. A little support from the coach may have gone a long way. Wayne never had my back!

The 1995 season began with the Lions losing three games they easily could have won. Fontes called some of his team leaders to his office. One of them — Mitchell thinks it was safety Bennie Blades — said, “You brought this quarterback here to throw the ball. Let him throw it.”

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Tom Moore, who had been promoted to offensive coordinator in the offseason, met with Mitchell. Detroit’s offense was reimagined using the same take-what-the-defense-gives-you, audible-based system Moore and Peyton Manning later used to set records and win a Super Bowl in Indianapolis.

“We changed our strategy,” Mitchell says. “We stopped forcing Barry Sanders on people.”

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In Mitchell’s first 15 games with the Lions, he averaged 23 pass attempts. After the meeting with Moore, he averaged 37 attempts per game. Detroit won 10 of 13 and led the league in yards. Mitchell was the NFL’s second-leading passer behind MVP Brett Favre.

“That year we put up statistically was because of Scott and his ability,” Brown says.

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But that was the regular season. In a 58-37 wild-card-round loss to the Eagles, Mitchell was intercepted four times and Sanders rushed for 40 yards.

With Mitchell flinging it at a similar rate the next season, the Lions started 4-3. Then Fontes pulled him in the middle of a series during a three-interception game against the Giants. The next night, Mitchell showed up at the team Halloween party dressed as his coach: a pillow under his shirt, a cigar — and Mickey Mouse ears.

He was warming up for a practice later that week when he pulled a muscle off his ribs. He was so determined to play that at 5:30 a.m. the next day, he drove 45 minutes to Henry Ford Hospital, where they stuck a four-inch needle into his ribs and kept it there for 12 minutes to deaden the pain. He passed out the first time, then went back every subsequent morning for another.

It helped his pain but not his passing. “I just couldn’t throw,” Mitchell says. “It was the damndest thing.”

Mitchell started six more games, all losses, performing poorly. Tired of being told he sucked, he stopped going to grocery stores, restaurants and movies.

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After the season, Lions owner William Clay Ford asked Mitchell what he should do about Fontes, who had a 66-67 record in nine years. Mitchell never felt like he was one of Fontes’ guys, but he says he told Ford there was nothing wrong with the team and asked him not to change the offense. “We just need more time,” the quarterback told the owner. “Just give us more time.”

Ford fired Fontes and hired Bobby Ross, a former Army lieutenant who coached like one. In Mitchell’s first meeting with his new coach, Mitchell said he thought the offense had much more potential than it had shown. Ross told him Herman Moore told him the same thing and asked if they were in cahoots. “And then he goes, ‘All you guys are interested in is your stats,’” Mitchell says.

According to Mitchell, Ross barred him from meeting with new offensive coordinator Sylvester Croom and told him not to speak with Ford or his son, William Clay Ford Jr., with whom Mitchell had become friendly. The Lions had already decided to double down on Mitchell by giving him a four-year, $21 million contract extension with an $8 million signing bonus, but Ross hadn’t had a say in the decision.

Sanders refused to report until the Lions adjusted his contract so his average per year exceeded Mitchell’s. Mitchell long suspected Sanders didn’t think much of him, and the relationship had difficulties.

“It was challenging to play with him,” Mitchell says. “A lot of those other running backs of the day weren’t going to get you behind the chains very often, and we were behind the chains a lot with Barry. If you didn’t run Barry the right way, it was hard, and it put everyone else in a bind.”

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In most offenses, Mitchell would have taken former Bengals teammate Corey Dillon over Sanders. Or Emmitt Smith. Or Marshall Faulk. Or Terrell Davis.

“When we used (Sanders) the way we did in Tom Moore’s offense, I’d take him over anyone,” Mitchell says. “But what made it great was our willingness to throw the football.”

With Croom replacing Tom Moore, the offensive philosophy changed, de-emphasizing the passing game.

“Sylvester got so stuck on Barry and running the ball that a lot of guys were forgotten,” Mitchell says. “Barry rushed for 2,000 yards and it was all wonderful, but we could have been so much more. … It was an amazing opportunity lost.”

In Ross’ first year, Trestman served as a sounding board for Mitchell and a bridge to Ross. But he left after the 1997 season and was replaced by Jim Zorn, who clashed with Mitchell about almost everything. The Lions made the playoffs but lost 20-10 to the Bucs. Mitchell had 78 passing yards in the third quarter when he left the game on a stretcher with a concussion. Sanders rushed for 65 yards.

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After opening the 1998 season with two losses, Mitchell was benched in favor of rookie Charlie Batch. His Lions career was over. Detroit traded Mitchell to Baltimore in the offseason for third- and fifth-round picks.


The Lions’ loss to the Bucs in the playoffs following the 1997 season was the beginning of the end for Scott Mitchell in Detroit. (Getty Images)

“Us failing wasn’t about Scott as much as it was failing to put the right coaching, schemes and systems around him,” Brown says.

“Scott had an offensive line. He had a running back. He had receivers,” Herman Moore says. “Some of the coaches that came in were so rigid that it was their way or the highway. In that regard, we were all set up to fail because there was no collaboration.”

Mitchell was the opening-day starter for the Ravens the next season but was benched after the second game. In 2000, he signed with the Bengals as a backup and started five games late in the year. He returned to Cincinnati the following season but never started again.

During a preseason game against the Lions, he planned to fire a pass at the sideline to bean Ross. He didn’t do it, but after retiring, he called his former coach to apologize for his rancor nonetheless. Mitchell says Ross appreciated the call and told him, “For what it’s worth, I never should have benched you.”

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For the next two years, Mitchell practiced every day as if he would be starting an NFL game soon. He called Cowboys coach Bill Parcells repeatedly to ask for a chance. Parcells never called back. The Raiders finally asked him to come to Oakland for a workout. When he arrived, the tryout was delayed. Then it was canceled.

Mitchell went home and set up for another practice. Then it hit him. It was over.

“I fell to the ground,” he says. “And sobbed uncontrollably.”

  Scott Mitchell:   Bottom line. Barry had everything in Detroit. Everyone loved him. Everything was built for Barry to succeed. In his 10-year career, he won one playoff game and everyone else was the problem? How many yards did Barry have in the playoffs in 94, 95, and 97? I’ll give you a hint: Not very many. We are all to blame for not winning a SB in Detroit, even Barry Sanders.


One of Mitchell’s earliest childhood memories was when he was about 2, staying with his grandmother and waking to the smell of Kentucky Fried Chicken, then sitting up in his crib and yelling, “I want Tucky Chicken!” It was the start of a lifetime of unhealthy eating habits.

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In his book “Alive Again,” Mitchell acknowledges struggling with his weight during his playing career. He often gained 20 pounds or so in the offseason, but he always dropped the weight and says he never was fined for failing to make his prescribed playing weight of 235 pounds.

By 2014, Mitchell was 13 years and 125 pounds beyond his NFL days. Weighing 366 pounds, he became a contestant on the TV show “The Biggest Loser,” which had him doing eight hours of cardio a day and preparing his own healthy meals. It was hard, so hard he decided to quit in the middle of the show.

“At that point, I felt like I failed,” he says, wiping a tear.

It wasn’t about failing on “The Biggest Loser” as much as it was about failing in football, in life. He took a hike in the Santa Monica mountains and decided to rest. Alone, he sat on a dusty dirt trail. That’s when he says he heard a deep, booming voice: “If you quit now, you’ll regret this for the rest of your life.”

He woke the next morning and saw his football career in a different light. He realized adversity had shaped his character. Through his disappointments and failures, he became more forgiving — even of himself. He developed patience and perspective and discovered he was more resilient than he knew.

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Mitchell didn’t quit the show. He lost 124 pounds. And he stopped feeling like a failure.

Since then, it’s been a struggle. Mitchell weighed as much as 418 last year but lost 35 pounds after starting a weight-loss drug and embarking on a workout program with his wife, Anne, whom he married last month. But in January his kidneys shut down, and after five days in the hospital, he developed blood clots in his lungs. He has since regained his health and expects to resume his weight-loss program soon.


Scott Mitchell, at his Utah home, weighed as much as 418 pounds last year but lost 35 pounds after embarking on a weight-loss program. (Dan Pompei / The Athletic)

He doesn’t talk much to Sanders, who was unavailable for this story. Hardly anyone does. Or ever did.

“He never said a word, ever,” Mitchell says. “After games, he’d just duck out the back door. And it was OK. But I was not close to Barry at all. I don’t know who he is.”

Mitchell has time for fly fishing, 18 holes and playing guitar, or trying to. And for hosting weekly cooking classes for any of his five adult children — you should taste his almond/coconut encrusted sweet chili salmon with cauliflower mashed potatoes and asparagus with lemon, garlic and feta cheese.

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He has time to look for a new platform while remaining the color commentator for Utah football on ESPN 700. He has time to follow his old team. Mitchell hasn’t been to a Lions game in five years, but he pulls for Dan Campbell, Jared Goff and Lions fans.

He has time to start a non-profit to provide disadvantaged youth with STEM education and mentoring from athletes. He has time to drive a visitor to the airport.

In years gone by, passengers would remark about his driving — it was a problem to solve, a game of “Tetris.” How can I get to the destination as quickly and efficiently as possible? He gripped the wheel tightly, looked way down the road and didn’t say much, all focus on the challenge.

He’s not driving that way now.

He’s chatting, appreciating the sights. Here’s Point of the Mountain, which separates Salt Lake City and Provo and is the dividing line between Utah fans and Brigham Young supporters. It’s about 230 miles that way to Moab. Four hours this way is the Grand Canyon.

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Mitchell is seeing things he never could have 20 years ago.

He believes the Lions could have won a Super Bowl if he had been properly supported. He wants the world to know it. That was the reason for that Facebook post. He needed to get it out and put it in his rearview mirror.

What would he have done differently if he could go back in time?

He looks out the window. The sun shines. In the distance, the Wasatch mountains wear white caps.

“If I knew what I know now,” Mitchell says, pausing, “I would have stayed in Miami.”

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(Top illustration: Dan Goldfarb / The Athletic; photos: Vincent Laforet / Allsport via Getty; Dan Pompei / The Athletic)

Culture

Book Review: ‘Chernobyl, Life, and Other Disasters,’ by Yevgenia Nayberg

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Book Review: ‘Chernobyl, Life, and Other Disasters,’ by Yevgenia Nayberg

CHERNOBYL, LIFE, AND OTHER DISASTERS, by Yevgenia Nayberg


“You have to share many things with others … but what you remember belongs to you and you alone,” Yevgenia (Genya) Nayberg writes in the author’s note to her graphic memoir, “Chernobyl, Life, and Other Disasters.”

The elegantly composed pages of this moving story, told largely through Nayberg’s effervescent illustrations, make clear the special place she holds in her heart for memories of her childhood in Kiev (now spelled Kyiv), Ukraine.

It is 1986, Ukraine is still part of the Soviet empire, and the entire world is anticipating Halley’s comet. Yet there are more important things in Genya’s life than the approaching comet. She is 11 years old and preparing for the entrance exam to Kiev’s National Secondary School of Art.

Inspired by her mother, who is an artist, Genya loves to draw and paint. But there is an obstacle: The family is Jewish and the art school — like many schools in the former Soviet Union — accepts only 1 percent of Jewish applicants.

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When Genya was 5, her grandpa, who lived through Stalin’s Terror, told her she should “not stick out in school.” He taught her to read using Pravda, which was filled with articles about imperialism and inflation — evil spirits that haunted her dreams. (Pravda and Izvestiya — The Truth and The News — were the two major newspapers in the Soviet Union, and everyone knew the joke that accurately reflected Soviet reality: There is no news in The Truth and no truth in The News.)

In first grade, Genya’s “Honorary Teacher of the Soviet Union” — as manipulative and sinister as the government she served — demanded unconditional love from the pupils in her class, going so far as to ask them to raise their hands if they were willing to give blood to her in the event she needed a transfusion.

The same year, in military training class, the children learned the pretending game: When Genya complained that the gas mask she was supposed to practice putting on, in case of an American nuclear attack, was too big for her face, the instructor replied, “Pretend that it fits.” Both teachers and students were to pretend that everything in the country was ideal, while they waited for the promised dawn of a bright Soviet future. Nobody knew then that the nuclear fallout would come not from across the ocean but from within.

Now it is spring and Genya is bored, painting Young Pioneers with red neckties (a Soviet national scout group) over and over again at the behest of the tutor who is helping her get ready for the July exam. She consoles herself with the thought that if she is accepted she can paint whatever she likes.

On April 26 there is an accident at the Chernobyl nuclear plant, 90 kilometers from Kiev, but there is no official information about the damage or even about the accident itself. On May 1, International Workers’ Day, everyone goes outside for a parade, as usual.

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On the left-hand page of a double-page spread, Kiev, in Nayberg’s exquisitely wrought, soft-hued rendering, is “blooming like a giant cream cake with white, pink and purple chestnut flowers.” On the right-hand page, as if it were part of the same scene, Nayberg has drawn a stark picture of the Chernobyl nuclear plant, stamped with the word “RADIATION” in Russian, that makes it look like a colossal tombstone. “Like every year,” young Genya wryly comments, “it is a perfect day.”

In the absence of information, Genya’s family must rely on rumors. Her mother, the driving force in the book, adds iodine to the children’s milk and takes Genya and her 3-year-old brother 1,300 kilometers away to Volgograd (formerly Stalingrad), in Russia, to stay with their cousins.

As Genya bikes by the city’s many World War II monuments that depict victorious soldiers, she encounters “war survivors that never quite survived,” begging for bread. In Soviet Russia, it turns out, they play the pretending game, too.

In July, to their hosts’ horror, Genya and her mother return to Kiev for the exam that cannot be missed. The three-part test — two days for composition, two days for painting and two days for drawing — is grueling.

Happily for Genya and her repeated painting of Young Pioneers cheerfully performing selfless deeds, the theme of the composition portion is “In the Morning of Our Country.” Weirdly, this could be her ticket to freedom of expression.

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Nayberg’s narrator is resilient, funny and ironic, observing her surroundings with an artist’s probing eye.

Her story gracefully brings to life the Soviet world — torn down in 1991 and recently resurrected by the latest Russian dictator — provoking thorny questions about different approaches to art, the cost of trying to conform and the complexity of family ties.

“Stories let us hold on to people a little longer,” Nayberg writes at the end of this tender memoir dedicated to her artist mother. Genya’s mom, and the rest of the characters in “Chernobyl, Life, and Other Disasters,” will stay with me for years to come.

CHERNOBYL, LIFE, AND OTHER DISASTERS | By Yevgenia Nayberg | (Ages 10 and up) | Neal Porter Books | 200 pp. | Paperback, $15.99

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Book Review: ‘Cave Mountain,’ by Benjamin Hale

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Book Review: ‘Cave Mountain,’ by Benjamin Hale

CAVE MOUNTAIN: A Disappearance and a Reckoning in the Ozarks, by Benjamin Hale


Benjamin Hale’s “Cave Mountain” begins as many true-crime stories do: with a missing girl. In April 2001, 6-year-old Haley Zega got separated from her family in the Buffalo National River Wilderness in the Ozark Mountains of Arkansas.

Haley’s disappearance led to “the largest search-and-rescue mission in Arkansas history,” as authorities began to fear that she’d been abducted. But Haley was not kidnapped, or killed, or even harmed. She was found two days later, two miles away from where she’d gone missing, having simply gotten lost.

Though not itself a crime story, the incident clearly holds great significance for the author, a fiction writer who teaches at Bard and Columbia, and who is Haley’s cousin. Though he was in high school in Colorado at the time and not involved in the search, for him the memory recalls “the way things were in that brief period of time book-ended by the end of the Cold War … and the constitutional crisis of the 2000 presidential election.” Much of the book is steeped in nostalgia for this “never-such-innocence-again era.”

Haley’s disappearance serves as Hale’s personal way into the account of a horrific crime committed very near the spot where his cousin went missing. In 1978, two members of a small religious cult known as the Church of God in Christ Through the Holy Spirit, Inc. murdered one of their own, a 3-year-old girl whom Hale calls Bethany, because their teenage prophet claimed God had told him that “Bethany was ‘anathema’ and had to die.”

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“Anathema” was the cult’s term for anyone who didn’t follow their highly specific interpretation of Christianity. They shot the girl eight times and buried her in a garbage bag stuffed into a bucket.

The author’s connections to this tragedy go beyond the geographical. Bethany’s mother, Lucy, who was a member of the cult and may or may not have been complicit in her killing, would later become friends with Haley’s grandmother Joyce, who’d taken Haley hiking that day in 2001 and was the last person to see her before she disappeared. Despite that case’s positive outcome, Joyce remained racked by guilt — a pain Lucy understood all too well. And Hale himself developed a friendship with Mark Harris, the teen prophet who ended up spending 40 years in prison.

Hale dives into the region’s history, including the Nixon administration’s forced displacement of residents via eminent domain in order to build a reservoir, to establish the “longstanding tensions between local residents of the area and the government, which they see as meddlesome, untrustworthy and incompetent.”

More relevantly, he provides some context about the rise of cults and religious and political extremism in America in the past century; but his version of political insight consists of bad-faith contrasts between the “extremely delicate constant censorious moral paranoia” of his classroom at Bard and the people he meets in Arkansas. “After that suffocating environment,” he writes of his mask-wearing, scarf-knitting, emotional-support-poodle-needing students, “my God was it a relief sometimes to be among the roughs, sounding their barbaric yawp.”

Repetition is inevitable, even necessary, in a work of nonfiction involving multiple story lines, but Hale reiterates some details too often, or too identically. He block-quotes his sources liberally in lengthy excerpts from personal interviews, email and text correspondences, court records, self-published memoirs and news articles, some of whose language he repeats either verbatim or with uncomfortable similarity in his own wording. For example, he reports three different times, once in a quote from a news article and twice in his own paraphrasing, that the police confiscated from Mark Harris’s cult “22 firearms” and around “2,000 rounds of ammunition.”

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These repetitions, as well as Hale’s incorporation of so many threads that are irrelevant to the main one, start to feel like the author’s attempts to mask the fact that the cult crime story didn’t quite provide him enough material for a full book. The result is a mess of narratives and ideas, and as the pages turn it becomes clear they won’t gel into a satisfying whole.


CAVE MOUNTAIN: A Disappearance and a Reckoning in the Ozarks | By Benjamin Hale | Harper | 287 pp. | $30

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Book Review: “Japanese Gothic,” by Kylie Lee Baker

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Book Review: “Japanese Gothic,” by Kylie Lee Baker

JAPANESE GOTHIC, by Kylie Lee Baker


In 2026, Lee Turner flees to the centuries-old wooden house his father has just purchased in Kagoshima Prefecture, in southern Japan. He’s pretty sure he killed his college roommate back in New York, but he can’t remember how, or why, or what he did with the body. In 1877, a samurai-in-training, Sen, is hiding with her family in the same house after her father’s disgraced return from the failed Satsuma Rebellion.

Both carry heavy baggage. Lee is grieving the unsolved disappearance of his mother, who vanished during a trip to Cambodia a few years earlier, a suspected victim of sex trafficking. Sen idolizes her father and the samurai way of life, but he’s cruel and cold, even as he prepares her for what they both expect will be her death at the hands of the imperial officers who pursue him.

All is not well in this house, sheltered behind sword ferns. In Sen’s time, edible plants and prey animals have disappeared from the surrounding forest, and her family’s food supplies are dwindling fast. Lee can’t figure out what’s scratching at the walls of the house, or what his father’s girlfriend isn’t telling him. And then there’s the closet door in Lee’s room, which opens onto a concrete wall, except when it doesn’t. Sometimes, instead, it opens into Sen’s room in 1877.

Why can Sen and Lee visit each other’s times through the closet door, and why is it only accessible at low tide? Why can’t Lee remember what he did with his roommate’s body? What really happened to his mother? Did Sen’s father actually return from the rebellion that killed his fellow samurai, or is something else wearing his face like a mask? What brought Sen and Lee together, and what keeps them connected?

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“Japanese Gothic,” Kylie Lee Baker’s second novel for adults (following last year’s “Bat Eater and Other Names for Cora Zeng”) is polished and surprising both in plotting and in execution. I’ve come to regard interesting, intricate structure as something of an endangered species in contemporary fiction — too many books are content to splash in thematic puddles rather than delving into deeper waters. But Baker has shown herself to be an author with the confidence and dexterity to carry a variety of story lines and ideas without stumbling; “Japanese Gothic” displays an elegant layering of character motivations, psychologies and motifs.

With dual-timeline stories, it’s easy for one story to overwhelm the other, but Lee and Sen’s narratives are well-balanced, and a Japanese folk tale provides some connective tissue between the two protagonists. As for the central mystery, Baker refrains from telegraphing exactly what’s going on until the final pages, and the reveal is a satisfying one. If the middle section drags a little in its pacing, it’s hard to hold that against the novel’s overall effectiveness.

Where “Japanese Gothic” really shines is in its mirrored portraits of two melancholy, isolated young adults. It’s difficult to create a character as damaged as Lee without letting his trauma overwhelm everything else about him. Lee moves through his life in a dissociative state partially fueled by Benadryl and Ativan. He has no friends, and his relationship with his father is strained at best. He knows things he can’t readily access, and the worst parts of his life haunt him from around corners and behind closed doors, but he’s kind and tenderhearted, not to mention capable and cleareyed when properly motivated.

Sen, meanwhile, knows her gender will prevent her from ever being fully accepted as a samurai, but still struggles to become the kind of fighter her father will be proud of. But allegiance to him comes with a cost: Her mother and siblings are afraid of him, and by extension, increasingly afraid of her, and not without good reason. Though Sen knows she has to harden herself to become a true warrior, she can’t quite shed the last of her humanity, nor is she entirely sure she wants to: “But her soul clung to her hands like tree sap, her fear screaming bright across the horizon every morning, shocking the birds away from the trees. It was her shadow, and it would not leave her, no matter how fast she ran.”

In a samurai house, Lee’s father’s girlfriend tells him, the ceilings are low to prevent a katana from being raised overhead to deliver a killing blow. Even so, the house behind the sword ferns has seen its share of violence, past and present. As strange similarities echo across Sen and Lee’s timelines, the truth emerges, jagged and harsh, yet cathartic. What connects these two characters is something deeper than romance and more tragic than death.

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Japanese Gothic | By Kylie Lee Baker | Hanover Square Press | 352 pp. | $30

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