Culture
Why isn’t Alexander Mogilny in the Hockey Hall of Fame? There are clues
Alexander Mogilny won’t be inducted into the Hockey Hall of Fame on Monday night. He has been eligible for 15 years, with cries from critics intensifying upon each rejection.
Rebukes are delivered with indignation. The Athletic has called his exclusion “inexcusable.” The Pittsburgh Post-Gazette has labeled it “a disgrace,” Sportsnet “almost laughable” and the Toronto Star “nothing less than a crime.”
For the record, I believe Mogilny deserves induction. He produced one of the NHL’s most magical seasons, recorded wonderful career statistics and won a few awards along the way. His origin story is exhilarating; he was a true trailblazer, brazenly defecting from the Soviet Union to join the Buffalo Sabres. The Athletic two years ago ranked him the 89th greatest player in NHL history.
My problem, however, is with the annual assertion that the reasons behind Mogilny’s exclusion are some great mystery.
It is true the Hockey Hall of Fame Selection Committee’s clandestine process means we’ll likely never know precisely why Mogilny has not been enshrined — or even if he has been so much as nominated. But the rationale has never been difficult to glean. Unmistakable clues have been chronicled for decades.
Mogilny’s personality is almost always described through such vague adjectives as “mercurial,” “enigmatic,” “quirky” or “mysterious.” What drove owners, general managers, coaches, teammates and fans bananas weren’t mere eccentricities. During his playing days, he was described as selfish, lazy, unreliable, a quitter and a passenger. Sporting sins, all.
As terrific as he was, Mogilny too often treated the sport as though it were beneath his ultimate effort and dedication. Those who played with him or watched him play — including Hall of Fame selection committees — could be excused for feeling cheated: awed by his otherworldly talents, but ultimately denied the joy of witnessing the heights of what he might have been.
“If they had a championship for quitters, this man would wear the heavyweight crown,” Buffalo News columnist Jim Kelley wrote of Mogilny in May 1995. Three months later, Mogilny’s antics forced the Sabres to trade him.
Keep in mind that, at the time, Mogilny had delivered the best hockey of his career. His 1992-93 season was seismic. Mogilny amassed 76 goals and 127 points on a line with center Pat LaFontaine and left wing Dave Andreychuk, two future Hall of Famers.
A preponderance of weight is placed on that single season when the case is made for Mogilny’s induction. But just two years later, the Sabres couldn’t cope with him anymore.
You hear plenty from Mogilny associates who insist he deserves a spot in the Hall of Fame. Rarely do you hear a luminary from any sport declare on the record that a superstar doesn’t belong in the Hall of Fame. Those already inducted never want to come off as selfish or curmudgeonly about their blessing; the more the merrier. And when was the last time we heard LaFontaine utter a negative word about anyone?
Still, praise about Mogilny from former teammates and team leaders is often delivered with caveats.
Hall of Famers Martin Brodeur and Lou Lamoriello have stated Mogilny belongs in the Hall of Fame. But in the autobiography “Brodeur: Beyond the Crease,” a few pointed passages appear about Mogilny’s troubling lack of desire: “After several games of trying Mogilny on the (power-play) point, Lamoriello waived him, insisting the move, ‘was about ridding the team of passengers.’ I always felt ‘Almo’ was a good player on a good team, but on a struggling team he was exposed for his tendencies and habits.”
Mats Sundin was amused by Alexander Mogilny’s antics during their time as teammates in Toronto. (Ken Faught / Toronto Star via Getty Images)
There are a bunch of Mogilny references in Hall of Fame center Mats Sundin’s book, “Home and Away.” Mogilny amused the Maple Leafs captain during their three seasons together. By that late stage of Mogilny’s career, his infamous aversion to injury rehabilitation was accepted as part of the package. Sundin wrote that after multiple surgeries on Mogilny’s arthritic left hip, Sundin urged him to work out with strength coach Matt Nichol for just 10 minutes a day to prolong his linemate’s career for 10 more years.
“Why the f— would I want to do that?” Sundin recalled Mogilny’s reply.
“He was arguably the most talented guy any of us had ever played with,” Sundin wrote, “but he was not interested in training off-ice with us.”
That, in a nutshell, illustrates how Mogilny was viewed among many of the boys. He was jovial and quick-witted, good for a laugh in the dressing room or on the road. But a refusal to push himself could make teammates want to repeatedly bash their Jofas into the half-wall.
Former teammates, of course, aren’t the ones deciding Mogilny’s fate at the Hall of Fame. That’s where the Hockey Hall of Fame Selection Committee comes in. They are the gatekeepers, tasked to protect the game’s most hallowed principles — whether we agree or not.
Several of Mogilny’s close hockey acquaintances have served on the revolving, 18-member Selection Committee, which needs 14 members to confer induction. The current group has included Brian Burke (his Vancouver Canucks GM) since 2012, Igor Larionov (his Central Red Army teammate) since 2011 and Ron Francis (his Toronto Maple Leafs teammate) since 2016. Canucks executive/coach and Maple Leafs coach Pat Quinn served five years of Mogilny’s eligibility, while New Jersey Devils broadcaster Mike Emrick served seven years.
Hockey Hall of Fame selectors are sworn to secrecy, but some wrote books before they committed. What’s interesting in reading these memoirs is what isn’t said about Mogilny’s impact. Burke’s autobiography, “Burke’s Law,” mentions Mogilny just once in regard to Vancouver signing countryman Pavel Bure away from the Soviet Union. Mogilny won the Stanley Cup with New Jersey in 2000, but Emrick’s autobiography, “Off Mike: How a Kid from Basketball-Crazy Indiana Became America’s NHL Voice,” doesn’t mention the right wing. Quinn’s posthumous biography, “Quinn: The Life of a Hockey Legend” by The Athletic’s Dan Robson, provides zero quotes, anecdotes or words about Mogilny.
There are various reasons why Mogilny might not receive credit in these books. A lack of mentions doesn’t necessarily reveal the authors’ feelings about Mogilny’s exclusion from the Hall of Fame. Collectively, however, the omissions are telling. Wouldn’t a surefire Hall of Fame teammate make an enduring impression on the luminaries around him? Shouldn’t he influence their reflections of excellence?
Current Hall of Fame selector and journalist Scott Morrison has written many books, including “By the Numbers: From 00 to 99,” which is about the greatest players to wear each number. Mogilny was the obvious choice for No. 89, with Morrison writing, “While always a terrific player and a dangerous scorer, Mogilny only once came close to those (1992-93) numbers again, always being very good, but not always great.”
Mogilny’s bullet-point resume looks Hall of Fame-reasonable on paper. In addition to the stats and his dramatic origin story, he won a Stanley Cup, Olympic and IIHF World Championship gold medals to become a member of the Triple Gold Club, a Lady Byng, and is frequently (and erroneously) credited as the NHL’s first Russian-born captain.
But all his accomplishments come with qualifiers. He never was voted first-team All-Star — although he did make a pair of second-teams — and finished among the top 10 in goals thrice and points twice in his 15 seasons.
Alexander Mogilny and Pavel Bure at the 1993 All-Star Game. (Bruce Bennett / Getty Images)
Not even Mogilny’s singular campaign is unassailable. Bernie Nicholls scored 70 goals in a season, scored two more career goals than Mogilny and recorded 117 more points in 137 more games. Yet Nicholls is not in the Hall of Fame either.
Mogilny won his Stanley Cup as a trade-deadline acquisition. He skated on the Devils’ third line, adding four goals and three assists in 23 postseason games. Sports Illustrated legend Michael Farber (a Hall of Fame selector until two years ago) wrote during the Final series against the Dallas Stars how Mogilny “skated in alone on a breakaway and took the most pedestrian of shots, a wrister from 25 feet. It was thigh-high, right at (Ed) Belfour’s glove, an effort worthy of an optional morning skate in January and not a potential Cup-winning goal in June. … The game turned on Mogilny’s middling effort, which seemed to energize Dallas.”
Over his career, Mogilny’s postseason scoring average plummeted to 0.69 points a game after averaging 1.04 points in the regular season.
“He’s so concerned with his sticks and skates I think he drives himself nuts, as well as us,” Devils coach Larry Robinson said during a 2001 postseason stretch in which Mogilny scored one goal over 19 games. “He’s thinking about it all the time. And you know in this business some of the best thinking you do is the thinking you don’t do.”
Regarding the Triple Gold Club and its requisite IIHF World Championships gold medal, that tournament never has carried any great degree of import to a player’s legacy, as it’s comprised of players not in the NHL postseason. Of the 30 Triple Gold Club members, 22 are Hall-eligible yet only 10 have been admitted.
The Lady Byng is far from a clincher. Eighteen winners are not in the Hall of Fame despite being eligible. Mogilny’s propensity to avoid contact and defense helped minimize his penalty minutes. Even so, he was suspended 10 games in January 1992 for slapping linesman Dan Schachte upside the head after being called for a slashing major and game misconduct.
Mogilny’s captaincy is regularly cited as leadership confirmation. Not nearly. Sabres coach John Muckler put the interim “C” on Mogilny’s sweater in November 1993 while LaFontaine was sidelined by a knee injury. The promotion was considered a ploy.
“Either Muckler thought it would motivate him to get back to form or owner Seymour Knox thought it would be a cool idea to have the first Russian captain,” Vancouver Province columnist Tony Gallagher wrote. “When informed some other Russian had been a captain … Knox went snakey.”
True enough, the New York Americans named Russian-born forward Sweeney Schriner their captain in the 1930s, further muddling another Hall of Fame talking point.
“The experiment of captain was a failure,” Kelley wrote. “Mogilny is many things, including a complex and mysterious personality, but he is not a leader.”
It should be noted Kelley, Gallagher and Farber are Elmer Ferguson Memorial Award recipients. That’s the Hockey Hall of Fame’s lifetime honor for print journalists. Washington Times reporter Dave Fay also won it, and he summed Mogilny this way: “a brilliant wing when properly motivated, a hand grenade missing its pin most other times.”
Among the misguided Mogilny narratives is how injuries robbed him of reaching the coveted 1,000-game milestone, but he needed just 10 more. The shortfall could have been overcome without his contract squabbles or distaste for working out. After breaking his leg in the 1993 playoffs, Mogilny eschewed injury rehabilitation and spent his offseason playing golf, delaying his return by as much as a month. He missed 16 games the next season.
“He rehabbed on the golf course. The Sabres were so steamed at his consistent failure to attend physio that Muckler and then-general manager Gerry Meehan read him the riot act, which went in one ear and out the other,” Gallagher wrote. “He was weeks late back into the lineup.”
Mogilny skipped the Canucks’ first 16 games of 1997-98 because of a holdout. By the time he reported, the Canucks were 3-11-2 and deep into a 10-game losing skid, had fired Quinn as president/GM and would fire coach Tom Renney three games later.
“While Mogilny remains a popular figure in the dressing room, and his brilliant abilities unquestioned,” wrote Vancouver Sun columnist Gary Mason in January 1998, “his play this season has become a joke among some players. He has played with little passion or commitment since re-signing with the team. He seems resigned to the fact he’s being traded and is playing like it, going through the motions while cashing his checks.”
The Buffalo News has speculated Mogilny is being stiff-armed by Hockey Hall of Fame gatekeepers who, wary of Mogilny’s decision not to collect his 2003 Lady Byng or attend his 2016 Greater Buffalo Sports Hall of Fame induction, fear he would embarrass the Hall of Fame by declining to show up.
The newspaper’s hypothesis, however, fails to recognize Kelley’s scrutiny. “Jim Kelley Way,” designated when he died in 2010, is the stretch of Washington Avenue between the Buffalo News’ former offices and KeyBank Center, where the Sabres play. A year later, Kelley was inducted into the Sabres Hall of Fame along with Mogilny, who did show up — in a tuxedo, no less.
It seems clear, rightly or wrongly, the reasons Mogilny hasn’t gotten into the Hockey Hall of Fame are related to hockey violations that enough gatekeepers have deemed unforgivable. He’s viewed through the lens of how majestic his career could have been, if only he’d applied himself to the fullest.
Kelley acknowledged Mogilny was “the greatest goal scorer the Buffalo Sabres have ever known,” better than even Gilbert Perreault.
But for the man who covered Mogilny’s entire professional arc — up close at Mogilny’s best — character flaws eclipsed on-ice contributions. In hockey, that matters, and it certainly matters to the guardians of the game’s glory.
“You could never call him a team player, and you couldn’t count on him to always show up, let alone lead,” Kelley wrote after the Sabres traded Mogilny to the Canucks. “Mogilny’s history is one of a player and a person who never was much for sticking out tough times in the hopes of making things better. He was, and I suspect still is, a cut-and-run kind of guy.”
Seventy-six goals are incredible. They’ve been scored inside one campaign only six other times, with Wayne Gretzky doing it twice. Brett Hull, Mario Lemieux, Phil Esposito and Teemu Selanne are in the Hall of Fame, too, but those extraordinary seasons aren’t why. The Hall of Fame problem for Mogilny has been that throughout his career he provided too many reasons why not.
Mogilny possessed sublime talents that helped him statistically eclipse many Hall of Famers — and it should be noted that not all inductees were flawless, hard-working teammates and employees. On top of his skill and accomplishments on the ice, Mogilny’s willingness to escape the Soviet Union expedited an NHL transformation.
One of these years, he deserves induction. But let’s stop pretending we have no idea why it hasn’t happened.
(Top photo: Rick Stewart / Getty Images)
Culture
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.
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.
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.
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
Culture
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.”
“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.”
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
Culture
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?
“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.
Japanese Gothic | By Kylie Lee Baker | Hanover Square Press | 352 pp. | $30
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