Published by Simon & Schuster

I won’t even attempt to give a summary of this book’s plot. It’s too madcap to describe. I’ll simply say that the protagonist is Ray Parisi, a former sports analyst with a serious gambling addiction, and the book chronicles his increasingly outlandish attempts to win back his ex-wife.

This is the plot in brief, and to realize that it can be laid out so simply is stunning to me, because that doesn’t even begin to do the book justice.  Parisi’s mis-adventures lead him to encounter all sorts of memorable characters and surreal situations.

At times, the book reminded me of John Kennedy Toole’s classic Confederacy of Dunces. The plot is not as intricate, and its final act is not as satisfying, but it has that same tragicomic charm.

For all the strange (and sometimes awkwardly contrived) scenarios, the book never loses touch with reality in terms of how its characters behave.  The plot may be implausible, but the human interactions are as true-to-life as can be.

And make no mistake; the plot really strains credulity. Parisi is on the run from the law throughout the book, and it seems hard to imagine he could evade capture as long as he does; especially given his downright reckless behavior.

Credulity is imposed upon further by the segment in which Parisi inherits some $600,000, increases it to over $1 million by playing Blackjack in Vegas, loses it all in a fit of despair, then somehow gets all the way back to $2 million through yet more gambling. (His comeback requires, among other things, successful bets on 11 and then 23 in roulette, followed by more uncanny wins in Blackjack.)

Plots that hinge on things like specific cards being drawn at a given time are always in danger of seeming ridiculously contrived. (See Gayden Wren’s criticism of the opera The Grand Duke, for example.) But Tambakis manages to keep us invested enough in Parisi’s epic, ill-advised quest that we forgive the byzantine coincidences it takes to sustain it.

I suspect that most readers care more about characters than they do about plot. They will forgive an unlikely coincidence, or two, or even more, if at the end of it they have a compelling situation in which they can fully engage with a character. Implausibility is the cornerstone of all fiction–if it were plausible, it would cease to be fiction.

And it is because of its engaging characters that Swimming with Bridgeport Girls truly shines. Parisi is, by any objective measure, a bad man, and yet we cannot help liking him all the same.  In the Las Vegas section of the book, there are several memorable passages in which he clearly explains the logic of an addict.  It’s so well-written that you can almost see his point of view, even as you wish he would stop destroying his life.

Each chapter is written from Parisi’s perspective, but prefaced with a quote from his ex-wife’s journal.  These quotes offer a different perspective on events in the novel, and help remind us that as likeable as he is, Parisi is also terribly selfish.

The ending–which I won’t spoil too much here–is not a happy one, though not completely tragic either.  In fact, it feels like more of a tragic ending than it truly is, if you know what I mean.  I just can’t help thinking that it should have ended on a more hopeful note. Parisi hardly deserves a fairy-tale ending, but he also doesn’t deserve the really gloomy note on which his story ends, either.

The book is both extremely funny and intensely sad; hopeful and despairing–sometimes in the same chapter. I think it’s best if you can read it in a short period of time, and allow yourself to get caught up in it, just as Parisi himself is, and rejoice at all his triumphs, short-lived and short-sighted though they are. It makes the pathos of the ending that much more powerful.

First of all, thanks are in order to loyal reader Natalie of boatsofoats.com. She notified me about a problem with the annotations on this page. I’m not even sure if I’ve completely fixed it yet, but I figure if not, I can at least make it up to her by directing some traffic to her excellent blog.

As for the annotations: I know nothing about HTML. But doing the original annotations for that page was not bad–it was just this:

<span text=”Whatever blithering comment I had”>Actual story text</span>

I then highlighted it in red to make it obvious which parts to mouse over.

But the problem was, it wouldn’t work on mobile devices–tablets, phones etc. And this bothered me. I tried to tell myself it was ok. But it was the sort of thing that would nag at me.

There must be a better way, I thought.

After consulting with a family member who does web design, downloading some plugins, and experimenting with CSS and JavaScript, I think I’ve got something.

Mind you, I said I think. I’m not actually sure if it works on all devices yet. It definitely works on my iPad, which it didn’t originally when I was just using HTML.

That’s where you come in. I am calling on readers to come to my aid and check out the page to see if the annotations work for them. In exchange…


Let’s see,… I will teach you something about weird fiction from the 1890s?

How’s that sound?

Oh, another thing; some of the modifications I did seemed to (temporarily) play merry hell with the comments. (e.g. reducing my all-time comment count to zero, removing comment ‘likes’, stuff like that.) I think it’s fixed now, but if you notice any comment issues, let me know… unless the issue is that you are unable to comment, in which case you can use the form below or tweet at me



Carrie Rubin, author of “Eating Bull” and “The Seneca Scourge”

[I recently read the book Eating Bull, by Carrie Rubin. I loved it, and contacted the author.  She very kindly agreed to be interviewed about her work.  Enjoy!]

BG: I’ll start at the beginning: how did you get the idea for “Eating Bull”? Did the idea just come to you one day, did some specific incident suggest it, or…?

CR: A little bit of both. Overweight/obesity is a professional interest of mine. I’ve dealt with it in both a clinical and research setting. Many people assume a large BMI means a lack of willpower, but that’s both inaccurate and unfair. Many other factors come into play, especially our disastrous food environment where processed food, mega-sizes, and sugar-laden junk bombard us wherever we go.

Through fiction, I wanted to bring the issue of the food industry’s role in obesity to light. Plenty of nonfiction books exist on the topic, but with fiction you get an emotional element as well.

As for a specific incident, several years ago a tearful, severely overweight adolescent sat on my exam table and said: “Not a day goes by I don’t know I’m fat, because no one will let me forget it.” That was the catalyst for my teenage protagonist.

BG: The book has three “starring” characters, each of whom represents a different view on the roles of the individual and society in causing obesity. Can you discuss these viewpoints a little, and also how you balanced the amount of page time devoted to each?  Was it difficult to strike that balance?

CR: I wanted to represent three viewpoints, from one extreme to the other, all of which exist in our society:

My secondary protagonist, a social-justice-seeking public health nurse, represents the viewpoint that society plays a huge role in our weight gain and must take responsibility.

My villain, an obsessive-compulsive fitness fanatic, believes obesity is entirely the individual’s fault and takes it upon himself to rid the world of “undisciplined sheep” … in a very bloody way.

My primary hero, an overweight teenager, falls somewhere in between, representing the viewpoint that both the individual and society play a role, but that society must make changes so that it’s easier for the individual to change too.

As for the number of pages devoted to each, I simply shifted to a new viewpoint with each chapter, rotating the characters on a regular basis, each carrying the story forward according to his or her point-of-view.

BG: Regarding the villain of the story, Darwin: He’s really a repulsive and terrifying character, but you also show just enough of a glimpse of his past to make the reader feel a little sorry for him at the same time. He seems genuinely mentally ill, rather than just a caricature of a psycho killer–I loved that. Any observations (or advice) on writing plausible, well-rounded villains?

CR: Villains are tricky to write. They can easily become one-dimensional. Rounding them out into full-fledged characters with likable—or at least relatable—traits is difficult, and I have a ways to go before I master that skill.

Darwin’s pretty despicable, but I tried to create backstory that would explain how he got that way. This proved even trickier considering I hid his identity until the climax. I had to flesh out his character without giving away who he was. That adds an element of mystery to the thriller and hopefully keeps the reader guessing until the end.

BG: I could go on forever about how much I liked the characters in “Eating Bull”. Expanding from just Darwin, what are your techniques on writing characters generally? Apart from the three starring characters, did you also write the supporting cast to reflect the central theme of the novel?

CR: Before I even start my outline, I define my main characters: their likes, dislikes, dreams, goals, mannerisms, etc. Characters drive the plot, so I like to have a firm grasp on them before I start much story planning.

As for the supporting cast, I usually have them in mind before I begin, but they tend to blossom as I go along. In Eating Bull I did indeed write some minor characters to reflect the central theme: the bullying grandfather and classmate, the unsupportive boyfriend who dislikes overweight people, the dietician and fitness coach who guide my main character toward his goal.

Some of the supportive characters heap a world of hurt on my teenage protagonist, but I wanted to reflect real life. In my research for the book, I attended a seminar in which the focus was to highlight the frequent fat-shaming that goes on in our society—including from the healthcare industry—and to shift the onus from weight loss to size acceptance. The tales the speakers told of the shaming they experience on a regular basis, from acquaintances and strangers alike, horrified me. I knew I needed to have my character experience the same thing if I wanted to be honest to the theme.

BG: What is the central message you want readers to take away from “Eating Bull”?

CR: I’ve already touched on that somewhat, but the main takeaway is: weight gain and loss isn’t as simple as calories in minus calories out. There are many other factors in the equation, including hormones, biological determinants, neurochemicals associated with addiction, socialization of food, poverty, food environment, built environments (poor walkability of a city, food deserts, etc.), and yada yada yada.

I could go on and on, but the point is, changes need to be made at all of these levels if we want to see real progress. Expecting the individual to do it alone hasn’t worked too well for us so far. It’s time to up our game.

BG: So, not to spoil anything, but you’ve mentioned you are working on another book. Any hints as to what to expect from it?

CR: I’m often reluctant to discuss my unpublished works (worried I’ll jinx things, perhaps?), but I can tell you my latest completed manuscript is a medical thriller with supernatural elements. There is no shortage of medical thrillers out there, so I like to change things up a bit. It’s pretty much ready to go, and I’ve just completed the first draft of the second in the series. I’d like to write at least three novels with the same recurring characters—maybe more—but each book will be a complete stand-alone.

BG: What other authors have influenced you, either in writing style or in genre/subject matter?

CR: I always get nervous with this question, because I worry I should list a number of literary greats, but that’s not how it is for me. I’m all about the storyteller.

In my teen years, Stephen King was a huge influence on me. More than just be a writer, I wanted to be a storyteller, and to me he’s one of the best. JK Rowling is in that category too—a gifted storyteller—and if I can match a fraction of their skill I’ll be happy.

In terms of writing medical thrillers, Robin Cook was my first influencer, and while his writing might sometimes get panned, he knows how to weave a good tale. I’m easy to please and can overlook a lot. Give me a story I can get lost in and you’ve got me as a fan forever.

Before I go, Berthold, I want to thank you for your support of my novel and for interviewing me on your blog. It’s a pleasure to be here and I enjoyed answering your questions!

BG: My pleasure. Thank you for your thoughtful and informative answers!

[Carrie Rubin is a physician, public health advocate and the author of medical thrillers Eating Bull and The Seneca Scourge. You can find her books here, and also be sure to check out her website and social media pages.]

“Eating Bull” by Carrie Rubin

I rarely read murder-mystery or thriller-type novels, especially not those without supernatural elements to them.  Stories with lots of non-supernaturally-motivated murders rarely appeal to me.  So Eating Bull was a bit of an adventure–not the sort of book I would normally read.

“Eating Bull” is the cruel nickname given to the novel’s protagonist, Jeremy–an overweight teenager who becomes the primary plaintiff in a lawsuit against fast-food companies in Ohio.  He is supported by his good-hearted but overworked mother, Connie and his nurse, Sue–a determined woman with a strong sense of social justice.

Arrayed against Jeremy, Connie and Sue are school bullies, unsympathetic co-workers, and even Jeremy’s own grandfather–an agoraphobic Army veteran. Sue faces the additional difficulty of her loving but extremely protective husband, who dislikes her risking her own safety by courting the wrath of public opinion.

In addition to all of this, a serial killer calling himself “Darwin” commits a series of grisly murders–all of them targeting overweight people, whom he deems “sheep”.

I won’t go through the plot in too much detail and risk ruining the appeal of watching it unfold. I will say that all these elements are combined very well–each chapter is told from the perspective of either Jeremy, Sue or Darwin, and all of them balance out and keep an extremely gripping pace.  For the final fifty pages or so, I couldn’t put the book down, and the ending is very emotionally satisfying.

Jeremy is very sympathetic and likeable, and Sue is an admirable portrayal of a heroic woman who nonetheless has a flaw–she tends to value her concern for Justice over the more immediate concerns for herself or her loved ones.  This is well-done, because such a character could have easily become cloyingly saintly, and Rubin does a good job of making her seem heroic and also still human.

The Darwin chapters are naturally quite disturbing, and a good example of why I don’t normally read this genre.  Not that they are badly-written–rather, that they are so well-written as to make me feel slightly sick just reading them.  The portrayal of the killer’s mental state is quite sharply-drawn–among other things, it’s one of the best depictions of Obsessive-Compulsive Disorder that I have ever read.

These chapters are definitely heavy on gore, and that was a little tough for me–which is kind of funny, given that my own books have a fair amount of carnage in them.  The parts with violence against women were especially hard to take. But again, these are my own tastes, and I suspect fans of thrillers will be used to this sort of thing.

All in all, I came away extremely impressed by Eating Bull. In spite of the violence, I enjoyed the characters and the pacing. And Rubin also has a real talent for clever descriptions and almost Chandleresque turns of phrase. There were a few hiccups here and there, but overall it stacks up well against the few modern thrillers I’ve read. (Stephen King’s 11/22/63 and Dan Brown’s The Da Vinci Code, in particular.)

I was taken aback by how much I enjoyed the book, since thrillers are normally not my cup of tea.  It was something I pondered for a while as I was reading Eating Bull: “Why am I enjoying this so much? It’s not like me.”

And then it hit me: there’s another side to the book, apart from the engaging plot.

Eating Bull‘s main theme is the problem of obesity–Jeremy is obese, Sue wants to cure the societal causes of obesity, and Darwin wants to exterminate obese people. All the minor characters, in some way or other, comment on Jeremy’s condition–some positively, some negatively–but it’s the central theme of the book.

Now, some would just use that as a cheap “hook” or gimmick to tie everything together.  But Eating Bull goes to some lengths to explore the causes of obesity.

For example, there are several scenes where Connie gets some fast-food for Jeremy to eat after she returns from work.  She knows this isn’t optimal, and is apologetic to Jeremy’s caregivers when asked about it, but explains that it’s cheaper and faster to get bad food–and as a single mother working two jobs, this is no small consideration.

There are many other examples of this throughout the book, all aimed at showing the various factors that contribute to obesity. At times, it raises some serious issues regarding how food is marketed, reminding me of the non-fiction book Fast Food Nation.

In some ways, Eating Bull is really what they used to call a “problem novel”–a novel meant to illustrate and draw attention to some societal problem. These were especially popular in the late 1800s and early 1900s. Many of Charles Dickens’s novels are examples of the genre, as is Upton Sinclair’s The Jungle.

It’s very difficult to write a social problem novel that doesn’t come across as preachy and heavy-handed–the author has to balance all the mundane facts (and sometimes even figures) needed to make the social point with a compelling dramatic narrative that is interesting to read. (In The Jungle, Sinclair seems to simply give up towards the end, leading to entire chapters that are just lectures and Q&A sessions on Marxist theory.)

For the most part, Eating Bull avoids this pitfall, keeping the action going at a brisk pace while exploring the larger social theme through minor incidents and at well-chosen intervals.  When some detailed sociological point needs to be made, Rubin wisely has it said by Sue, for whom it seems logical and in-character.

This social aspect was really what set Eating Bull apart for me–it was something more than just an interesting page-turner.  Whereas most thrillers are normally easy to forget once you have learned How It All Works Out, this one gives you a bit more to think about.

One word of warning: if you enjoy eating chips or similar snacks while reading, well… you probably won’t while reading this one.  You may decide to opt for a salad instead, but then of course it’s harder to eat a salad while reading. And that’s to say nothing of the Darwin chapters, after which you may not want to eat anything at all…

Still, it’s a good book.  Check it out.