Today’s TTT is top ten books that involve…….blank. I am also drawing a blank, so I’ll just do the tease unless another TTTer’s post gives me inspiration.

“When you’re sneaking up on somebody, you might consider keeping your voice low,” Wacey hissed as McLanahan apparoached. “It’s an old, sly Indian trick.” – OPEN SEASON, C.J. Box

ON THE THIRD DAY OF THEIR HONEYMOON, infamous environmental activist Stewie Woods and his new bride, Annabel Bellotti, were spiking trees in the forest when a cow exploded and blew them up. Until then, their marriage had been happy. – SAVAGE RUN, C.J. Box

Let me put it another way. Suppose you say to someone, “Would you like
to hear an epigrammatic passage of dense prose, broken up ad hoc into lines on a page, with the occasional interior rhyme or alliteration or assonance, seasoned with a figure of speech or two?” That would describe the great majority of free verse poems in English. The answer would be ambivalent at best. If your friend is kind and patient, he will tell you to go ahead, while he rubs the back of his neck and glances toward the door. But suppose you say, “Would you like to hear a song?” Then he smiles and says, “Sure!” That is because people like songs, just as they like beautiful old Victorian houses, or a spray of flowers on a rosebush—and for many of the same reasons, which have to do with form, repetition, variation, subordination, coherence, luminosity, and the capacity to arouse wonder. People are happy to hear a true folk song, even if it is a silly song. I’ve never met anyone whose heart warmed to epigrammatic passages of dense prose broken up ad hoc into lines on a page – THE HUNDREDFOLD, Anthony Esolen