Literary / Satire
Date Published: October 2016
Publisher: JAM Publishing
Ruth Askew, a minor celebrity, is spouting some highly incompetent philosophy about the end of virtue. Con Manos, a journalist, is attempting to uncover a political scandal or two. Add some undistinguished members of City Council, an easy listening radio station, a disorganized charity, a prestigious Philadelphia newspaper, and any number of lawyers and other professional criminals. In Worthy Of This Great City the compelling stories of two stubborn individualists intertwine in a brisk, scathing satire that invites you to question everything you think you think about today’s most discussed issues: populism and elitism, the possibility of truth, the reach of profound stupidity, and the limits of personal responsibility in these post-truth, morally uncertain times.
This novel had a lot of things going on. You are following multiple people with multiple agendas. Then they are connected and you have that aspect of the story as well.
I enjoyed the writing and how Mike Miller bounced from each of these. Things can easily convoluted and I never felt lost.
There are many issues discussed in this novel and you will most likely not agree with everything. You need to have an open mind and allow yourself to think about the things taking place.
I found it enlightening and informative without being preachy.
About the Author
If you know my website and Twitter addresses (asmikemiller.com and asmikemiller, respectively), you must realize Mike Miller is only an author name. It’s not a matter of privacy
or secrecy; anybody can find me with minimal effort. It’s about keeping things separate. My writing is about what appears on the page. It’s not about my personal politics or religion or history.
Worthy Of This Great City is a B-game book. I’m ambiguous about this, being interested in money like most people, but I don’t want to compete with a slick professional cover or smooth editing so I’ve stuck to a sort of reasonable, human middle ground. I value those things for what they are, of course, but I see them as artifacts, part of a system of publishing that fought like hell for a week’s worth of shelf space, that fought to catch the eye, not the mind or heart.
As my character Con Manos says: “It’s a revolution, isn’t it?” I say: Why fight on the side of the enemy? Why imitate and thus perpetuate a business model that stifles originality? Just to show you can? Unless, of course, you’re fighting to attract the eye, not the mind or heart.
I’ve played a joke with this novel – my first, incidentally. Played with the idea of narration and who can be speaking after all. It’s all very literary.