James Byron Huggins’ The Reckoning is a well-paced, action-oriented novel from the Christian publisher Harvest House. Aspiring to an epic scope, the story crosses nearly two thousand years of prophecy, international intrigue, and gripping fight scenes. At 473 pages, it is no casual read, but it is a fun and well-researched take on one view of the end-times.
The Reckoning is Huggins’ second book, released one year after his 1993 A Wolf Story, also from Harvest House. Huggins describes himself as “a former award-winning newspaper writer and photographer, [who] recently left a career in law enforcement to pursue writing full-time.”
The Reckoning opens in Emperor Vespasian’s Rome. In a dark recess of the empire, an aging priest of the Egyptian god Set scrawls a terrifying premonition. Setting the book’s Christian tone immediately, the emperor, who visits the pagan priest, receives with wary excitement the cleric’s foretelling of the final destruction of “the Nazarene.” The emperor’s legionaries then attempt to move the manuscript to a guarded repository on the outskirts of the empire, but are waylaid in the deserts of Judea. In the last throws of the battle, a wounded Jew sacrifices himself to slay the manuscript’s last defender. In the aftermath, the manuscript lies amid the dead, and 20 centuries pass.
The story resumes in the late 1990s. The protagonist, a former US Army Delta operative named Jonathan Gage, comes to the bedside of his dying mentor, the Catholic priest Simon. Father Simon’s last words alert Gage to a grand conspiracy, one that reaches from the centers of the world’s governments to the papacy—and then home, to Gage’s last assignment—the secretive CIA group known as “Black Light.” As the story unfolds, readers discover that Gage is a warrior beyond compare: tenacious, ferocious, and feared by those few souls who know he exists. But, Gage is not the soldier he once was. Three years before Father Simon’s death, the tragic and suspicious ambush of his team led Gage out of his life of clandestine combat.
But his past is not easy to escape. Caught between the incomprehensible danger of the forces he combats and the suffering that will ensue if his enemies succeed, a dramatic series of battles climax with Gage severely wounded and the story’s love interest, Sarah, held by Sato, the enemy’s finest warrior. In the heart-pounding final scene in Rome, Gage and Sato serve as synecdoche for the struggle between God and the worship of human power.
While The Reckoning is an enjoyable read, it does suffer from some unfortunate detractions. For one, it is very, very long. For some, particularly those accustomed to the verbosity of authors like George R.R. Martin, the page count might not be an issue; however, I thought that the story could have been told better in half as many words. Cutting the number of key characters in the book would have been a great start (there were 22 that I can think of off the top of my head). Plus, fewer characters would have left more room to flesh others out, particularly Barto, the comical but superfluous language student, and Malachi, Sarah’s exposition-delivering father.
Indeed, lack of appropriate character development was a central problem. For instance, the two chief protagonists, Jonathan Gage and Sarah Halder, are continually and thoroughly eclipsed by superior supporting characters like the FBI investigator Kertzman and the assassin Sato. This is perhaps owed to the author’s background. Huggins, a former Atlanta police officer, clearly is more comfortable writing lines for middle aged special agents and philosophizing hitmen than Army special operators or female academics.
Aside from these literary frustrations, though, I found myself bothered by some of the deeper cultural biases and internal contradictions in the book. For one, Augustine, the chief of the antagonists, believes that he and his followers are literal supermen, beings superior to the unenlightened masses. And while the author clearly portrays this as lunacy, his narration contradicts itself by routinely ascribing superhuman levels of will, skill, and ability to Gage (make a game of counting how many times the book refers to its protagonist as “perfect”).
Moreover, I am disturbed by the perhaps unconscious connection that Huggins seems to make between war and Christianity. Though Gage is described as feeling regret over his life of killing, the narrative of the book constantly doubles back on this by equating Gage the believer with Gage the unstoppable killer. To be fair, I do not believe that this is an issue with Huggins, but with a belief imbedded in some segments of American Christianity. I submit that this book is an example of a subtle and almost unquestioned amalgamation of American folk culture, political conservatism, and Christianity that links machismo with the faith. It seemed to me that the narrative undertone of this book does not seem very enamored of the Christ who refused more than twelve legions of angels on the eve of his execution.
Yet, I led off with the downsides of The Reckoning so that I could end with its positive points. First of all, it is just a fun read. While it was indeed long, it never felt slow. The tension of the fight scenes, the grandeur of the concept, and the undeniable brilliance of its supporting characters made it an honest pleasure to read.
Indeed, its supporting cast members steal the show. Kertzman, the superbly gruff investigator, should be the main character. His clear, straightforward thinking is both believable and a great stepping off point from the the reader’s realm of the everyday into the world of make-believe. Then there is Augustine, the elegant super villain. His regal deportment, unflappable composure, and palpable intelligence make the reader, at times, honestly root for the enemy. While it might have been expedient to merely craft a two-dimensional, demonic antagonist, Augustine provides a satisfying and understandable adversary—a fantastic counterpoint to Clement, Bishop of Rome. The interplay between Pope Clement and Augustine provides the philosophical climax of the book. In what is perhaps its finest passage, the two leaders argue like seasoned Platoists, a scene I found immensely satisfying. Then, finally, there is Sato, my absolute favorite. Strong, deep, and three-dimensional, he is a joy to watch even at his most heinous.
In conclusion, Huggins’ The Reckoning is an enjoyable thriller with a bigger-than-life narrative. Though it has points that could have been improved, it was well worth the hours I invested in it and I found myself reliving its scenes long after I had closed the covers for the last time. Thought-provoking and action-packed, I recommend this read to anyone who enjoys conspiracy and thriller novels.
L. Burton Brender is a native of Cashmere, Washington. He is the coauthor of In Cadence and the author the forthcoming Cashmere. In addition, he writes on leadership for publishers such as The Strategy Bridge, the Small Wars Journal, and Armor. Burt is a member of the Military Writers Guild, Write on the River, and the Olympia Writers Group, as well as a CS Lewis Institute Fellow.