Tuesday, June 29, 2021

RENT (Ovation Theater 2021)

There is something special about seeing live theater under any circumstances, but after nearly a year and a half of Covid shutdowns, it is doubly so. Fortunately, a number of artists found ways to give virtual performances, whether as part of a Zoom production, lego stop motion, or other distanced means. But still, it isn’t the same as being together in the same room, and feeling the electricity between the performers and the audience. It really is a collaborative thing, something deeply human that we need. As a professional musician, I too have missed this. I am grateful that I have been able to participate in recorded concerts, but I am eager to get back on stage with live audiences. 

 

So, there was a special energy last weekend, when two of my kids and I went to see a local production of RENT, the first live production for Ovation since last March. As Jason McClain took the stage for the opening announcements, he said something that warmed my heart - and I’m sure those of everyone else present: every single one of our local theaters has managed to stay afloat during Covid, and have announced their seasons. They made it. We made it. 

 

I had never seen RENT before, believe it or not. However, I did want to see it, as did my eldest. I knew it was more or less based on La Boheme, and I knew the plot of that one pretty well. This helped in following the plot. That is my one complaint about RENT is that it can be a bit difficult to follow the thread at times. (In this production, there were a few sound glitches that didn’t help.) I recommended that my kids take a look at the plot summary afterward, if they didn’t catch what happened. I might say, in any case, that a solid knowledge of La Boheme is a real bonus for enjoying RENT, as there are so many more parallels and “easter eggs” than I expected. Including a number of hidden musical references. (Musetta’s Waltz is obvious, but there are others…) 

 

The plot isn’t an exact parallel, of course. The biggest change is that they kill off Schaunard, aka the drag queen Angel, rather than Mimi. I guess modern audiences couldn’t handle Mimi’s death, and needed a resurrection? Or maybe a Shakespearian almost-tragedy was intended? 

 

A few of the parallels were particularly delightful. The conversion of the coquette Musetta into the brassy and oddball “performance artist” Maureen was a lot of fun. I mean, the riff on “Hey Diddle Diddle” was so over-the-top bad that it was...well something to watch. The “light my candle” meet-cute between Roger and Mimi mirrored the Puccini scene to perfection. Mark and Tom Collins seemed perfect updates of Marcello the painter and Colline the philosopher. 

 

As usual, Ovation Theater does a lot with a small stage, including choreography, and (my favorite part) live musicians. This is a small town, so I know a few people in the band, shall we say. 

 

I’ll give a general call-out to the cast, with just a particular mention of a few. Cody Garcia’s drag performance as Angel was excellent, and a bit of comedy in an otherwise serious musical. (Also, he managed to overcome a dead mike, and project well enough to be heard over the instruments - that’s professional artistry.) Jonathan Canez brooded and moped his way through Roger - Puccini would be proud. Braeden Addison has long been one of my favorite local actors, just because he is fun to watch in any part. In this case, he brought his slightly goofy charm to the part of Mark, the aspiring film maker. Sure, Mark’s girlfriend dumped him and came out as lesbian, he has no money, and Roger is barely holding it together. But he still has a temperamental optimism and calm presence that keeps everyone from falling apart completely. He and Liz Williams were hilarious in their duet, “The Tango Maureen.” Kenneth Labron was convincing as Tom Collins, and made a great foil for Angel. Christina Lauren was full diva as Maureen. 

 

More than anything, though, it is such a pleasure to see our local thespians back on stage, doing what they do, what they love. Their joy and excitement really came through. Wherever you are, get your vaccine, wear your mask, and go out and encourage and support the arts wherever you are. The soul of art isn’t really in the big acts (although they are a lot of fun, and superbly performed) - it is in the community, the everyday people keeping the flame alive in cities and towns around the world. 

 

RENT runs two more weekends. You can get tickets here

Publicity photo, complete with "date" from the setting of the play.


 

Monday, June 28, 2021

Transcendent Kingdom by Yaa Gyasi

Source of book: Audiobook from the library

 

My wife and I listened to this together on our recent anniversary getaway trip. A few years ago, we both read Homegoing, by Gyasi, and had been eager to read her second book when it came out. It worked out to listen to it as a downloaded audiobook from the LA County Library. I should also note that the audiobook is narrated by Bahni Turpin, who won a well-deserved award for her work on The Hate U Give, which we listened to last year. (I mean, that book was a command performance. One of the best audiobooks we have experienced.) She was also excellent on this book: my wife has Ghanaian immigrant coworkers, and noted that Turpin nailed the different accents (yes there are more than one) of the characters. 


 
Transcendent Kingdom is a totally different book from Homegoing. Rather than a sweep of several hundred years of history across two continents, this book is far more personal (although it does not appear to be exactly autobiographical from what I can determine.) It is the story of Gifty and her family. Her parents meet and marry at a relatively older age, in Ghana. After her brother Nana is born, they immigrate to Alabama, seeking a better life. Gifty is an unexpected and unwanted child born a few years after that. Gifty’s dad moves back to Ghana, and starts another family. Nana, a brilliant kid and gifted athlete, is injured in a high school basketball game, and becomes addicted to the opiates he is prescribed. Gifty is 11 when Nana dies of an overdose after a failed rehab stint. This causes what is left of the family to fall apart. Her mother suffers from major depression, and attempts suicide. Gifty loses her faith in God, and is also sent to live for a summer in Ghana. 

 

As we pick up the story later, Gifty has poured herself into science, and is now a PhD candidate at Stanford, researching addiction in mice. Her mother has another major depressive episode, and refuses help for months. As the book switches back and forth between the present and the past, the book shows more and more of the trauma that both Gifty and her mother have undergone, and the challenges of overcoming them. 

 

That’s essentially the plot, but that undersells how good the book is. Gyasi is a superb writer, and tackles quite a bit of metaphysics along the way, from the nature of mental illness, addiction, religion, racism and prejudice, the experience of being an immigrant and a minority in the South - and later in the northeast and in California. Although Gyasi does not have a background in neuroscience, she did her research for this book, and came up with a lot of amazing passages about the philosophical, religious, and metaphysical overlaps with neuroscience - things that I have myself thought about a lot (although not in the scientific depth that Gifty would be thinking) lately.

 

One of the things that I really loved about the book is that Gyasi is neither an apologist for religion nor opposed to it. The book is fairly friendly to religious experience and faith and practice, despite being all too accurate about fundamentalist belief systems and racist subcultures. The clergyman who is a significant secondary character, Pastor John, is a decent, kind man at heart. In his own way, he tries to make Gifty and her family welcome in his overwhelmingly white Pentecostal church. Not all of his parishioners are the same, unfortunately, and John is limited in what he can see because of his dogmas. Like many well-meaning pastors of our own time, doctrines get in the way of understanding, and limit one’s ability to see clearly. The same old religious platitudes are enlisted for every situation, and mental illness becomes merely a spiritual problem, solvable by prayer. In a sense, I recognized a lot of my own upbringing in this book, including some things from our sojourn in Pentecostalism when I was a teen. (I have fewer scars from that than from Gothardism, which came afterward.) Like Gifty, I have struggled with my faith for decades, in part because of the toxic version I imbibed for so long. And yet, like Gifty, at the end of the day (or the book), I still believe, because I have lived it. As much as Gifty feels that God (and meaning itself) have betrayed her, she still feels some connection, just a very different sort of faith and experience than she grew up with. 

 

I remembered a number of quotes I liked, but obviously didn’t write them down while driving. Goodreads has a bunch of them, and they sound accurate, but I cannot be entirely sure without the book itself. Anyway, here are the ones that I liked the best: 

 

It took me many years to realize that it’s hard to live in this world. I don’t mean the mechanics of living, because for most of us, our hearts will beat, our lungs will take in oxygen, without us doing anything at all to tell them to. For most of us, mechanically, physically, it’s harder to die than it is to live. But still we try to die. We drive too fast down winding roads, we have sex with strangers without wearing protection, we drink, we use drugs. We try to squeeze a little more life out of our lives. It’s natural to want to do that. But to be alive in the world, every day, as we are given more and more and more, as the nature of “what we can handle” changes and our methods for how we handle it change, too, that’s something of a miracle.

 

We humans are reckless with our bodies, reckless with our lives, for no other reason than that we want to know what would happen, what it might feel like to brush up against death, to run right up to the edge of our lives, which is, in some ways, to live fully.

 

There is something very true about all of that. There is something about humans and their embrace of risk and danger that doesn’t seem to apply to other animals. We don’t take risks to get food, or to escape predators, so much as we take risks for the thrill of the risk. Roller coasters are big business for a reason. 

 

This next bit really resonated with me because of my similar religious background. My parents were more open than true fundies, at least when I was a kid. It seems that things have gone backwards since Gothard, alas. Mrs. Pasternack was Gifty’s biology teacher, and, while a Christian like literally everyone else she knew (this WAS Alabama…), she embraced science and uncertainty and doubt and what I would call flexibility - the understanding that our current knowledge is incomplete as was that of the past. And that as a result, belief had to be flexible, to change to fit new knowledge and new circumstances. 

 

Mrs. Pasternack said something else that year that I never forgot. She said, “The truth is we don’t know what we don’t know. We don’t even know the questions we need to ask in order to find out, but when we learn one tiny little thing, a dim light comes on in a dark hallway, and suddenly a new question appears. We spend decades, centuries, millennia, trying to answer that one question so that another dim light will come on. That’s science, but that’s also everything else, isn’t it? Try. Experiment. Ask a ton of questions.”

 

Another fascinating quote was this one, from Gifty about her father. 

 

My memories of him, though few, are mostly pleasant, but memories of people you hardly know are often permitted a kind of pleasantness in their absence. It's those who stay who are judged the harshest, simply by virtue of being around to be judged.

 

The family dynamics in this book are painful, particularly from the point of view of Gifty - but also from that of Nana, who ultimately succumbs not just to addiction but to the combination of the pressure of being the favorite and the horror of abandonment by his father. Again, there are some great quotes. 

 

“There is no living thing on God's green earth that doesn't come to know pain sometime.” 

 

“Nana was the first miracle, the true miracle, and the glory of his birth cast a long shadow. I was born into the darkness that shadow left behind. I understood that, even as a child.” 

 

“It seems to me that this itself was the disaster I foresaw, a common enough disaster for most infants these days: that I was a baby, born cute, loud, needy, wild, but the conditions of the wilderness have changed.” 

 

As in every family, dynamics tend to start early, and feed off of unchangeable realities. Gifty was a difficult baby. But was she difficult because she just was, or did she sense that she was unwanted? Was she unwanted because unplanned, or also because she was difficult? 

 

These are questions I ask myself too. I was a sickly, needy, unhappy infant. I was sick a lot of my childhood. My neediness led to my mom giving up her career. Which in turn led to her rejecting my wife who didn’t give up her career. My siblings were much easier babies, particularly my sister. Did that in turn lead to the favoritism that would define our family dynamics as adults? 

 

Questions about religion permeate the story, and there are some profound observations. 

 

“[N]ot all churches in America are created equal, not in practice and not in politics. And, for me, the damage of going to a church where people whispered disparaging words about “my kind” was itself a spiritual wound—so deep and so hidden that it has taken me years to find and address it.” 

 

It is difficult to explain to those outside the tribe just how painful and debilitating a spiritual wound like this can be. Belonging is a hell of a drug, and the withdrawal is horrible. And if you are forced out for daring to speak out against the Orange Messiah and those who follow him, it is quitting cold turkey. It was astonishing how fast you go from in to out when you go after a sacred cow you didn’t realize existed. 

 

Two quotes also touch on the problem that fundamentalist religion finds itself in during cultural change. 

 

“We read the Bible how we want to read it. It doesn't change, but we do.”

 

“Literalism is helpful in the fight against change.” 

 

These definitely go together. Modern American Fundies mostly spend their time defending 19th Century beliefs about the meaning of the Bible, from Young Earth Creationism to sexism to white supremacy. And, of course, as any historically informed person is aware, these beliefs about the meaning of the Bible have changed dramatically over the last 2000 years, as ancient texts are reinterpreted and reinterpreted to make them meaningful in circumstances and cultures far removed from the ones they were written in. This is how every faith functions - it used to be that flexibility and change were considered to be positive in a religion. But with an Enlightenment belief in empiricism overlaid on an ancient text, things became rigid, literal, and inflexible. Unable to adapt to change, and thus transformed into a weapon against any and all positive change. Literalism is a means to that end - it is an assertion of a single meaning, an unanswerable argument, a Bible for thumping, not contemplation. 

 

Later, Gifty discovers a healthier Christianity - not coincidentally, from a tradition that embraces female leadership. I wonder how my life – and my family – would have turned out different had my parents’ spiritual journey led them in this direction rather than to Gothardism.

 

“The reverend's sermon that day was beautiful. She approached the Bible with extraordinary acuity, and her interpretation of it was so humane, so thoughtful, that I became ashamed of the fact that I very rarely associated those two things with religion. My entire life would have been different if I'd grown up in this woman's church instead of in a church that seemed to shun intellectualism as a trap of the secular world, designed to shun intellectualism as a trap of the secular world, designed to undermine one's faith.” 

 

At the same time, Gifty wrestles with the question of meaning. This is another facet of the “problem of evil” - and the problem with the problem is that so much of life does not have a “meaning” in the Fundie sense. “Your kid died of cancer as part of some great divine plan” is as nonsensical as it is cruel. 

 

“What’s the point of all of this?” is a question that separates humans from other animals. Our curiosity around this issue has sparked everything from science to literature to philosophy to religion. When the answer to this question is “Because God deemed it so,” we might feel comforted. But what if the answer to this question is “I don’t know,” or worse still, “Nothing”?”

 

But this randomness of the universe isn’t the only reality for many of us. While I am quite certain that God isn’t the white supremacist, misogynist, sociopathic sort that Fundies believe in, I am also not an atheist - I have experienced moments of transcendence, and whatever name you give to that is something that I believe is real. Gifty notes the same thing. 

 

“When it came to God, I could not give a straight answer. I had not been able to give a straight answer since the day Nana died. God failed me then, so utterly and completely that it had shaken my capacity to believe in him. And yet. How to explain every quiver? How to explain that once sure-footed knowledge of his presence in my heart?”

 

Gifty explores this further in my favorite passage of the book: 

 

“Here is a separation. Your heart, the part of you that feels. Your mind, the part of you that thinks. Your soul, the part of you that is. I almost never hear neuroscientists speak about the soul. Because of our work, we are often given to thinking about the part of humans that is the vital, inexplicable essence of ourselves, as the workings of our brain-- mysterious, elegant, essential. Everything we don't understand about what makes a person a person can be uncovered once we understand this organ. There is no separation. Our brains are our hearts that feel and our minds that think and our souls that are. But when I was a child I called this essence a soul and I believed in its supremacy over the mind and the heart, its immutability and connection to Christ himself.” 

 

And this one. 

 

“At a certain point, science fails. Questions become guesses become philosophical ideas about how something should probably, maybe, be. I grew up around people who were distrustful of science, who thought of it as a cunning trick to robe them of their faith, and I have been educated around scientists and laypeople alike who talk about religion as though it were a comfort blanket for the dumb and the weak, a way to extol the virtues of God more improbable than our own human existence. But this tension, this idea that one must necessarily choose between science and religion, is false. I used to see the world through a God's lens, and when that lens clouded, I turned to science. Both became, for me, valuable ways of seeing, but ultimately both have failed to fully satisfy in their aim: to make clear, to make meaning.”

 

I am in a similar place, honestly. Neither scientific materialism nor religion fully satisfies. But I also do not believe they are in conflict. This is a false idea, created by fundamentalists terrified about change and uncertainty. Rather than embrace that change, and the uncertainty which defines our existence, they took refuge in lies, in untruths that were elevated to the level of unchallengeable dogma, and any beauty that once resided in religious belief was extinguished. Plowshares were beaten into swords, to fight against the rest of humanity, and indeed reality itself. 

 

Gifty’s observation that the scientific reduction of our humanity to “the brain” is convenient for scientific purposes - and indeed, that is how science is constrained to act, given it’s method and goals. But for purposes of the human experience, we do have those three parts, so to speak. The intellect/mind, feelings/emotions, and soul - the essence of being who we are. I believe that in some way, the “we” that we are uses the body, including the brain, and that we are in some sense, more than a brain. This isn’t in the realm of empirical science, obviously, but in experiential metaphysics. But that doesn’t mean it isn’t, at some level, true. To deny that is to some degree to deny the reality of music and poetry. And indeed, I also believe that the denial of music and poetry is one of the key failings of fundamentalism. By reducing religion to assent to mental beliefs, and a treatment of scripture as a rule book and weapon, it has stripped all the poetry and music and power from faith. It becomes empiricism of a different kind - the literalist approach to the words of holy men of millennia past and the words of men of the more recent past applying those older words in ways calculated to support the cultural status quo and all that meant: slavery, subordination of women, panic about sex, and so on. 

 

So yes, this book made me think. The poetry of Gyasi’s writing is a big part of that. She engages the mind, of course, the heart, very much so, and also the soul. 

 

Monday, June 21, 2021

Eight Perfect Murders by Peter Swanson

Source of book: Borrowed from the library.

 

This was this month’s selection for our “Literary Lush” book club. One of the things I enjoy about this club is that I end up reading interesting books that I never would have discovered on my own. This book certainly qualifies, as I had no idea it existed. Back when I was a teen, I used to read a lot of murder mysteries, and mysteries in general, but have done so less as I have gotten older. My wife and I have had extensive discussions of the mystery genre over the years - she is actually the true expert. 


 
The basic premise of this book is the re-creation or homage perhaps to the eight most perfect murders found in murder mysteries. The very unreliable narrator, Malcolm Kershaw, wrote a blog post a decade ago with a list of these eight murders. Years later, he is contacted by an FBI agent who is noticing a string of murders that seem to be related to the list - the murderer is following the list, so to speak. Malcolm is consulted, as it seems, because of his knowledge of the books on the list, which may help stop the murderer before he or she finishes the murders. 

 

I’m not even sure where to go from there, because anything would be a spoiler, it seems. Although, to be honest, it isn’t terribly difficult to figure out the mystery, and many of the revelations happen early in the book. In fact, one of the oddities is how long the book takes to tie everything up at the end - really a few chapters. I suspect this is because the author has to explain how all the murders fit the specific books. 

 

And that leads me to the thing I disliked most about the book. It seems to be much more about the references to the other books than about its own plot or characters. In fact, the lack of characters is part of the problem. There are essentially two that are enough to be considered significant, with a few more that make very small appearances. And that includes the murderer, which is somewhat problematic within the rules of the genre, in my opinion. 

 

I also felt that the plot drew heavily from a couple of other mysteries, and that these plots (which are part of the list) substitute for characterization. Even for the narrator, who is the only character we get to know in any depth, he is both unlikeable (and not in the sense that you hate him, more that you don’t really care) and self-focused, so you don’t really get a sense of anything outside of his own head. 

 

My final issue is one a few members of our club noted, which is that both the action and the mystery development mostly occur in the first half, with a lot less of interest after that. The book really loses steam, and never recovers it. Some of this is definitely because the big reveals happen too soon, and most of the lesser reveals in the second half feel anticlimactic to me. 

 

I should mention one line, however, that is quite good. 

 

The thing is, and maybe I’m biased by all those years I’ve spent in fictional realms based on deceit, I don’t trust narrators any more than I trust the actual people in my life. We never get the whole truth, not from anybody. When we first meet someone, before words are ever spoken, there are already lies and half-truths. The clothes we wear cover the truth of our bodies, but they also present who we want to be to the world. They are fabrications, figuratively and literally.

That is spoken like a lawyer, to be sure. But it isn’t a great way to look at the world of other people as a general rule. The complexity of image and reality and self-conception are what make us human, not true deceit. The other telling confession by the narrator is that he feels that he knows more about people when he meets them, and they become more and more strangers as he gets to know them. That, and other things in the book point in the direction of his being a sociopath, as other club members pointed out. 

 

The book itself was a bit disappointing to me. Our discussion of the mystery genre, however, was a lot of fun. Which goes to show that the important thing is having good people in a book club - even a meh book can become a fascinating meeting. 

***

Just for fun, here is the list of books that our book club has read. At least the ones I have read too. Most of these were read for the club, but a few were ones I read previously - those posts pre-date the club discussion - and some I read afterward, because I missed the discussion. A few of the books were “optional” second books for a given month.

 

Everything I Never Told You by Celeste Ng 

Eight Perfect Murders by Peter Swanson

Interior Chinatown by Charles Yu

The Midnight Library by Matt Haig

Born Standing Up by Steve Martin

Station Eleven by Emily St. John Mandel

Giovanni’s Room by James Baldwin

The Guest List by Lucy Foley

Big Sur by Jack Kerouac

The Man In The High Castle by Philip K. Dick

Slaughterhouse-Five by Kurt Vonnegut

On Earth We’re Briefly Gorgeous by Ocean Vuong

Exhalation by Ted Chiang

Broad Band by Claire Evans

Ghost Story by Peter Straub

Parable of the Sower by Octavia Butler

Mexican Gothic by Silvia Moreno-Garcia

The Night Watchman by Louise Erdrich

Forest of a Thousand Lanterns by Julie Dao

Deacon King Kong by James McBride

Space Opera by Catherynne M. Valente

Bad News by Edward St. Aubyn

Circe by Madeline Miller

Daisy Jones and the Six by Taylor Jenkins Reid

Calypso by David Sedaris

The Air You Breathe by Frances de Pontes Peebles

The Penelopiad by Margaret Atwood

The Boy Who Harnessed the Wind by William Kamkwamba and Bryan Mealer

The Haunting of Hill House by Shirley Jackson

There There by Tommy Orange

Little Fires Everywhere by Celeste Ng

Be Frank With Me by Julia Claiborne Johnson

The Song of Achilles by Madeline Miller

Educated by Tara Westover

Stiff by Mary Roach

A Gentleman in Moscow by Amor Towles

Ready Player One by Ernest Cline

The Marsh King’s Daughter by Karen Dionne

Rosemary’s Baby by Ira Levin

Never Mind by Edward St. Aubyn

All the Birds in the Sky by Charlie Jane Anders

Artemis by Andy Weir

Annihilation by Jeff Vandermeer

The Goldfinch by Donna Tartt

The Island of Doctor Moreau by H. G. Wells

The Master and Margarita by Mikhail Bulgakov 

The Radium Girls by Kate Moore

 

 



Friday, June 18, 2021

Q. E. D. by Gertrude Stein

Source of book: Borrowed from the library

 

While I have read a number of books both by and about LGBTQ people over the years (you can see a list here), I haven’t actually read one specifically for Pride Month before this. I cannot remember precisely where I saw this book recommended, but I am pretty sure it is from a list or article I read somewhere in the past year. 


 
Q. E. D. was the first book written by Gertrude Stein, in 1903, but it was not published until after her death. I think there are a few reasons for this. First, because it is a semi-autobiographical account of Stein’s first sexual relationship, and didn’t disguise the other parties particularly well, Stein was afraid of embarrassing people she remained friends with. (The other women in the story went on to marry men, as did many lesbian or bisexual women of the era. Years after Stein’s death, her life partner Alice Toklas had the book published. There is also evidence that Toklas was a bit jealous of Stein’s earlier partners, and didn’t want the stories of those early romances circulated while there was any chance of losing Stein to another woman.

 

I am not particularly well versed in Latin, at least the phrases that don’t show up in law very often, so I had to look up the meaning of the title. It is short for “quod erat demonstrandum,” or, roughly, "Which was to be demonstrated." Back when lawyers tended to throw legal Latin around all the time, this was used at the end of an argument, essentially the 19th Century version of the “mic drop.” One can speculate about what exactly Stein thought she had proven with the story, I suppose, but it seems to me to be more of an example of res ipsa loquitur - the story speaks for itself. 

 

The book is quite short - a novella in three parts - and tells of a seriously dysfunctional and openly lesbian love triangle. “Adele” is Stein, a somewhat chunky and naive American, born middle-class, with all the values and assumptions of her class (as the book makes clear.) On a trip to Europe, she encounters two other Americans, Mabel (based on Mabel Haynes), and Helen (based on May Bookstaver.) Mabel is wealthy and ruthless; Helen is worldly and jaded. As becomes clear as the book unfolds, Mabel and Helen are lovers, but Helen is in the relationship more because she needs the financial support than because she is attracted to Mabel. 

 

After they all meet, things change. Helen falls madly in love with Adele, who does not appear to return the affection. In fact, Adele thinks herself generally disgusted with romance, passion, and sex. And, of course, this is all tied up with middle-class morality, naivety about lesbianism, and other hangups. 

 

Helen eventually manages to seduce Adele (very non-graphically, of course, but a lot is implied.) However, Adele still continues to hold back, and experiences a great deal of ambivalence. By the time Adele comes around, Helen is back in the clutches of Mabel, mostly, and the romance eventually falls apart. 

 

The book feels a bit like a first effort in places. Some passages are a bit awkward. However, others are outstanding, giving a glimpse of Stein’s writing talent. What comes through the most, however, is the depth of the dysfunction of this first, failed relationship. Between Adele’s struggle to come to terms with her own sexuality, and Helen’s frustration that Adele can’t fully give herself; between Helen’s use of her own desire and pain in a way that seems akin to the way certain men use their sex drive as a weapon, and Adele’s enjoyment of the power of sexual denial - well, this relationship is so clearly doomed from the start. 

 

But it also was clearly a formative event in Stein’s life. She alone of the trio would go on to live an openly lesbian life. (One of the amusing anecdotes I ran across was of the relationship between Hemingway and Stein - and their respective spouses. Stein was clearly the “man” in the relationship, expecting Toklas to do the “wife” thing and talk with Pauline while the “guys” hung out and smoked.) It was through this relationship, as tumultuous as it was, that Stein came to peace with her own sexuality. 

 

The book opens with a quote from As You Like It, which is both on point, and delightfully queer. 

 

PHEBE: Good shepherd, tell this youth what 'tis to love.

SILVIUS: It is to be all made of sighs and tears;

And so am I for Phebe.

PHEBE: And I for Ganymede.

ORLANDO: And I for Rosalind.

ROSALIND: And I for no woman.

SILVIUS: It is to be all made of faith and service;

And so am I for Phebe.

PHEBE: And I for Ganymede.

ORLANDO: And I for Rosalind.

ROSALIND: And I for no woman.

SILVIUS: It is to be all made of fantasy,

All made of passion and all made of wishes,

All adoration, duty, and observance,

All humbleness, all patience and impatience,

All purity, all trial, all observance;

And so am I for Phebe.

PHEBE: And so am I for Ganymede.

ORLANDO: And so am I for Rosalind.

ROSALIND: And so am I for no woman.

PHEBE: If this be so, why blame you me to love you?

SILVIUS: If this be so, why blame you me to love you?

ORLANDO: If this be so, why blame you me to love you?

ROSALIND: Who do you speak to, 'Why blame you me to love you?'

ORLANDO: To her that is not here, nor doth not hear.

ROSALIND: Pray you, no more of this; 'tis like the howling

of Irish wolves against the moon.

 

Stein, like so many over the centuries, recognized that Shakespeare is rich with gayness and gender bending. 

 

At the start of the book, it appears that Adele is thoroughly weary of life. 

 

The last month of Adele’s life in Baltimore had been such a succession of wearing experiences that she rather regretted that she was not to have the steamer all to herself.

 

And by the end of the trip, she is no better. 

 

“Heigho it’s an awful grind; new countries, new people and new experiences all to see, to know and to understand; old countries, old friends and old experiences to keep on knowing and understanding.” 

 

And yet, Adele is in a way the least jaded of the trio. As Helen points out to her. 

 

“I am afraid that after all you haven’t a nature much above passionettes. You are so afraid of losing your moral sense that you are not willing to take it through anything more dangerous than a mud puddle.”

 

Eventually, of course, Adele does risk her moral sense, and ends up wrestling with the fact that all she really has as an objection to sex is fear of society. The intellectual and ethical issues break down upon a close examination. 

 

Another astute observation by Stein is this one, about “modern” society. (Relatively modern, of course - the end of the 19th Century. But also appropriate about our own time.) 

 

Modern situations never endure for a long enough time to allow subtle and elaborate methods to succeed. By the time they are beginning to bring about results the incident is forgotten. Subtlety moreover in order to command efficient power must be realized as dangerous and the modern world is a difficult place in which to be subtly dangerous, the risks are too great. 

 

I also want to mention a couple of lines during the devastating big fight that Adele and Helen have. It turns the course of the relationship, although they continue to be together for some time afterward. The first one is from Helen. 

 

“I wonder why I am doomed always to care for people who are so hopelessly inadequate.”

 

This line haunts the relationship until the end. Helen claims she didn’t really mean it, but Adele knows she does. The exchange before they have makeup sex (but never really address the issue) is telling. 

 

"You haven't forgiven me yet" Helen asked the next morning as Adele was about to leave her. "It isn't a question of forgiveness, it's a question of your feeling," Adele replied steadily. "You have given no indication as yet that you did not believe what you said last night." "I don't know what I said," Helen evaded "I am worried and pestered and bothered and you just make everything harder for me and then accuse me of saying things that I shouldn't. Well perhaps I shouldn't have said it." "But nevertheless you believe it," Adele returned stubbornly. "Oh I don't know what I believe. I am so torn and bothered, can't you leave me alone." "You have no right to constantly use your pain as a weapon," Adele flashed out angrily. "What do you mean by that?" Helen demanded. "I mean that you force me on by your pain and then hold me responsible for the whole business. I am willing to stand for my own trouble but I will not endure the whole responsibility of yours." "Well aren't you responsible," asked Helen, "have I done anything but be passive while you did as you pleased. I have been willing to endure it all, but I have not taken one step to hold you."

 

That’s devastating. What is fascinating about it is that, despite the bridges they burned romantically, Stein and Bookstaver actually remained friends. Later, Bookstaver would use her influence to get Stein’s first writings published, marching into Alfred Steiglitz’ office and demanding that he include them. Tolkas was perpetually jealous of Bookstaver, before relenting about the publication of Q. E. D. eventually. 

 

One final passage is worth quoting, in part for its biting humor. Stein eventually moved to France, where she lived for most of the rest of her life, but even early on, she noticed the way Americans tended to act abroad. 

 

There was nothing to distinguish Mabel Neathe and Helen Thomas as they walked down the Via Nazionale from the average American woman tourist. Their shirt-waists trimly pinned down, the little bags with the steel chain firmly grasped in the left hand, the straightness of their backs and the determination of their observation all marked them an integral part of that national sisterhood which shows a more uncompromising family likeness than a continental group of sisters with all their dresses made exactly alike. 

 

This was an interesting book to read. It shares some similarities to Henry James - and name-checks his characters. There is no doubt that Stein had a talent for capturing complex emotional states and situations, and made this one come alive.