Thursday, November 12, 2026

The Winter of Our Discontent by John Steinbeck

Source of book: I own this

 

I have read a number of Steinbeck books over my lifetime. The Grapes of Wrath pre-dates this blog, but here are the other ones that I have written about:

 

Cannery Row

East of Eden

Of Mice and Men (Novel)

Of Mice and Men (Play)

The Red Pony

Tortilla Flat


 

The Winter of Our Discontent is Steinbeck’s last novel, and one that is often overlooked when listing his works. For whatever reason, it was never as popular or respected as his earlier novels.

 

While as a general rule, I think it is a bit silly to worry about spoiling books that are older than I am, this is one case where I will give a spoiler warning. I am going to have to discuss plot points from late in the book in this post, but will give a warning in case the reader wishes to stop in order to go read the book. 

 

Astute readers will recognize the source of the title, from the opening lines of Shakespeare’s play about Machiavellian power games, Richard III. 

 

Now is the winter of our discontent

Made glorious summer by this sun of York 

 

The line itself doesn’t appear in the book until near the end, but its use in the title should give some clues about the book itself. 

 

The book will center around an anti-hero, who, much like (the fictional) Richard III, decides to take advantage of circumstances to elevate and enrich himself, unfortunately at the expense of others. And, like with Shakespeare’s anti-hero, success doesn’t bring happiness, but only destruction. 

 

That said, unlike Richard III, Ethan Allen Hawley isn’t a pure villain, not by half. He is more like a Greek tragic hero, damned by the fates, caught up in an amoral capitalist game that rewards vice and punishes virtue. 

 

It is a testament to Steinbeck’s writing that as much as I was horrified by the depths to which Ethan sunk by the end of the book, I also had a lot of sympathy for him, and a feeling that the moral issues weren’t nearly as black and white as I wanted to think. (I’ll talk more about them in the section with spoilers.) 

 

The book is seriously cynical and bitter, but also an incredible critique of the immoral heart of capitalism; an uncomfortable examination of the complexities of race, class, and immigration; and a question about who “deserves” success in society and economy. 

 

Consider it a very different book from The Grapes of Wrath in that sense. You can’t completely like anyone in this book, except maybe Ethan’s daughter. Everyone else is to some degree or another tainted by the society they live in. 

 

Ethan is from a formerly aristocratic East Coast family. His ancestors were whalers, before becoming store owners. However, his father managed to squander the fortune, leaving Ethan working as an underpaid clerk in the grocery store his family used to own. 

 

To make things worse, his own family resents their lowered social status, and blame Ethan for lacking ambition. 

 

As we gradually learn, one of the reasons Ethan’s father lost the fortune was through some devious insider dealings from the bank owner, Mr. Baker, which probably included burning a ship for the insurance money, thus putting the losses mostly on Ethan’s father. 

 

The new owner of the grocery store, Mr. Marullo, is an Italian immigrant, who has risen from poverty through a combination of hard work and ruthless business acumen. And Ethan’s low wages are one of the ways he retains profitability. So he is both admirable and an oppressor at the same time. But he too is ground in the wheels of capitalist profit-seeking. 

 

Ethan served in World War Two, as did his family friend, another former aristocrat, Danny, who has turned to alcohol to cope with his PTSD. All that Danny has left is the old family property, which he thinks is worthless except for pride. 

 

Meanwhile, Ethan’s wife’s best friend, Margie, is trying to seduce him, while using her fortune telling skills to encourage him to take a financial risk to better his fortunes. 

 

I should mention the unusual way the book is written. It is in two parts, and at the beginning of the two parts, the chapters are in third person, although mostly from Ethan’s point of view. Then the book switches to first person. I’m not entirely sure why Steinbeck does this. 

 

At this point, I think I have to stop before giving spoilers. So much of what happens in the book is important to my thoughts about it. Hence, stop here if you haven’t read the book, and come back later. 

 

***

 

Ethan starts off the book as perhaps even a bit too upright for his own good. He turns down a chance at a bit of a kickback from a supplier. He brushes off the banker’s suggestion that he raid his wife’s modest inheritance to invest in a project in the expanding and gentrifying Sag Harbor. He tries to do the right thing whenever he can. 

 

But, as the book goes along, he succumbs to temptation, and eventually commits two pretty lousy acts, although, as I had to admit, there was a level of moral ambiguity present. 

 

Through listening and paying attention, Ethan comes to realize two things. First, Marullo is an undocumented immigrant, and thus vulnerable to deportation. (Hey, this book feels timely…) 

 

The second is that the land Danny owns is coveted by developers (including Mr. Baker) as the only viable site for an airport. 

 

Suddenly, Ethan has two options available that just require a bit of ethical contortion. He also decides on a third: to gain some operating capital, he will use his friend Joey’s (the bank clerk) inside information to pull off a bank heist. 

 

The first two are pretty successful. An anonymous tip leads to Marullo’s arrest, and leverage to purchase the store at a discount. Ethan borrows a bit of his wife’s inheritance and gives it to Danny, with the express instructions that he should check himself into rehab. Knowing full well that Danny will (and does) promptly drink himself to death instead. Oh, and Ethan knows that Danny, having no family left, has left the property to Ethan’s wife. 

 

The third, however, ends up interrupted, so Ethan never does rob the bank. 

 

Everything ends up great for him on the surface. He gets a bit of long-awaited revenge on Baker and Marullo, is given the store by Marullo (who believes Ethan is honest), and is able to insist on a controlling interest in the development of the airport. 

 

Conscience is a bitch, though, and Ethan isn’t able to live with himself. Compounding this is that his son wins an essay contest by ripping off speeches from past statesmen. This is only found out when Ethan’s daughter blows the whistle, thus getting her revenge on her insufferable older brother.

 

So, here is where things get a bit morally ambiguous. 

 

Ethan would prefer that Danny actually get help. And, he does essentially offer that help. Meanwhile, Baker has tried to trick Danny into selling the property, so Ethan is essentially protecting Danny’s interest. In fact, he was willing that Danny should get the profits, except that Danny is so removed from reality that he refuses to even consider selling. 

 

If not for the fact that Ethan knows full well that Danny will drink himself to death - indeed, fully intends to - Ethan’s actions might be considered moral. And even then, he merely hastens the inevitable. Danny will do himself in fairly soon anyway, and in the meantime, Ethan has just taken an advantage that may well have gone to Baker instead. 

 

And I shed zero tears that Baker gets the short straw. He has lived his life by the immoral demands of profit, and has not hesitated to ruin good men to make money. So anything he loses is fine by me. If only Danny hadn’t had to die. 

 

The other case is tougher. Marullo isn’t an admirable character. He is ruthless in his business dealings, putting competitors out of business. He cuts wages to the bare bone. He is condescending in his treatment of Ethan. 

 

On the other hand, deportation of someone who has lived in the country for decades, built a business, and been a member of society, is immoral in itself. This is the evil of our immigration laws - both the one from 1920 that excluded Jews, Italians, Greeks, and Asians; and our current one that excludes most non-white immigrants from an opportunity to immigrate legally. 

 

Ethan’s revenge on his employer is disproportionate. But it also reveals racist and classist beliefs. Part of why Ethan seethes about his lowly clerk position is that his family used to be something. He sees himself, not as working class, but as a member of the aristocracy. 

 

And worse yet, his family store is owned by a “dago,” a “wop,” one of those dirty immigrants that wouldn’t even be considered “white” for another decade or two. 

 

And yet, Ethan still has a conscience. It bothers him that, rather than just getting a good deal on the store, he is given it because Marullo mistakenly believes Ethan is honest and upright. Kind of the Horatio Alger karma thing. 

 

But this is the problem. Being honest is a serious disadvantage in our capitalist, profit-worshipping system.

 

It is possible, at least sometimes, to do okay on honesty and reputation. But to actually become rich, you have to be ruthless, and that means harming other people on the way up. Or at least looking the other way while the system harms them. 

 

To get into all the ways this book looks at that idea would take too much space. I do, however, want to share a number of excellent lines. 

 

I’ll start with the dedication, which is pretty spot on. 

 

Readers seeking to identify the fictional people and places here described would do better to inspect their own communities and search their own hearts, for this book is about a large part of America today. 

 

There are many passages lovingly describing the grocery store. 

 

The store was greeny from the drawn shades over the big front windows. Again shelves to the ceiling, filled neatly with gleaming canned and glassed foods, a library for the stomach. 

 

This line reminds me so much of my own wife, who can go from crawling into bed to dead out in under 10 seconds. Maybe it is those decades of working night shift. 

 

My wife, Mary, goes to her sleep the way you would close the door of a closet. So many times I have watched her with envy. Her lovely body squirms a moment as though she fitted herself into a cocoon. She sighs once and at the end of it her eyes close and her lips, untroubled, fall into that wise and remote smile of the ancient Greek gods. 

 

In contrast to Mary, whose inner life we never really know, is Ethan, who struggles to sleep, and who is always inside his own head, something I certainly understand. 

 

“Ethan, you’re talking in your mind. I don’t know what it’s about but it’s loud. Stop thinking, Ethan.”

 

Another line is about Ethan’s ancestors, who often freelanced a bit on the sea, shall we say. 

 

They successfully combined piracy and puritanism, which aren’t so unalike when you come right down to it. Both had a strong dislike for opposition and both had a roving eye for other people’s property. 

 

And one of many about money, both as a thing, and as an idea encompassing the profit motive, and also in light of the dubious origins of his own family’s money.  

 

Money not only has no heart but no honor nor any memory. Money is respectable automatically if you keep it a while. 

 

Thus the money from piracy becomes “old money” and thus status, if you wait long enough. 

 

This one, about stories, rings true as well. 

 

A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice, some paint it with their own delight. A story must have some points of contact with the reader to make him feel at home in it. Only then can he accept wonders. 

 

This applies double for sacred texts, of course. 

 

No one wants advice - only corroboration. 

 

And the hits keep on coming. How about this insight, which seems applicable to MAGA in our time?

 

When a condition or a problem becomes too great, humans have the protection of not thinking about it. But it goes inward and minces up with a lot of other things already there and what comes out is discontent and uneasiness, guilt and a compulsion to get something - anything - before it is all gone. 

 

There is also a paragraph about the Campbellites, one branch of which became the Church of Christ, with its ban on musical instruments for worship. (One of our neighbors as a kid was a minister at a small Church of Christ - he was a good man, whatever our theological differences.) Back in the day, another branch got heavily into the predictions of Christ’s return. I found this paragraph rather intriguing. 

 

I remember a story Aunt Deborah told me long ago. Early in the last century some of my people were Campbellites. Aunt Deborah was a child then, but she remembered how the end of the world was coming at a certain time. Her parents gave everything away, everything they owned but the bed sheets. Those they put on and at the predicted time they went to the hills to meet the End of the World. Dressed in sheets, hundreds of people prayed and sang. The night came and they sang louder and danced and as it got near time there was a shooting star, she said, and everybody screamed. She could still remember the screaming. Like wolves, she said, like hyenas, although she had never heard a hyena. Then the moment came. White-dressed men and women and children held their breaths. The moment went on and on. The children got blue in the face - and then it passed. It was done and they were cheated out of their destruction. In the dawn they crept down the hill and tried to get back the clothes they had given away, and the pots and pans and their ox and their ass. And I remember knowing how bad they must have felt. 

 

There is still a strain of this in the American Religion. “Cheated out of their destruction” sums it up pretty well. 

 

Another passage analyzes the way that corruption is part of the social fabric to the degree that we don’t recognize it. 

 

The men who governed it, politically, morally, economically, had so long continued that their ways were set. The Town Manager, the council, the judges, the police were eternal. The Town Manager sold equipment to the township, and the judges fixed traffic tickets as they had for so long that they did not remember it as illegal practice - at least the books said it was. Being normal men, they surely did not consider it immoral. All men are moral. Only their neighbors are not. 

 

One of the best chapters in the book is Margie’s unsuccessful attempt at seduction of Ethan. Wherever Ethan’s weaknesses are, they do not lie in that direction. 

 

Margie’s back story ties in with the themes of the book. When she divorced her first husband, she was awarded alimony, which she has lived off of for decades. However, his health is failing, and when he dies, she will be out of luck, so finding another man to support her is necessary. 

 

But she in a way respects Ethan too much to play the game, and instead offers too much information about herself, perhaps in an effort to scare him off. Her analysis of most men may explain her actions. 

 

Margie had known many men, most of them guilty, wounded in their vanity, or despairing, so that she had developed a contempt for her quarry as a professional hunter of vermin does. It was easy to move such men through their fears and vanities. They ached so to be fooled that she no longer felt triumph - only a kind of disgusted pity. 

 

This too reminds me a bit of MAGA - Trump plays on the same fears and vanities as Margie, but he gets played in turn by smarter operators like Putin. 

 

Another one regarding Margie, who I think is an excellent character. 

 

Margie liked Mary Hawley very much and she had little sympathy and no pity for her. Misfortune is a fact of nature acceptable to women, especially when it falls on other women. 

 

Oh, do I know women like this. Hell yes. 

 

Margie also turned down Mr. Baker on an occasion, and the reason is interesting. 

 

Baker had made a grammatically correct but obscure pass at her once. Mr. Baker was Mr. Money. Sure he had a wife, but Margie knew the Bakers of this world. They could always raise a moral reason for doing what they wanted to do anyway. She was glad she had turned him down. It left him still in the book. 

 

Ethan spends a lot of time thinking, as I mentioned, and we get his thoughts. This one is another musing on business, and the amorality of the profit motive. 

 

What are morals? Are they simply words? Was it honorable to assess my father’s weakness, which was a generous mind and the ill-founded dream that other men were equally generous? No, it was simply good business to dig the pit for him. He fell into it himself. No one pushed him. Was it immoral to strip him when he was down? Apparently not. 

 

And more:

 

If it succeeded, they would be thought not crooked but clever. And if a factor they had overlooked moved in, would that be immoral or dishonorable? I think that would depend on whether or not it was successful…Strength and success - they are above morality, above criticism. It seems then, that it is not what you do, but how you do it and what you call it. Is there a check in men, deep in them, that stops or punishes? There doesn’t seem to be. The only punishment is for failure. 

 

This seems to be the philosophy of MAGA, and indeed the Republican party. It is failing not because of how deeply immoral and unethical it is, but because it is incompetent and failing. This is to me and many others deeply troubling. It seems Steinbeck may be right, that most people lack a basic conscience that would check their behavior. 

 

Ethan ties all this back to the war, in that “morality” for a soldier is simple: kill on command. The rest of it doesn’t matter. 

 

He could devote his full capacity, untwisted by conflicting thought and feeling, to the job he had to do - the killing of men. He was the best officer I ever knew. I asked his permission to use his method and he gave it to me. When he was killed, all I could think was that his had been a good and effective life. He had taken his pleasure, savored his love, and paid his debts, and how many people even approached that? 

 

I’ll end with a line that Ethan delivers to Mr. Baker after revealing that he essentially has gone behind his back to seize the opportunity afforded by Danny’s land. 

 

“You’ll feel better, sir, when you have got used to the fact that I am not a pleasant fool.”

 

Again, I have zero sympathy for Baker: he has lived his life profiting off the misery and misfortune of others, so it is high time someone got the better of him. 

 

The book is definitely cynical, and more than a bit bitter. Perhaps that didn’t much match the mood of 1961, with JFK recently elected. But it seems to fit our own times all too well. 

 

As always, I found Steinbeck’s writing to be compelling, even in a book as unpleasant at its emotional core as this one. It’s worth a read. 

 

Tuesday, November 10, 2026

American Humor: A Study of the National Character by Constance Rourke

Source of book: I own this

 

From time to time, I read old books that have fallen into relative obscurity. I do this for a few reasons. First, I like the perspectives of the past. I think they are helpful in understanding the present, and often serve as a correction to the whitewashed narratives we learn in school. 

 

Second, I believe that the lesser-known voices often capture the times better than the famous ones. In fact, the more enduring works are often timeless, which is in conflict with being of the time they were written in, if that makes sense. One man’s “dated” is another man’s “genuine picture of the spirit of the age.” 

 

Third, the voices that fall into neglect are all too often those of women, minorities, and outsiders to the establishment. Their voices matter too. 


In the case of American Humor, it would be accurate to say that it is dated. It was published in 1931, and thus lacks any idea of what would come afterward. It is mostly backwards-look, but from the specific perspective of its time. 

 

It would also be accurate to say that it does in fact capture that time rather well, particularly the viewpoint of what American writing in the 19th century was all about. We may look at that era very differently for a variety of reasons, but that doesn’t mean that we are more “right” than earlier writers. We just see things differently. 

 

Perhaps the best example of this is that, from our vantage point, we can see pretty clearly that America has always had its own culture, and draw a fairly straight line from, say, Washington Irving, through Hemingway and Fitzgerald, to our modern diverse literary scene. But a century ago, there was plenty of debate on whether America had culture at all, or if we were just recycling European stuff, just at lower quality. 

 

Constance Rourke held the opposite view, and this book is, at its core, an argument that there is a unique and valuable American style, and that our humor is unique. 

 

Rourke wrote a variety of books. Her biographies were respected in their day, her literary criticism and biographical sketches for magazines were popular, and her cultural works like this book (which has never gone out of print) influential. She taught at Vassar, and worked on the Index of American Design with the WPA during the Depression. She should be remembered as an important literary figure of her time. 

 

In most summaries of the book you can find, you get the early part of the book, where she describes what she sees as the three quintessential American character types in humor: the Yankee salesman, the frontier backwoodsman, and the blackface minstrel. 

 

However, this is just the starting point, and she gets into a whole lot more than that, including several chapters on American writers, which are fascinating and at times hilarious. She can snark as well as any man, and even when I disagree with her assessments, I have to admit she makes a case for her views. 

 

Also, because she spends a good bit of time on Henry James, and proves to actually understand that his books are full of humor, I can’t help but like her. 

 

I should give fair warning that this book will make a whole lot more sense if you have a working knowledge of 19th century American literature. And not just the big names, but the humorists like Bret Harte (totally underrated) and Artimus Ward. You can still enjoy the book without that, but you will enjoy it much more if you do. And really, many of these lesser lights from the past that Rourke talks about are well worth reading. 

 

The one thing that, to me, seems the most dated about the book is the lack of engagement with non-white authors and humor. Some of this, I presume, is simple ignorance. It wouldn’t be until a few years later that Zora Neale Hurston wrote her book on the African American story tradition, Mules and Men. What Rourke does do is note that the white humorists she writes about often borrowed from African Americans and Native Americans, which, for her time, was pretty progressive of an admission. 

 

At the time the book was being written, of course, African American artistry was taking America by storm. Ragtime and Jazz had gone mainstream, causing much pearl clutching from racist white fundamentalists. The Harlem Renaissance is still one of the greatest flowerings of artistic output in our history, and brought black writers to the attention of white readers. 

 

Rourke was writing mostly about the past, so it is perhaps at least understandable that she missed the important developments of the present. 

 

In any case, Rourke was pretty progressive for her time, so the book seemed to me to be dated rather than offensive in its attitudes. 

 

Rather than try to summarize chapters, I am just going to give a random selection of lines and passages that I thought were interesting and good. 

 

First is a reference to Bronson Alcott as a real-life example of the yankee salesman. I read March recently with a couple of friends, and thus made the connection. 

 

I also liked this line, regarding the influence of Irish immigrants, and their brief time as a stock character in American humor. 

 

Irish immigrants settled in New Hampshire about 1820, bringing with them potatoes and fairies; the potatoes flourished, but the fairies died out. 

 

The Irish also are discussed in the chapter on the backwoodsman. Rourke notes that just as old time music (which evolved into bluegrass and country later) was created by the fusion of African American music and Irish music, the character of the woodsman drew heavily from both traditions. 

 

One more Irish reference caught my eye. 

 

A horn of hard liquor was known in the West as a little of “the creature” or of “the element.” 

 

Any of us children of the 1980s can remember that phrase, right? Crooked Irish politician Honest John in An American Tail offers the socialite Gussie Mouseheimer “a wee drop of the creature,” which is strong enough to burn holes in the floor. (That movie has aged really well, actually…) 

 

Surprisingly, the chapter on minstrelsy was both fascinating and illuminating. Rourke gives a lot of details for performers now mostly forgotten, including where and how they likely got their material.

 

Rice and Emmett can only have borrowed the fables, probably with their tunes. 

 

Which they then mixed with their own compositions, making an amalgam. Rourke notes that the African American stuff was a lot better than what Rice and Emmett invented themselves. 

 

It wasn’t just the obscure artists either. Rourke notes that Stephen Foster borrowed or stole pretty liberally, and his best tunes all came from spirituals that were repurposed. 

 

Songs and poetry also get extended discussions. One of the particularly interesting ones involved a long and digressive musical telling of the story of Pocahantas. It included a pretty pointed condemnation of what Rourke calls “the predatory purpose of the American invaders,” which she quotes a bit of:

 

Grab away

While you may

In this game, luck is all

And the prize

Tempting lies

In the rich City Hall.

Grab away

While you may

Every day there’s a job.

It’s a fact,

By contract

All intact you may rob.

 

In this chapter on the “strollers” - traveling humorists, she also notes that it was part of the spirit of the age. 

 

Other strollers besides those of the stage appeared in this long era, with an expression drawn in similar curves. These were the revivalists, the groups of millennium-seekers, the believers in cults. In a fundamental and not irreverent sense they belonged to the theater; they too followed the arc of romantic feeling; and they moved toward comedy, even toward burlesque. 

 

You think? That is still a hallmark of American religion - it is still a stage act, built on emotion and vibe. And there’s more:

 

Most of the new religious communities created almost overnight in the ‘30s and ‘40s agreed to release mankind from sin, poverty, or mortal care. They all possessed formulas, religious, economic, or social; and they all anticipated conclusions such as the world had never known. Triumph was their note. Biblical proof was adduced to show that the Americans were a chosen people, that the continent - even the Mississippi valley - was the predestined scene for the Second Coming and that the happy thousand years were to begin there. 

 

The more things change…

 

I really enjoyed the chapters on American writers. Chapter 6, for example, covers Emerson, Whitman, Poe, Hawthorne, Melville, and Audubon, pointing out the humor - uniquely American - in their works. 

 

Chapter 7 looks at “Western” writers, from Twain to Harte and others. It also includes an anonymous description of California from the Gold Rush days that may be even more true today. 

 

“One of the most heterogeneous masses that ever existed since the building of the tower of Babel.” 

 

I was also happy to see a discussion of Innocents Abroad, one of the most hilarious books ever written, and, as Rourke notes, one that contains the quintessential American character and humor. 

 

Chapter 8 has a lot about Henry James. Rourke makes a point I hadn’t entirely thought of, that, particularly for his time, James sure featured women as the main characters a lot. Maybe that is one reason I love his books: he writes excellent, nuanced, and complicated female characters, who can be heroes, villains, and most often everything in between. A lot of the women are also the kind that I am attracted to. 

 

Occasionally James pictured the child of nature - fully feminine at last - as in Daisy Miller or Pandora Day, thus following another tradition; but in the main the women with whom he was most deeply engaged took the aloof, the conscious, the slightly studious part.

 

There is also an extended discussion of William Dean Howells, an author that I think should be better known, not just for his books, but for his role in promoting other authors of his time. He is one of the most important names in American literature, but I find few have heard of him these days. You can read about him and his best known book, The Rise of Silas Lapham, in this post. 

 

There is also an entire chapter on poets, featuring one of my all-time favorites, Emily Dickinson. In it, Rourke quotes (among others) an "irreverent" poem that gets to the pithy center of why a certain Evangelical doctrine makes no moral sense. 

 

“Heavenly Father,” take to thee

The supreme iniquity,

Fashioned by thy candid hand

In a moment contraband.

 

Though to trust us seem to us

More respectful - “We are dust.”

We apologize to Thee

For thine own Duplicity.

 

A few more of the authors mentioned: E. A. Robinson, Vachel Lindsey (who Rourke pretty much tears a well deserved new one), Robert Frost (who had yet to write many of his best-known poems), Carl Sandberg, Edgar Lee Masters, Willa Cather, Sinclair Lewis, and Will Rogers. 

 

Overall, an interesting book, and one I am glad I took the time to read. 

 

Wednesday, November 4, 2026

Helium by Rudy Francisco

Source of book: I own this

 

Rudy Francisco is a poet and spoken word artist from San Diego. I can’t remember exactly how I discovered him, but last year I ran across a poem of his and decided I needed to add him to my poetry collection. Helium was published in 2017, with most of the poems written before Trump’s first election. I mention this because some of the political references make more sense if you understand they pre-date the Trump Era. 


 

At the outset, let me say that I really loved this book. Francisco has a way of putting into words things that I have tried to express myself, but never in such poetic and metaphorical language. While I wasn’t able to find information on his religious background, it seems clear from his poems that he, like me, was raised Christian, but has struggled with the way most American Christianity is just a cesspit of right-wing politics, white supremacy, patriarchy, and worship of money and power. 

 

The poems are also deeply personal and introspective. He is open about his struggles with mental health, his failed relationships, and his despair at the state of the world. I found that I was deeply touched by his words, and recognized so much of my own feelings. 

 

This is what poetry does best: telling the truth slant, expressing the unutterable, finding metaphors that can bring us together through our common human experience. 

 

I shared a couple of these poems on Facebook, and got a lot of response from friends of various ages and backgrounds. Francisco has really captured something here. 

 

I also want to make it clear that I strongly encourage my readers to purchase the collections by living poets that I feature. Don’t just enjoy the ones on my blog (which isn’t monetized). Please support those who make our world better with their art. 

 

The world needs more poetry in it, in my opinion. Sadly, even English teachers that my kids have had have often neglected poetry. I don’t get that. Not all writing should be prose. Poetry has a unique role in human expression, and it isn’t a secondary one that can be ignored. I will specifically mention my youngest kid’s 9th grade English teacher, Mr. Purdy, who did a whole unit on poetry that included writing formal poems and reading them at a poetry cafe on campus, hot chocolate included. This is what the world needs more of, and I love it when teachers make poetry fun and interesting. 

 

Back to this book. I will definitely be adding additional collections by Rudy Francisco after reading this one. 

 

Here are the poems that I decided to feature. Again, as often happens, I could have picked any of the poems, because there are so many great ones. 

 

This first one caught my eye because of the unusual metaphor at the end, and also that hilarious line by the brother. Fortunately, my own swimming experience wasn’t nearly so traumatic. 

 

Water

 

When I was six years old,

my brother and my cousins

tried to teach me how to swim.

 

They did this by throwing me into a pool.

Immediately, my arms became two skinny

brown flailing distress signals.

 

I think I heard my brother say,

“If he dies, I’m going to be in so much trouble.”

I remember them pulling me from the jaws

of the liquid beast before it could devour me whole.

That was the day I almost lost my life.

 

To anyone brave enough to love me,

 

Do you know the human body is approximately 

sixty percent water? When I walk into a room

full of people, all I see is an ocean. 

 

That’s so good. 

 

This next one really resonates for me, as a middle-aged man whose body tends to do this all the time. 

 

Ouch

 

Yesterday, I injured myself

and the explanation didn’t make sense.

 

I said, “Well, I was walking…”

and that was the end of the story.

 

At this age,

my body is a stranger that I

keep meeting over and over again.

 

The words “I am” are slowly 

transforming into “I used to be.”

 

because every year,

the past tense finds a larger house

inside the neighborhood of my 

everyday vernacular.

 

I am slowly realizing that

when the skeleton is new

and the bones are vibrant,

 

they coerce the mind into 

thinking the days will pass,

but the flesh will not.

 

Youth promises us immortality,

but it doesn’t have the means to

uphold its end of the bargain.

 

Here is another one that resonates with me at my time of life, having spent the last 15+ years deconstructing and realizing more and more of my past mistakes. 

 

Instructions

 

Gather your mistakes,

rinse them with honesty

and self-reflection,

 

let dry until you

can see every choice

and the regret

becomes brittle,

 

cover the

entire surface 

in forgiveness,

 

remind yourself

that you are human

 

and this too

is a gift.

 

And, of course, trying to do better as I get older. 

 

This next one is bittersweet, and it unfortunately reflects the way my parents alienated first my wife, then my children, and eventually me as well. 

 

Vanish

 

They will push you away, tell you

to leave, but have no idea how good

you are at following instructions.

 

When you vanish, but your ghost

becomes a guest they cannot get rid of

 

and the memory of you plays

resurrection with their smile,

 

they will ask where you went,

if you will come back and why

you gave up so easily,

 

as if they didn’t own the voice

that requested your disappearance.

 

They now know solitude does not

scare people like us

 

and our absence is something

that we are not afraid to give

to those who call for it.

 

To this day, my parents seem unable to understand that it was their voices that requested that my wife disappear from the family, and that that was ultimately what doomed our relationship. 

 

Some of the poems are overtly political, and they are outstanding, in the way that Langston Hughes’ political poems speak to more than the moment they were written in. Here are my favorites of many. The first is all about toxic masculinity, and seems more relevant than ever.

 

Chameleon

 

When I was in the 5th grade I knew a kid

named Javier. He was black, which was confusing.

 

He was an African-American kid who spoke

Spanish, loved country music, wore cowboy

 

boots, played jump rope and had a look on his

face that said: I wish a motherfucker would say

 

something. None of us said anything. For show

and tell, he brings in his pet chameleon. When he

 

walks in, the eyes of every kid glaze over like the

windows to our souls shook hands with the winter

 

for the first time. A girl with box springs in her throat

felt the silence and it was just too heavy for her fingertips

 

to hold onto so she drops the quiet like a suitcase full of 

habits that no one wants to keep and says, “So what’s his name?”

 

He replies, “I call him Rudy.” When the class realized that me

and the lizard had the same name, they laughed uncontrollably.

 

Twenty years later, the irony hits me over the head like an empty 

Heineken bottle inside of the bar fight that I call my everyday life.

 

I get it. Chameleons have the ability to paintbrush themselves 

into whatever will match their surroundings. They do it so often,

 

they probably wouldn’t be able to recognize a photograph of their

own skin. They think it is far better to be invisible than it is to

 

grind their teeth into “I dare you” and to ride their bones like a 

magic carpet, no steering wheel, no tires, no brakes, no battery

 

just bravery and a chest full of “I am not dying today.”

Courage has never been a chameleon’s best attribute

 

and some days, it’s not mine either. I was mentored by black men

with brown skin who turned yellow at the sight of bellies

 

swollen with half their DNA. I was taught that a woman’s vagina

is just an underground railroad to masculinity, that real men

 

have tunnel vision and treat girls like subway cars,

like nothing more than a space to parallel park our genitals,

 

a hole to bury seeds and leave orchards in our rear-view mirrors.

They say you have to peel a woman like a tangerine

 

and your job as a man is to chameleon yourself into her trees,

bite a piece of her fruit and leave the rest hanging

 

crooked and confused. This is an apology to every woman

I changed colors just to get inside of.

 

I still haven’t stumbled across a definition of a man,

but I know that we are hotels that stand a million war stories tall.

 

I know that we carry guitar cases full of phobias

hoping we can turn fear into our strongest instrument,

 

I know that our hands break things just as frequent

as we can fix them. And we often forget that sexism

 

is a family heirloom that we’ve been passing down for generations.

As men, it is important that we start asking ourselves,

 

What will the boys learn from us.

 

This next one is all about religion and bigotry, and is honestly the most accurate description of MAGA religion I have ever heard. They truly are praying to their own shadow, standing in front of a mirror. If there is a summary of why I left organized religion nearly a decade ago, this sums it up. 

 

To the Man Standing on the Corner Holding the Sign That Said "God Hates Gays”

 

I’ve never seen exactly who it is 

that you paperclip your knees,

meld your hands together and pray to

But I think I know what he looks like:

 

I bet your God is about 5’10”.

I bet he weighs 185. Probably 

stands the way a high school 

diploma does when it’s next to a GED.

 

I bet your god has a mullet. I bet 

he wears flannel shirts with no sleeves,

a fanny pack, and says words like 

“Getrdun.” I bet your god  watches FOX news,

 

Dog the Bounty Hunter, voted for Donald Trump,

 and loves Bill O’Reilly. I bet your God 

is a politician from Arizona. I bet his 

high school served racism in the cafeteria

 

and offered “hate speech” as a second language.

I bet he has a swastika inside of his throat

and racial slurs tattooed to his tongue

just to make intolerance more comfortable 

 

in his mouth. I bet he has a burning cross 

as a middle finger and Jim Crow 

underneath his nails. Your god 

is a Confederate flags wet dream.

conceived on a day when the sky 

 

decided to slice her own wrists,

I bet your god has a drinking problem.

I bet he sees the bottom of the shot glass 

more often than his own children.

 

I bet he pours whiskey on his dreams 

until they taste like good ideas,

Probably cusses like an electric guitar

 with Tourette’s plugged into an ocean.

 

I bet he yells like a schizophrenic nail gun,

damaging all things that care about him

 enough to get close. I bet there are angels 

in Heaven with black eyes and broken halos

 

who claimed they fell down the stairs.

I bet your god would’ve made Eve 

without a mouth and taught her how 

to spread her legs like a magazine

 

that she will never ever ever be pretty enough 

to be in. Sooner or later you will realize 

that you are praying to your own shadow,

that you are standing in front of mirrors

 

and are worshipping your own reflection.

Your God stole my god’s identity 

and I bet he’s buying pieces of heaven on eBay.

So next time you bend your knees,

next time you bow your head

 

I want you to tell your god—

that my god is looking for him.

 

So many great lines in there. What Francisco does - that needs to be done - indeed shouted from the rooftops - is that all of these things are connected. Racism, sexism, anti-LGBTQ bigotry, violence, wilful stupidity, rape culture, and narcissism. It’s all part of the same disease of the soul, and when you see one symptom, chances are the others are present too. 

 

I should also mention that this version of the poem, from the book, is a bit different from the original. In particular, a reference to John McCain was changed to Trump. Which obviously works better, although the original context was white bigots voting against the black guy, which I remember all too well from certain former friends from our former church.

 

I decided not to quote all of “Adrenaline Rush,” which is about police racism, but there are a few lines that I will highlight. The basic idea is that black me don’t need the adrenaline rush of extreme sports, because daily life gives them too much of that already. 

 

For example, in describing the cop who pulled him over at age 18:

 

he splashed out of the car with his hand already on his weapon,

and looked at me the way a tsunami looks at a beach house. 

Immediately, I could tell he was the kind of man

who brings a gun to a food fight. 

 

And this one:

 

because I know that this much melanin

and that uniform is a plotline to a film that 

can easily end with a chalk outline baptism,

me trying to make a body bag look stylish for the camera

 

And this badass statement:

 

Jim Crow may have left the nest,

but our streets are still covered with its feathers.

 

Finally, I want to quote a short poem that is excellent in its brief summary of the evil that still plagues our nation. 

 

Margin

 

To be marginalized in America

is to be a star on the face of midnight.

 

We constantly have to rise above everything

and shine our brightest

 

when it’s dark outside.

 

Good words for our time in history. 

 

Another long poem that I decided was a bit much to quote is “Rifle II,” which starts off talking about guns in America (and which make their way to Mexico), then turns to a sculpture that turns confiscated guns into art, before eventually tying it together with a look at how masculinity and violence have become unfortunately conflated in our culture. Again, a few lines are worth noting.

 

A bunch of dudes afraid of their own feelings, 

terrified of any emotion other than anger,

yelling at the shadows on the wall,

but still haven’t realized

that we’re the ones standing in front of the light.

 

Isn’t that the manosphere to a T? And the way testerical idiots like Kegsbreath bludgeon their way through life, destroying everything in their path? 

 

How about this for an inspirational passage near the end?

 

I am learning that this body is not a shotgun.

I am learning that this body is not a pistol.

I am learning that a man is not defined 

by what he can destroy.

 

I am learning that a person

who only knows how to fight

can only communicate in violence

and that shouldn’t be anyone’s first language.

 

There is another poem in this book that references another poet I discovered in the last five years, Nikki Giovanni. Francisco’s response is both a reply and an affirmation of Giovanni’s underlying idea. 

 

I should also mention that the only spiders I intentionally kill are black widows that have taken up residence in a place where little kids might put their hands. We don’t even bother to relocate jumping spiders - when my kids were little, they named them and considered them pets.

 

Here is the Nikki Giovanni original:

 

Allowables

 

I killed a spider
Not a murderous brown recluse
Nor even a black widow
And if the truth were told this
Was only a small
Sort of papery spider
Who should have run
When I picked up the book
But she didn’t
And she scared me
And I smashed her

 

I don’t think
I’m allowed

 

To kill something

 

Because I am

 

Frightened

 

And here is the Francisco response. 

 

Mercy

 

She asks me to kill the spider.

Instead, I get the most

peaceful weapons I can find.

 

I take a cup and a napkin.

I catch the spider, put it outside

and allow it to walk away.

 

If I am ever caught in the wrong place 

at the wrong time, just being alive

and not bothering anyone,

 

I hope I am greeted

with the same kind

of mercy.

 

Something I wish MAGA would think about. As Shakespeare put it:

 

For other ruffians, as their fancies wrought,

With self same hand, self reasons, and self right,

Would shark on you, and men like ravenous fishes

Would feed on one another.

 

I’ll end with a more lighthearted poem. The holidays are coming up rapidly, and, as readers know, they are difficult for me because of the trajectory of my birth family. This year, we are hosting, and opening our home to those of our kids’ friends who need a safe and affirming place to be. I know I cannot have back the joy of extended family the way it was pre-Trump, but my hope is that my kids can at least have that joy from our own holidays.

 

Cookout

 

Somewhere someone’s uncle or father, 

a man wearing sandals and khaki shorts

who says “back in my day” far too often,

 

is on the grill. He is watching the foold

like he’s afraid it’ll change its mind

about being a meal and decide to run off

 

when no one’s looking. The kids are playing

a game that they made up themselves

and changing the rules every five minutes.

 

Their smiles are so big, you can fit history

inside of them and still have room for right

now and the future.

 

The adults hate all the new music,

but still want the teenagers

to teach them the dances. The Cupid Shuffle

 

is common ground and the wobble

is a peace treaty signed by both generations.

There are no rallies today, no blood

 

on this street, no hashtags here, but there is

barbecue, potato salad and greens. The only

tears you will see

 

is when someone lifts the foil

and all the mac and cheese is finished.

 

That’s what I’m talking about. Although at our family gatherings, we are so paranoid of running out of food that we overdo it, and have leftovers coming out of our ears for the next two weeks. 

 

Those are my favorites from this excellent collection. I encourage lovers of poetry to give Rudy Francisco a try.