Monday, November 9, 2020

Five Fall Covid-safe Theater Productions

I definitely miss live theater these days, and look forward to when we can attend in person safely again. 

 

In the meantime, many theater troupes have found ways to keep the arts alive. It shouldn’t be a surprise that creative sorts can...get creative, and that is exactly how they have been. 

 

Within a two week period, I experienced no fewer than five different productions, so I decided to combine them into a single post. With one exception, these are all small non-professional groups, which tend to have greater financial flexibility along with realistic expectations. No diss to the big guys, but the little guys are killing it right now. 

 

The School for Wives by Moliere (Moliere in the Park)

 

First up is a production by the fairly new Brooklyn professional theater Moliere in the Park, which combines two things that need more visibility: Moliere, and African-American actors. I wrote about their splendid rendition of Tartuffe, the play that made me fall in love with Moliere back in high school. This time, they tackled one of the less-known plays, The School for Wives. This one is in many ways a companion piece to The School for Husbands, and shares many of the same themes. 

 

The thing about Moliere is that, despite living 350 years ago, his plays are shockingly relevant and fresh. Comedy often ages poorly, particularly when it is dependent on the pop culture of its time. Moliere avoided this by writing about universal human foibles. From hypochondria to misanthropy to religious hypocrisy, some things never really change. 

 

In The School for Wives, Moliere applies his satirical genius to gender stereotypes of the time, particularly the belief that women were best kept stupid and docile and taught to devote their lives to pleasing their husbands. (This is actually pretty much what Christian Patriarchy teaches…and not much different from a lot of the beliefs of conservative Christianity in general.) Even 350 years ago, Moliere isn’t having any of it. 

 

The chauvinistic and middle-aged Arnolphe has raised his ward Agnes (believed to be an orphan) since infancy, and she is finally coming of age. He has deliberately kept her uneducated, “ignorant of life” so that she will be prepared to be a faithful devoted spouse to him. He is convinced that his “training” will keep her from desiring other men, and thus he will not be cuckolded like so many of his friends. 

 

His friend Chrysalde isn’t buying it, and informs Arnolphe that he disapproves of the whole thing, including Arnolphe’s decision to change his name to Monsieur de la Souche (basically “Lord Stump”) so he has a “title” to go with his wealth. Furthermore, Chrysalde opines that getting cuckolded isn’t a particularly big deal: after all, men step out all the time, right? So why not women too? [gasp!] 

 

Meanwhile, Horace, the young son of Arnolphe’s friend Oronte, has fallen in love with Agnes, not knowing she is Arnolphe’s intended. Horace confides his love to Arnolphe, and asks his advice for seducing the lady. It is after giving this advice that Arnolphe is stunned to hear that the lady in question is affianced to...wait for it.... Lord Stump. 

 

For her part, Agnes is a lot smarter than Arnolphe thinks, and is madly in love with Horace. And just who IS Agnes anyway? With rapier wit, Moliere makes the case for equality and self-determination for women. 

The production was a bit more technically polished than the last one, with better backgrounds and fewer glitches. It felt a bit like a Zoom meeting, which is, well, what theater is right now. It was quite enjoyable. 

I had to look hard to find a screenshot from this one. Moliere in the Park, you guys could stand to put some pictures on social media from time to time so people like me can promote the hell out of your shows!


The Comedy of Errors by Shakespeare (Bakersfield College)

 

It has been impressive to see what educators have been able to do under extremely difficult conditions, with very little time to plan. While it hasn’t been a completely smooth transition, and online learning is less than ideal for many, I have nothing but respect for the teachers and administrators who have come up with ways of making it work. 

 

In the case of Bakersfield College, they were able to find some wonderfully creative ways of putting on their fall plays without putting students and teachers at risk. 

 

In the case of Comedy of Errors, they created an adaptation of the story for a silent movie, Charlie Chaplin style. With very little dialogue (in the form of subtitles), and some simplification of the plot, the length was reduced to under an hour. The actors all wore masks, and filmed the scenes outdoors - at various locations downtown. The cinematography was delightful, in sepia tones. The cast was all female, and featured some of the usual local suspects: Lindsay Pearson, Shelbie McClain, Vanessa Beltran, and the always-delightful Nancee Steiger. The gestures fit the theme so perfectly, the jazzy soundtrack was perfect, and the humor unmistakeable even without “sound” - or even seeing the actors’ full faces. Bravo. 

BC is finally doing great publicity photos. This gives an idea of how awesome the aesthetic on this show was. There is also a trailer on the BC Theater facebook page. 

 

Dracula the Radio Play by Philip Grecian

 

This adaptation of Bram Stoker’s classic work of necessity cuts out a lot of the original. I mean, otherwise, you would end up with a play that took all day. But it gets the basic elements of the plot in there, and tells a compelling story. 

 

Bakersfield Community Theater has had to cope with Covid in a creative manner. For this production, the actors all did their work from home, with a green screen. The performance was then done live on Zoom. The technical work was actually really good, with no noticeable glitches on sound or video. Because it was in real time, the actors were able to play off each other pretty well. 

 

I can’t find a cast list for some reason, but credit to the actors whether I remember the name or not. I know local theater regulars Al and Julie Gaines, of course. Perrin Swanson (no relation) was particularly electric as the mentally ill Renfield. A quite enjoyable performance, very well done. 

 Not sure why BCT didn't have publicity photos this time. So I stole this one from Perrin.

 

Tales From the Vault of Fear (California State University Bakersfield)

 

I have enjoyed radio dramas since I was a kid. Growing up in Los Angeles, we could listen to the KNX radio hour in the evenings, when they would play all the oldies. Once my brother and I built little AM radios, we used to listen to stuff without our parents knowing (our bedroom was in its own wing…) - yeah, we were rebels. Usually, we listened to stuff like Dragnet and The Shadow and stuff, but I remember one time we scared ourselves stupid with a really creepy episode of Lights Out. Good times. 

 

CSUB presented three spooky dramas as old time radio shows. Actually, these were radio shows back in the day. These were professional quality dramas, with full sound effects, music, and perfect pacing. 

 

Of the plays in this post, this is the only one the kids didn’t watch/listen to, because we ran out of time. I stayed up late on the last day this was available and listened to it on my own. I am glad I did. 

 

The first drama was Zero Hour, a classic by Ray Bradbury. The kids in this town are all playing a game called “invasion,” which turns out to be true: there really ARE aliens coming to invade. This drama was chosen in part because 2020 is Bradbury’s 100th birthday. A fine time to experience his delightful writing. 

 

Second was The Shadow People, a classic horror/supernatural drama. The idea is pretty common, finding its way into horror for the last couple hundred years, at least. (Similar in some ways to Ghost Story, our last book club read.) Great atmosphere in this production, which is based on an old Hall of Fantasy radio episode. 

 

Finally, Robert Sloane’s classic, The Voice on the Wire, combines the ghost story with a crime drama. The actors created great suspense with this one, and kept the secret twist at the end, well, secret. 

 CSUB does need to do better at publicity photos. At least the poster is cool.

 

The Tempest (Bakersfield College)

 

This particular production is dear to my heart, because it is the college debut of a longtime family friend, Marina. When our families first met, Marina was less than a year old, and my eldest was a newborn. Our family friendship has been a huge blessing to me, and one of the things that kept me sane(ish) during our break with organized religion. Marina performed as Ariel, and was outstanding. 

 

The Tempest is, hands down, the weirdest of Shakespeare’s plays. In some ways, it seems like it was written by an entirely different author. It is rather as if at the end of her career, Jane Austen had suddenly written a fairy tale. The closest Shakespeare wrote to this one was A Midsummer Night’s Dream, but even that isn’t that close. There may be fairies in both, but The Tempest is far more serious than the other, which is clearly intended to be light and often silly entertainment. (Don’t get me wrong, I love A Midsummer Night’s Dream, and Mendelssohn’s delightful music for it.) 

 

The Tempest is, in tone and theme, far more related to the late romances, All’s Well That Ends Well and Measure for Measure. Or even better, The Winter’s Tale. We have essentially a tragedy that manages to end well, despite everything. But, with fairies and a god with a staff. Like in the others, Shakespeare ends with a call for mercy toward the offenders, once they have been revealed in their perfidy. It isn’t all heaviness, however, as the comic subplot involving a jester, a drunk, and a monster, who walk into a bog, not a bar, is one of Shakespeare’s finest. 

 

A full discussion of the play is beyond the scope of this brief writeup, so maybe I can return to it the next time I see a production. After all, this was, I believe, the fourth time I have seen it? It does have some of Shakespeare’s most memorable lines - ones that have made it into the cultural fabric. 

 

“We are such stuff as dreams are made on, and our little life is rounded with a sleep.” 

 

“My library was dukedom large enough.” (That’s definitely me…) 

 

“Misery acquaints a man with strange bedfellows.”

 

“Hell is empty and all the devils are here.”

 

“O, wonder!

How many goodly creatures are there here!

How beauteous mankind is! O brave new world,

That has such people in't.”

 

“As you from crimes would pardoned be,

Let your indulgence set me free.”

 

“Thou dost snore distinctly. There's meaning in thy snores.”

 

Some of these are so familiar that we don’t even realize where they came from. 

 

For the BC production, the play was produced as...wait for it...a LEGO stop motion video. And yes, this was pretty cool, and very well done. The scenes were, I am guessing, shot in someone’s backyard, from the seashore to the jungle. The audio dubbing was recorded at the BC indoor theater (very familiar to me, as I have performed on that stage many times), with distancing and shields over the mics. (The outtakes at the end are hilarious, but also informative, because they show the recording process.) The only drawback to the technique is that for a couple of the actors, the layers of protection meant less crispness on the voice. Let me be the first to say that Marina’s was exceptionally clear, so whatever she did to project and enunciate worked well. It didn’t sound forced either - she’s a legit actor, even as a freshman. 

Marina doesn't really look like this - less jaundice, for one thing...

 

Again, kudos to everyone in these productions for fine work, and for creativity in difficult times. 

 

Friday, November 6, 2020

Part of Our Time: Some Ruins and Monuments of the Thirties by Murray Kempton

 Source of book: Borrowed from the library.

 

One of the fun things of the last decade for me has been filling in history that I either wasn’t taught at all, or was taught laughable right-wing propaganda about. Most of the 20th Century was that way, in the dreadfully whitewashed A Beka history books. With the exception of the two world wars, the crucial events of the 20th Century were either ignored outright (the Civil Rights Movement) or spun into the preferred narrative of Christianity and Capitalism versus the New Deal and Communism. 

 

So, the Great Depression was….difficult for the curriculum to address. I remember it did describe the stock market crash, followed by the bank runs, mass unemployment, and all that. But then...well....it’s pretty difficult to say anything intelligent when you have the ideology that government has no business helping its citizens in distress. So, the big lie was “the New Deal made the Depression worse, and it was really World War II that ended it.” Which is, to put it mildly, horseshit on a stick. Particularly if you also ignore the battles between labor unions and the giant corporations, the existence of child labor, unregulated safety conditions, and so much more. That anyone is nostalgic for the way things were before the New Deal is astonishing to me. It only makes sense in light of the mass delusion that people would have been living the life of the rich back then, not being ground up by the robber barons. Yes, my ancestors would have lost their farms. Others would have starved to death. And all of them eventually benefited from Social Security, Medicare, and other New Deal programs. 

 



Murray Kempton was primarily a journalist, writing around 10,000 columns for a variety of newspapers and magazines over the course of his long and distinguished career. He eventually won a Pulitzer for his lifetime of work. As this book amply demonstrates, he was an amazingly erudite and polished writer, with both a broad and a deep understanding of events and people. He may not be the easiest writer to read for some - his sentences are complex, and his vocabulary astonishing at times - but for those of us who love intellectually stimulating writing, it is glorious. 

 

Part of Our Time: Some Ruins and Monuments of the Thirties is about the 1930s, but more specifically about the Communist movement during that era. In his youth, mostly as a college student, Kempton was a Communist Party member, although not a particularly committed one. He kind of dropped out and went more or less mainstream in the 1940s, as did - as he points out - most Communists. This book, written in 1955, is, to a good extent, a farewell to that part of his life, as well as a retrospective on the impact the Communist movement made on America, for better or for worse. The particular re-publication I read also contains Kempton’s 1967 Afterward, in which he reconsiders a few of his points from 12 years earlier in light of developments such as the Vietnam War and the decline of unions. 

 

The book contains ten fairly long chapters, each dealing with a particular facet of the communist movement. These range from one on Alger Hiss and Whittaker Chambers to one on literature and the “proletariat novel.” Along the way are chapters on the Pullman strike, the labor movement, the autoworkers, women in the movement, Hollywood, the McCarthy witch hunt, and more. 

 

Tying all of this together is Kempton’s central thesis that Communism was the core myth of the 1930s, and, although it became the bogeyman in the 1950s, this idea was as much of a myth as Communism ever was. I tend to agree with both of these ideas. Kempton also argues persuasively that the New Deal essentially co-opted Communism, addressing the legitimate problems with unregulated capitalism, and in essence eliminating the need for a communist revolution. Kempton is spot on in his view of Marx, which is that he functioned well in describing the present - he accurately described the problems that plagued industrialized societies. He did less well in providing a vision for the inevitable future. As I wrote a few years back regarding Carl Sandburg, the United States could very well have gone Communist during the Depression, but instead shifted in the direction of a Social Democracy, which is eventually what happened in the rest of the First World after World War Two. Unregulated Capitalism failed in the 1930s. Full stop. Communism eventually failed as well, and doesn’t really exist in its pure form anywhere in the world. (No, neither China, with its Authoritarian Capitalism, nor North Korea with its old-school monarchy counts. Even Cuba has moved toward a more capitalistic economy starting in 1991.) Nothing is as simple as the black and white thinking the American Right Wing pushes when it comes to economics and the role of government. That simplicity only works in the comics:

 

 



 The book is delightfully nuanced, treats all of its subjects with empathy, and avoids the pitfalls of ideologies on both sides. There are, as will be seen, some moments when it seems very much of its time - the 1950s. But Kempton is refreshingly progressive by the standards of our own time, fully supporting the Civil Rights Movement, a living wage, equality, and goodwill toward the vulnerable here and around the world. Kempton was a thoughtful, decent man, and may need to be added to my fantasy dinner party. 

 

I think I will stop there at describing the book, and get into some quotes. I wish I could quote the entire introduction, which is a tour-de-force. Here are just a few of the lines. 

 

The bearers of the myth of every decade seem to carry in their hands the ax and spade to execute and inter the myth of the previous one. 

 

It is a perilous thing for any generation to misjudge its immediate past. 

 

Given their [the communists’] view of the matter, it might be expected that they would do society some damage. A few of them did. It might also be expected that, almost by chance and against their own judgment of what they were doing, some might do society a measure of good. A few of them did; we owe them, to a degree at least, the government planning and the strong unions which many people think are our best insurance against a repetition of the storm of 1932. 

 

These are fascinating and perceptive ideas. One of the things that Kempton brings out is how much many Communists loathed FDR, considering him a sellout and corporate shill, not noticing how he managed to implement many of their own ideas. Some of this is fleshed out more in the chapter on literature of the time. A few quotes from there seem better placed here than later in this post. Edmund Wilson made a fascinating observation that seems very appropriate to our own times. 

 

“Why,” he asked himself, “do the American progressives have to be so tongue-tied with inhibitions? . . . The surest way to shake an American reformer and make him back down has always been to accuse him of socialism.”

 

Hey, that’s still happening! Any attempt at social reform that benefits anyone other than the ultra-rich gets tarred as “socialism.” Hmm, the more things change…

Another Wilson gem:

 

“In the presence of the Communists today, the representatives of our ‘Republican form of government’ seem conspicuously lacking in either moral force or intellectual integrity.” 

 

It is weird to see so many people I know openly defend minority and undemocratic rule, since it is their side that is ruling against the will of the majority of Americans. And yes, that appeal to “republican form of government” is seriously disingenuous. What they mean is “we matter more than you.” That is indeed an argument lacking either moral force or intellectual integrity. 

 

And, one more from the introduction, which particularly resonated in light of my reading of Wild Swans recently. 

 

The eye which I bring to this inquiry is neither as cold nor as detached as I might wish it to be. I cannot conceal the sense that those of my subjects who became Communists were terribly flawed by their acceptance of a gospel which had no room in it for doubt or pity or mercy, and that, clutching its standard, it was inevitable that some many would set out to be redeemers and end up either policemen or the targets of policemen. 

 

One thing I have come to realize the last few years is that ideologies are really very similar. They are characterized by their hostility toward doubt, pity, and mercy. The ideology, whether Maoism or Trumpism, puts dogma before people, every single time. 

 

Moving on, Kempton’s take on Alger Hiss and Whittaker Chambers is fascinating. He starts with the belief that their respective lives were strongly influenced by their backgrounds. In the case of Hiss, and to a lesser extent Chambers, they came from “shabby genteel” families, they had social status, but were losing ground. He explains the dilemma:

 

By adherence to a special set of rules, the child of the shabby-genteel can sometimes leap across the time which has passed by his family and function in the real world without doing violence to the hopes his mother held out for him. But those who cannot live within this pattern are the freaks and the poets, and they travel a difficult path to peace. 

 

In our times, and in the circumstances of my own family, “shabby genteel” isn’t as much of a thing, but there is something very close. I think the ongoing decline (and more recently implosion) of “respectable Christian society” is a close parallel. The white middle class culture of the 1950s (which is what white Evangelicals worship) is dying, and doesn’t really match the reality that my generation or my kids’ generation faces. For some, they are able to live in the real world without disappointing their mothers. I have not, so I guess I am a freak or a (musical) poet. It is indeed a difficult path to peace. Ironically, the 1950s of legend came about precisely because of the Communist agitating that led to the New Deal...

 

On a kind of related note, once again, I see so many parallels between the religion of fundamentalist communism and the fundamentalism I grew up in. 

 

And the conduct of Communists, which is at least as dreadful as that of ordinary men, is the conduct of people most of whom once had an active conscience and most of whom now feel a particular virtue. Until the dark falls upon them, they are immune to the insinuations of the sense of sin. 

 

This is exactly what is playing out before our very eyes at this moment. For Evangelicals who support Trump, they literally have this sense that they are “particularly virtuous,” whether that is because of abortion or a conflation of whiteness with godliness. They are immune to their own consciences. 

 

One of the unexpected facts I ran across in the chapter on Gardner Jackson and Lee Pressman (fascinating characters both of them!) is that Gardner Jackson was related - sort of - to Helen Hunt Jackson (who I really need to read one of these days.) Apparently, he was the product of his father’s third marriage, the second of which was to Helen Hunt Jackson. So there you have it…

 

While technically the chapter is about Pressman and Jackson, union badass John Lewis (not the late Congressman, who was a badass in a less crazy way, but the union founder) plays an important part. I have to at least recount a couple of the anecdotes. One is where Lewis is negotiating with K. T. Keller, operational VP of Chrysler, who was condescending and contemptuous. 

 

At last, while every CIO man present except Lewis shuddered under his stare, Keller turned to Lewis and said, with total contempt, “Mr. Lewis you haven’t said a word about this situation. Do you happen to have any comment or contribution?” 

Lewis arose and fixed his baleful eye and answered very quietly:

“Yes, Mr. Keller, I have. I am ninety-nine per cent of a mind to come around this table right now and wipe that damn sneer off your face.”

 

As Pressman recounts it, Keller went white and had to strike a more conciliatory tone. Just badass. But even better, if that is possible, is what Lewis said to Governor Frank Murphy, after Murphy indicated he would call out the troops to clear the factories of union workers. Lewis responded:

 

“I shall personally enter General Motors’ Chevrolet Plant Number Four. I shall order the men to disregard your order, to stand fast. I shall then walk up to the largest window in the plant, open it, divest myself of my outer raiment, remove my shirt and bare my bosom. Then-n-n, when you order your troops to fire, mine will be the first breast that those bullets will strike.” The great voice marched down near a hush. “And, as my body falls from that window to the ground, you listen to the voice of your grandfather as he whispers in your ear, ‘Frank, are you sure you are doing the right thing?’”

 

Again, the Governor left the room white and shaking. And backed down. It is a reminder that our fight against the robber barons of our own day will require this kind of nerve. The rich have never given up a sliver of wealth or power until it was demanded of them. Those protests for BLM are hated by the Right because they are effective. That line of women in yellow shirts fighting off tear gas from government thugs was a fucking disaster for the Feds. There will be more and more of this until things change, and change they must. One lesson of this book and the history it tells is that change only comes because the oppressed make things uncomfortable for those in power. This will be particularly crucial since we are likely to have a strongly anti-worker Supreme Court for the next generation, and any progress will need to be made - as it was during the New Deal - by insisting on human rights and making the regressives fear enough to grant them. 

 Hmm, I wouldn't mess with John Lewis either...


The chapter on literature was particularly fascinating to me, not least because John Dos Pasos - who I finally read - gets a good bit of play as the literary counterpart to Kempton. He too flirted with Communism, before shifting to a more Social Democratic viewpoint. More on that in a bit. But first, the opening few sentences of the chapter are so good. 

 

Oliver Wendell Holmes, Jr., said once that every man should take part in the actions and passions of his time or else risk being judged not to have lived. A serious writer has less choice about that risk than the rest of us. To take responsibility for expression is to accept many perils but at least to escape that detachment from the passions of one’s time which Holmes thought was the worst fate in life. 

 

This is one thing that just pisses me off about so many (mostly white) people from my past. They so very much want politics to go away, so they don’t have to deal with uncomfortable truths about the world...and themselves. They will be remembered as Holmes notes: as people who chickened out of actually living, of dealing with reality. They wanted the bubble of their own comfort, and refused to be bothered with the great issues of their time. 

 

In this chapter, Kempton gives the best explanation I have ever heard for why there is no “Great Proletarian Novel.” The problem with writing a Communist novel, or indeed making Communist art, is that the real resonance of all art is internal, individual, and emotional. Substituting an exterior struggle for an internal one is just terrible art that will not survive the test of time. I mean, does anyone really read The Iliad to find out who killed whom and who won the Trojan War? Puhleeze. The Iliad is great because of the universal human struggles and relationships. Achilles and Agamemnon. Achilles and Patroclus. Hector and Paris. And so on. 

 

The subjects of this chapter, the buried ones at least, had a different view; they believed that to be a great writer one needed to simply be on the side of the future and to substitute outer reconciliation for interior quarrel. The lesson of their failure is literary and not moral. For the writer is lonely even in fantasy, and, try though he will, it is very often his fate to damage no one but himself. 

 

Later, Kempton gives a truly devastating critique. 

 

The proletarian novel was thus rooted in the American tradition of bad literature. Its formula was: boy sees vision of exploitation, boy goes on strike, boy finds vision of freedom. It stood the popular short story on its head, but, like that story, it preached that success is material and that its rewards are to the strong and the assured, not the weak and the doubtful. The proletarian novel’s hero was an Alger boy who had learned that the road upward is blocked and that the future is with him who looks to his own class. On occasion, he has the chance to live with the daughter of the bourgeoisie and chooses to die with the daughter of the toilers. 

 

Oh, so very much so. The comparison with Horatio Alger is perfect. Of course, people who haven’t read an Alger story tend to get it wrong. Alger’s hero doesn’t triumph by working his way up; rather, he has good “character” and thus is discovered by a filthy-rich benefactor. The stories aren’t about opportunity, but karma. And yes, Alger has aged as well as the proletarian novel. 

 

In discussing writers such as Dos Pasos who later rejected communist ideas, Kempton notes that, like so many who believed (and believe) the myth of the 50s, they failed to appreciate that it was all that agitation that brought about the change and the society they see as a repudiation of communist ideas, rather than a successful implementation of them. 

 

The thirties had been many things, some good and some bad, but it had been most of all a great economic revolution at whose end children no longer worked in factories and assembly hands spoke unafraid to their foremen. It had not changed the souls of men - no economic revolution could - but nothing entirely evil could have produced the healthiest generation of children that America had raised in a century. 

 

Writer J. B. Matthews, first a Communist and pacifist, then later an ardent anti-communist, gets a whole chapter. He was a really complex character, driven, in Kempton’s view, by a restlessness and a tendency to be a true believer who burned white-hot for a short time, before moving on to a different religion. This is pretty plausible, I must say. The chapter was also interesting to me, because a number of things resonated with my own religious journey. 

 

Dying dreams sometimes last longest in hearts they have broken; hate, after all, can be the strongest of memories. That may be why so much of whatever pain and passion is left to the myth of the thirties is carried by its lost lovers, its apostates, and its armed disenchanted. 

 

That truly is me, when it comes to my former tribe. My heart has been broken, and the hate I felt when I challenged the worship of Trump and the Republican Party is my strongest memory now. 

 

This is a book about believers and what the consequences of belief were for them. One of those consequences can be apostasy. J. B. Matthews among so many other apostates has come, after so much, to explain himself away as a pure professional, just as his enemies do. But money as an explanation for apostasy seems to me like lechery as an explanation for infidelity; it is a substitute for a lost, earlier passion and it is dross to the truly committed. It is what men take when the salt has lost its savor. 

 

Damn. Mic drop. I can’t improve on that, so I will let it stand. 

 

The chapter on women in the Communist movement was interest, but seems more dated than the others. Although, to be fair, Kempton might be entirely right both about the way it felt in the 1930s and the way it was perceived in the 1950s. I will note a few good lines, however, like the opening one. (In general, Kempton’s opening of chapters is phenomenal - which is why I have quoted so many in this post.) 

 

The language of love was seldom on the public lips of most of the persons in these studies. Their rhetoric held little room for its lights and shadows. They at least talked as though the passions of love and hate were not important to them. The passions are particular and their superficial concerns were for the general. 

Theirs was a movement which offered a new place to woman. It was the place of partner and equal, and the surface of its image was sexless. The thirties promised a final triumph of feminism. And they buried - or thought they buried - forever the woman of the genteel tradition.

 

This too matches up with Wild Swans and the sexless and feminist Maoist ideal. In practice, one cannot completely uproot the previous tradition. Truly good reform usually ends up finding a balance. In our own times, feminists like my wife (and myself, as much as a man can be) have no problem being “feminine” when they want, and ignoring the pressure to do so when they want. One can be partners and equals without becoming sexless or jettisoning love. 

 

Here is another unexpected gem. So, Anne Moos Remington was married to a Communist radical, and was active for a time in the party. Her mother was a socialist for years before that, and kind of became more radical later in life, which is interesting. Apparently, however, there wasn’t much love lost between the two, particularly once Anne left the party after the war and the divorce from her husband. Testifying before the congressional panel as to whether she hated her mother:

 

“I wouldn’t say that. I don’t like her. When she couldn’t boss me around, she lost interest.” 

 

This isn’t true about my mother, just to be clear. It is, however, very much true about another person in our family. 

 

I also really liked the chapter on the Reuther family, a father and sons active in the labor movement. Particularly fascinating was a description of Detroit in 1932, when the auto industry basically fell off a cliff. It seems rather pertinent today, with a looming depression - and potential mass evictions. 

 

There were whole city blocks without light or artificial heat. Families missed their rent or mortgage payments. But no bank or landlord dared evict them; to leave a house vacant was to risk its being stripped of its wires, its plumbing, and even its woodwork for fuel. 

 

Just a warning to landlords in our own day...

 

The last chapter is about the author’s own youth, and the Young Communist movement in general. On the one hand, he felt that very few actually cared that much. It was more of an aspiration, not a serious fight. The real battles were carried on by the unions, and the people who were desperate and had little to lose, not the middle class white kids at the universities. Sure, there were some who went to Spain, only to die or become disillusioned by being made cannon fodder. There are a few great quotes here to, backed by Kempton’s own experience. 

 

The time of being very young and madly hopeful comes to many men and deserts them all, and the lessons they take from its loss are very different.  

 

This is true. I probably clung to my idealism longer than most - and some of it remains, tattered as it is. But the disillusionment has been devastating too. As it is for all “madly hopeful” people. I think we do take different lessons from it. Many, particularly many of my parents’ generation, have gone down the nostalgia trap, seeking a return to the mythic past (the myth of the 1950s, but without being willing to commit to the socialism necessary to return there…) Others have turned to hatred of those different from them, the ones that they see as ruining their idealism. Some of us hope that we get to the other side of this still committed to the common good, to fighting for equality for all, despite our disillusionment with humanity. 

 

Finally, the afterward is particularly fascinating. Kempton recognizes that he was too hasty in being ready to declare post-war America as a utopia of sorts. He cites the Vietnam war, unpopular, but seemingly impossible (in 1967) to get out of. He also notes that “we are a society into which every day children are born for whose lives the economy has no productive use.” Which is what you get when pursuit of profit at all costs - including human lives - is allowed to rule. Kempton concludes that the Communists entertained a utopian illusion that the Soviet Union was either “already perfect, [or] moving that way,” and admits that he, twelve years ago, had the “same illusion about the United States.” 

 

And that, perhaps, is a good place to end this post. One of the great delusions of our time was that the United States has, somewhere, a time when it was “Great” - a Utopia. Racist demagogues like Trump tap into this, particularly for religious white people who are, whether or not they admit it to themselves, yearning for a time when they were culturally dominant, when women and minorities knew there place, when gays were in the closet, and being a Christian gave you an automatic boost in social status. But really, the social struggle, the struggle for equality, the struggle for human rights, is never ending. Kempton points out that Communism was no panacea - but neither is Capitalism. Those with money and power will always cling to it, and those oppressed by them will need to continually struggle to gain a better world - or they will lose ground as we have over the last 40 years. 

 

Part of Our Time is really a fascinating book, and I very much enjoyed reading it. It is good to see it back in print again. It is both a record of history we should never have forgotten, and thoroughly relevant to the times we find ourselves in now. 

 

Wednesday, November 4, 2020

The Lie Tree by Frances Hardinge

 Source of book: Borrowed from the library

 

I don’t often read YA literature, and when I do, it is usually because one of my kids is reading it and I wanted to see what they were reading. This is the rare YA book that was on my own reading list. I’m not entirely sure where I got the recommendation, since it has been on for several years, but it was probably one of the sources of book reviews I trust. (Mostly Slate, Lithub, and NPR.) 


 
The Lie Tree is an unusual book, written by a Brit, set in the Britain of the 19th Century, and centering on the explosion of archeology that led to a complete rethinking of the age of the earth and the development of life. It also has a magic tree that may or may not be descended from the “Tree of the Knowledge of Good and Evil” from Genesis. Oh, and also a somewhat anachronistically feminist teen protagonist. 

 

One of the things that I had forgotten, having mostly read literary fiction and nonfiction over the last decade, is that YA literature, like its intended audience, is rather unsubtle. I find that a bit irritating, but it comes with the territory. And actually, I ended up enjoying the book overall. 

 

Faith is the 14 year old daughter of a minister who moonlights as an archaeologist. He and his family essentially flee their home parish to avoid a disgrace. Apparently, as Faith discovers (reading in a chest she shouldn’t have opened…), some of his archaeological “finds” have proven to be fakes. Under this cloud, they take refuge on an island off the south of Cornwall, where the Reverend can assist at a dig. 

 

Things go wrong from the start, with news of the Reverend’s disgrace hitting the local gossip machine, an accident that nearly kills Faith and her brother when they visit the site, and eventually, her father’s death in what appears to be a suicide. 

 

Except Faith is sure it isn’t and sets out to prove it. 

 

The night of his death, her father had taken her with him to hide a mysterious plant in one of the sea caves. She is sworn to secrecy, but suspects that there is a LOT more to the story than he told her. 

 

Which turns out to be true. The mysterious plant is a “Lie Tree.” It cannot tolerate light, but lives in damp, brackish places. It’s food is lies. So, to feed the tree, you must tell it a lie, then take steps to make people believe that lie. The more people believe it, and the more important the lie, the more the tree grows. A successful lie means it produces fruit. If you then eat that fruit, the tree reveals truth to you about things related to your lie. Well, at least that is what it is supposed to do. What seems to actually happen is that the fruit sends you on a bad acid trip where you gain access to truths you already suspected and knew deep down. Which is, well, something at least. 

 

In for a penny, in for a point for Faith, as she purloins her father’s letters, and discovers some uncomfortable things about him and the way he obtained the plant. She also investigates (with the help of Paul, a boy her age who becomes her frenemy) and discovers secrets about the island and its inhabitants. 

 

The basic premise and the unfolding mystery are actually pretty good. In a number of ways, it reminded me of the Flavia de Luce books with its historical setting and plucky heroine. I think Flavia is better drawn than Faith, however, primarily because Flavia seems to think like a child of her era, as weird of a child as she is. Faith, in contrast, thinks a bit too much like a modern woman at times, and her feminist thoughts, while certainly valid, seem anachronistic. She thinks in terms that weren’t invented until much later, and is preachy in her own head. To me, that was the least convincing part of the book. She could have been every bit as much the feminist without the heavy handed approach. Contrast, for example, Middlemarch, or anything by Moliere

 

In a different way, the relationship issues between Faith and her not-particularly-nice parents are handled with a bludgeon. This, however, feels much more realistic. I still remember being a teen, and still have significant complexities (so to speak) with my relationship with my parents even now. So that Faith would be over the top a bit actually seems likely and believable. It is when it crosses toward the feminist side that things get a bit preachy. 

 

While anachronistic, Faith’s observations aren’t wrong. In fact, they tend to be spot on about dynamics that still exist today. For example, she is bright and interested in science, but she is routinely dismissed. 

 

“So you are a craiometrist?” As soon as the words left Faith’s mouth she saw the doctor’s smile fade and knew that she had made a mistake. He had been enjoying his explanation, and now she had spoiled things by knowing too much.

 

This is a theme throughout the book. Faith has to play dumb and act according to gender expectations in order to get what she wants. This hasn’t entirely gone away, although things have changed for the better. My wife, for example, doesn’t play this game with doctors. She doesn’t make subtle suggestions so they can think it was their idea, or play dumb. She treats them as equals, and that bothers some of the old school sorts. 

 

It doesn’t help that Faith’s mother is a master at the gender and class game. 

 

Faith could sense her mother making rapid judgments. Everyone had their place on an invisible ladder. It was easy to know that dukes were high above you, and chambermaids far below. But there were thousands of rungs, some at tiny differences in height, and Myrtle always wanted to determine everyone’s level to a fraction of an inch.  

 

On the other hand, Faith gets some benefit from her reputation as the good, if not particularly smart, girl. As part of her first big lie to the tree, she creates her own “haunting,” making it seem as if her father has come back as a ghost. This isn’t that hard, as it turns out, because people see what they want to believe. And, since nobody expects the demure girl to be behind stuff, she succeeds even better than she expects. 

 

Another tactic that is successful is her relationship with Paul. They do not like each other, but need each other, for different reasons. Ultimately, they become allies, if not exactly friends. In their initial hostile meeting, Paul is attempting to steal some hair off Faith’s father’s corpse, in order to fulfil a dare. Faith demands that he help her, in exchange for her sharing a bit from her locket. Her trump card is the fact that Paul’s dad seems to be wooing Faith’s mother, now a widow. 

 

“Help you?” Paul gave a huff of a laugh. “Why would I?”

“We cannot leave the island until my father is buried properly,” Faith declared coldly. “Your father is sending my mother flowers. The longer we stay, the closer they become. Do you want me for a sister?” 

 

As I said, nothing is subtle in this book, including Faith’s name. Her father’s central conflict, as it turns out, centers on his faith. As a minister, he pretty much has to believe, but his archaeological finds have caused him to question. If only he could find some proof of a literal Genesis, he wouldn’t doubt. In the process, of course, he not only loses his faith, but alienates his Faith, who had faith in him. Ultimately, it is Faith who is unafraid of the implications of Evolution, particularly since it implies that nothing is set in stone, that things can change for the better. She wants to, as she tells her mother, “help evolution.” 

 

“My dearest girl, I have not the faintest idea what you are talking about.”

Faith thought about the best way to rephrase her resolution.

“I want to be a bad example,” she said. 

“I see,” Myrtle stirred herself, ready to walk to the prow. “Well, my dear, I think you have made an excellent start.” 

 

And that is how the book ends. Which is a pretty dang good ending. 

 

As kind of a closing thought on this book, I felt that the best part of the book was the exploration of the nature of lies. As I mentioned, the successful lies are the ones we want to believe. We generally want to believe ill of people who are in some way outsiders, we want to believe our greed is noble, we want to believe that we can know some special truth that makes us better than others. We want to make black and white sense of the world, too, which is why the Reverend (and Trump voters today) essentially sells his soul, his reputation, and his integrity in order to - he hopes - find the key to vanquish his doubt. Along with Peter Enns, I personally think that people who do not doubt are problematic to themselves and others. Uncertainty, nuance, and doubt are not comfortable. Certainty allows us a pleasant feeling - and also the ability to judge those who believe differently. And, in a time when uncertainty and rapid change define the age, it becomes so tempting to toss integrity and empathy to the wind to regain that feeling of certainty. 

 

The author also does a good job of showing how living and propagating lies corrodes the soul. Faith barely escapes her father’s fate, and ends up having to search her soul over how easy it was for her to destroy people to save her father’s reputation. In the same way, her father and prior seekers of the Lie Tree destroyed themselves and their souls. Living in a lie is self-destructive, and never ends well. 

 

Right now, so many are carefully protecting and cultivating the lies they want to believe, rather than face the inconvenient truths that contradict their ideology and dogma. That’s why the ending is powerful. Faith is determined not to live a lie when it comes to who she is. She will live as a feminist, she will embrace science, and she will not limit her future to finding a wealthy man to support her. At that time in history, women like her kept fighting until they changed the world. Faith today would be thrilled to see women like my wife, self supporting, making a difference in the world, and refusing to act stupid to protect male feelings. 

 

Our current social upheaval is, at its core, about a fight to protect the lies and injustices of the past against positive social change that so many of us want to see. Alas, so many still want to believe the lies of female inferiority, white supremacy, and money as proof of moral value. (And that’s before we get to the issues involving science, for which an entire political party and massive propaganda machine have committed their efforts to propping up horrific lies.) These lies have caused tremendous damage to society, those who believe them, and those who propagate them. That is the battle of today for many of us: to unmask the lies, and live in the truth. 

 

Tuesday, November 3, 2020

A Season of Gifts by Richard Peck

 Source of book: Audiobook from the library

 

One of the saddest things is finishing something you love. Beginning back in 2014 with Secrets at Sea, we have greatly enjoyed Richard Peck during our adventures. A Season of Gifts is the 9th audiobook we have listened to, and, as far as I can tell, it is the last of his books that has an audiobook. We have also read other books of his that are not audiobooks, and there are more to read. But it is sad to come to the end of the available books for listening. (Also sad that Peck passed in 2018, and thus will not be writing any more books.) 

 

Here are the books I have read with the kids. They have read more than I have, honestly. 

 

Fair Weather

Here Lies the Librarian

A Long Way From Chicago

The Mouse With the Question Mark Tail

Past Perfect Present Tense

The River Between Us

Secrets at Sea

The Teacher’s Funeral

A Year Down Yonder 

 

***


 

A Season of Gifts is a sequel of sorts to A Long Way From Chicago and A Year Down Yonder. It features the unforgettable Mrs. Dowdel, the force of nature disguised as a corpulent old lady. In the first two books, the stories are told by Mrs. Dowdel’s grandchildren; by Joe in the first book, then by Mary Alice in the second, after Joe has grown up. By the time of A Season of Gifts, around 20 years have passed since the previous books, set in the 1930s. Now it is the era of Elvis and classic cars, and Mrs. Dowdel isn’t as spry as she used to be, but still every bit as cantankerous. 

 

The story is told by Bobby, the son of the new preacher in town. They come to live next to Mrs. Dowdel, and try to fit in as strangers in a small town. Starting with a pretty awful story when Bobby is bullied, things do not start out well. But Mrs. Dowdel is there to help out, all while pretending not to be “neighborly.” 

 

Later, a legend of an ancient Kickapoo princess buried on Mrs. Dowdel’s property leads to a rather hilarious scene involving a stolen squash. Mrs. Dowdel borrows the preacher’s car, makes Bobby drive, and goes and cuts down Christmas trees illicitly. Because of course she does. A funeral and a wedding also feature in the book, all orchestrated by Mrs. Dowdel. 

 

This isn’t a particularly long book, but it is pretty funny and poignant by turns. Peck’s writing is always outstanding, and his willingness to tackle difficult topics like bullying, unwed pregnancy, teenage crushes, and prejudice with gentleness and compassion really makes the books excellent for starting conversations with kids. 

 

While I am sad that we are at the end of these audiobooks, I am glad we have had the last seven years of sharing them together. The world is a better place because of Richard Peck, and I highly recommend his books.