Thursday, May 18, 2023

A Paradise Built in Hell by Rebecca Solnit

Source of book: borrowed from the library


I have enjoyed Rebecca Solnit’s magazine articles for a number of years, but never read one of her books. A Paradise Built in Hell is a fascinating look at one of the narratives many of us believe (or once believed in my case) but turns out to be total bullshit. 

 

TL;DR - Thomas Hobbes was wrong. Very wrong. 

 

The myth: in times of disaster, humans go feral, and it is every man for himself, marauding gangs, and all that. 

 

The reality: Most humans pull together during disasters, creating mutual communities of aid. In fact, ordinary people tend to do better than organizations at rescuing people, feeding people, and otherwise getting stuff done.

 

The caveat: Along with this cooperation tends to come what Solnit calls “elite panic.” That is, those who benefit from the status quo feel threatened by their loss of power and privilege, and tend to do really horrible things. As disaster sociologist Kathleen Tierney puts it (quoted in the book): 

 

“Elites fear disruption of the social order, challenges to their legitimacy.” 

 

She notes the elements of this elite panic are “fear of social disorder; fear of poor, minorities, and immigrants; obsession with looting and property crime; willingness to resort to deadly force; and actions taken on the basis of rumor.” 

 

As evidence for her thesis, Solnit takes a look at a number of disasters, from the San Francisco earthquake of 1906 to New Orleans after Hurricane Katrina. Also discussed are 9/11, the Lisbon earthquake, the London Blitz during World War Two, the Mexico City earthquake, and a few others mentioned briefly. 

 

This is just a basic summary. Solnit cites a LOT of primary sources for her stories, as well as her own reporting after Katrina. (For many of us, that was our first experience of her writing - her expose on just how badly George W. Bush, FEMA, and Ray Nagen fucked up the response.) The details are important, particularly the anecdotes, and I can’t really duplicate them in this post. 

 

I will, however, share a bunch of quotes that I think are enlightening. 

 

First, from the introduction, Solnit notes that most of us humans really do long for the kind of mutual society that disaster can produce. (For those of us who consider ourselves Christ followers, we could call this the Kingdom of Heaven, as described by Christ.) But society is, unfortunately, set up to make this difficult. 

 

The positive emotions that arise in those unpromising circumstances demonstrate that social ties and meaningful work are deeply desired, readily improvised, and intensely rewarding. The very structure of our economy and society prevents these goals from being achieved. The structure is also ideological, a philosophy that best serves the wealthy and powerful, but shapes all of our lives, reinforced as the conventional wisdom disseminated by the media, from news hours to disaster movies. The facets of that ideology have been called individualism, capitalism, and Social Darwinism and have appeared in the political philosophies of Thomas Hobbes and Thomas Malthus, as well as the work of most conventional contemporary economists, who presume we seek personal gain for rational reasons and refrain from looking at the ways a system skewed to that end damages much else we need for our survival and well being. 

 

This ideology, as Solnit notes, is promulgated by the media, in service to the powerful, who benefit from alienating us from each other. 

 

But to understand both that rising and what hinders and hides it, there are two other important subjects to consider. One is the behavior of the minority in power, who often act savagely in a disaster. The other is the beliefs and representations of the media, the people who hold up a distorting mirror to us in which it is almost impossible to recognize these paradises and our possibilities. Beliefs matter, and the overlapping beliefs of the media and the elites can become a second wave of disaster - as they did most dramatically in the aftermath of Hurricane Katrina. 

 

One of the most powerful passages is Solnit’s view of what utopia looks like. I don’t mean “utopia” in a derogatory sense, either. Every single advance humans have made has been the result of dreaming of a better society. We need the utopians more than ever these days. 

 

The two most basic goals of social utopias are to eliminate deprivation - hunger, ignorance, homelessness - and to forge a society in which no one is an outsider, no one is alienated. 

 

A careful reading of the teachings of Christ shows this to be the vision of the Kingdom of Heaven. We share so that no one goes without. And those on the margins are invited to the table - indeed, they are the Kingdom. One could also say that this is the dream of modern liberalism - taking care of each other, and embracing everyone. 

 

However, not everyone shares this vision of utopia. In fact, the theofascist movement (Christian Nationalism, White Supremacy, Patriarchy - the Fundamentalist Right I grew up in) sees a very different ideal future. 

 

Some religious attempts at utopia are authoritarian, led by a charismatic leader, by elders, by rigid rules that create outcasts, but the secular utopias have mostly been committed to liberty, democracy, and shared power. The widespread disdain for revolution and utopia takes as its object lesson the Soviet-style attempts at coercive utopias, in which the original ideals of leveling and sharing go deeply awry, the achievement critiqued in George Orwell’s Animal Farm and 1984 and other dystopian novels. Many fail to notice that it is not the ideals, the ends, but the coercive and authoritarian means that poison paradise.

 

There is a profound truth in there. The ends never justify the means, because the means are the ends. Coercive control and authoritarianism, whether in the service of retrogression (as for today’s right wing) or in the service of equality (the Soviet experience) ends up in the same bad place. And it always creates outcasts. The means become the end - and that end is dystopian authoritarianism. A bad tree cannot bear good fruit. 

 

The chapter on the “official” response to the San Francisco earthquake is fascinating. Elite panic results in the belief that the people themselves, rather than being victims of the disaster, are the threat to be contained. (This is the bullshit view of human nature.) This then results in draconian measures to “contain” potential rioters and looters. (Code word here for lower class people, often people of color. In case that wasn’t obvious.) In San Francisco, the army was called out, under the command of General Funston, and given orders to shoot anyone suspected of “looting.” Probably hundreds of people were killed, many of which, it turned out later, were trying to save people and property from damaged buildings, not looting. Which is a slippery term anyway. As Solnit points out, in a disaster, why shouldn’t people take food from stores to keep everyone fed? This is requisition, not looting. Anyway, this is a great analysis of the issues at stake. 

 

The death penalty is an extreme measure for theft, to say the least, and that theft was the primary crime the poster addressed is indicative. Many would not consider property crimes significant when lives are at stake - and the term looting conflates the emergency requisitioning of supplies in a crisis without a cash economy with opportunistic stealing. Disaster scholars now calls this fear-driven overreaction elite panic. 

 

This is a recurring theme in the book. In a crisis, elites (and by that, she generally means people with money and power, not educated versus uneducated) tend to seek to protect property at the expense of people. You see the same thing in the aftermath of Katrina. 

 

I wanted to mention the Halifax explosion because it is both relatively unremembered outside of Canada, and it is also pretty dang crazy. In 1917, a couple of ships, one laden with explosives destined for the Western Front, collided. As in 3000 tons of explosives. As the book notes, the resulting explosion was the largest man-made explosion before nuclear weapons. 

 

The six million pounds of the ship were blown a thousand feet into the air, vaporized much of it, and rained the white-hot shrapnel over cities on both sides of the strait. It created a wave 60 feet high. It leveled everything within a mile radius. Absolutely crazy. 

 

The aftermath was notable for the way ordinary people spontaneously organized rescue and recovery. One particular story that stood out was an unnamed nurse who was in charge of the children’s hospital who faced down the military and refused to move. I can see my wife doing the same thing. 

 

This is probably a good time to note that there is no real pattern to which institutions became problematic in the aftermath of disaster. I have mentioned a few cases in which the military treated civilians as a threat - that was the bad. But under better leadership in other situations, the military can be an incredible help at logistics - moving aid where it is needed. The key is in the belief about whether citizens are a threat, or victims in need of aid. 

 

You can see the same pattern when it comes to the police. In places like New Orleans, they were absolutely fucking horrible, committing most of the looting that occurred, looking the other way as vigilantes murdered black men, and often committing murder themselves. But in other cases, again under better leadership and working from a different paradigm, they have been helpful. The common thread is the belief system: are people “fucking animals”? Or are they humans needing help and support? 

 

And likewise, churches can be either beacons of goodness, pitching in selflessly. Or, they can become barricades against “those people.” It is all about the belief system. 

 

Another facet of the divide in belief systems is the question of mutuality versus charity. The “charity” paradigm, very popular among the more compassionate right wingers, is that of the “haves” being generous with charity to those in need. 

 

The problem is, people prefer mutual aid to charity. And in order for mutual aid to work, people need to have resources. In other words, they need to have control and power over their own destinies, not charity, which always reserves the control to the person giving it. (This may be a blog post on its own someday.) 

 

Altruism and charity are distinct if not in the acts themselves at least in the surrounding atmosphere: altruism reaches across with a sense of solidarity and empathy; charity hands down from above. The latter always runs the risk of belittling, patronizing, or otherwise diminishing its recipients in underscoring the difference between those who have and those who need it. It takes away a sense of self while giving material aid. 

 

On a related note, those who prefer this patronizing version of charity also tend toward Social Darwinism in their economic policies. The sense of superiority is the same in both cases. 

 

This was often extrapolated into what was later called Social Darwinism, the premise of which was that the conduct of contemporary human beings inevitably echoed their own primordial behavior and nature’s essential bleakness. It justified callousness toward those who lost out in the economic struggle: they did so because they were unfit, ill adapted, and lazy, rather than because the system was unfair - a common justification of colonial rapacity, the deprivation of the poor, and basis for theories of racial inferiority. They deserved it, or they were at least doomed and could not be saved, if the forces that trampled them down were as inevitable as nature itself. 

 

And this insight:

 

Capitalism’s fundamental premise is scarcity, while a lot of tribal and gift economies operate on a basis of abundance. Their generosity is both an economic and an ethical premise.

 

I urge you, take a look at the teachings of Christ, and the example of the first Christian communities, and ask yourself which they resemble: the cruelty of capitalism and Social Darwinism? Or the mutuality of a gift economy? 

 

Solnit also discusses the concept of “anarchy.” This is a word whose meaning has changed over time. Now, we tend to use it as a synonym for mayhem or chaos, but it originally meant merely the absence of a hierarchy. 

 

It is often used nowadays as a synonym for mayhem, chaos, and riotous behavior because many imagine that the absence of authority is equally the absence of order. Anarchists are idealists, believing human beings do not need authorities and the threat of violence to govern them but are instead capable of governing themselves by cooperation, negotiation, and mutual aid. They stand on one side of a profound debate about human nature and human possibility. On the other side, the authoritarian pessimists believe that order comes only at the point of a gun or a society stacked with prisons, guards, judges, and punishments. They believe that somehow despite the claimed vileness of the many, the few whom they wish to endow with power will use it justly and prudently, though the evidence for this could most politely be called uneven. The cases drawn from disaster contradict this belief. It is often the few in power rather than the many without who behave viciously in disaster, and those few do so often exactly because they subscribe to the fearful beliefs of Huxley, Le Bon, and others. 

 

Having grown up in a strongly authoritarian subculture, I see both the strength of the belief, and its utter failure at every level, from the implosion of families like mine to the mass incarceration that Americans seem to believe is necessary for order. 

 

Related: for a truly imaginative portrayal of an anarchist society, check out Ursula Le Guin’s excellent book, The Dispossessed

 

I thought that Solnit’s critique of Hobbes was interesting. It is a reminder that a major weakness of philosophy over the millennia has been its overreliance on males with few social ties. 

 

What is curious for a modern reader about the society imagined by Hobbes and then the Social Darwinists is that it appears to consist entirely of unaffiliated men. The relationships between lovers, spouses, parents and children, siblings, kinfolk, friends, colleagues, and compatriots are absent, though those are clearly among the more ancient rather than modern aspects of human life. The world they imagine looks something like an old-fashioned business district during a working day, when countless people venture out to do economic battle with each other. But even those people are formed into corporations and firms whose internal cooperation is as or more important to their functioning than external competition. 

 

I thought the chapter on the London Blitz was fascinating. One of Solnit’s sources was Mollie Panter-Downs, a journalist and author - I read and posted about her wartime short stories a few years ago - they are definitely worth reading. 

 

It was out of the war that the field of disaster studies came to be. Solnit discusses the findings of Charles Fritz, one of its pioneers. Disasters, from the sociological perspective, look a lot different than conventional wisdom would say. Solnit bemoans the fact that his extraordinary findings have had relatively little effect on the bureaucrats and politicians who develop disaster response plans. I hope that this has started to change, at least in some circles. Right before the Covid pandemic, my wife was invited to participate in FEMA’s disaster response training exercises, at their big facility in Alabama. Responders from a variety of professions participated, and there did seem to be more of an emphasis on solving problems rather than containing riots - this is a big positive. (Also, both in the training and in the later pandemic, my wife proved to be a real badass. You definitely want her in change in a disaster, believe me.)

 

Related to the frustration that institutions are failing to change based on evidence is the problem of the media - particularly disaster movies, which get it so very badly wrong. It is never the small group of elites who save the day - they are the problem. Rather, it is the great many ordinary folk who come together and get stuff done. We really need a change in our stories, to say the least. 

 

So, people pull together during disasters. But what about afterward? This is another interesting question the book looks at. In some cases, like the Mexico City earthquake, the disaster led to long term positive change. This can happen. But other times, as in 9/11, the good feelings can be co-opted into debacles like 20 years of futile war, the lost of rights through the Patriot Act, and a paroxysm of xenophobia leading to Trump. 

 

A disaster is as far from falling in love as can be imagined, but disaster utopias are also a spell when engagement, improvisation, and empathy happen as if by themselves. Then comes the hard business of producing a good society by determination and dedication. 

 

This is the truth, and the work of building the Kingdom, so to speak. It is a hard business, and requires long-term thinking and dedication. But it is worth it. 

 

Speaking of the Kingdom of God/Heaven, this was mentioned in the chapter about the aftermath of 9/11. The volunteers often used that term, whether they were religious or not. 

 

“This is the Kingdom, this is the notion of everyone working and living together and eating together and pulling for a cause - totally other-directed, totally selfless and, frankly, very self-deprecating.” 

 

Man, though, the aftermath. I had forgotten about some of the details, but Solnit mentions them. How Giuliani located the disaster headquarters right near the World Trade Center, despite advice to avoid that area - the center was disabled after the attacks. Predictably. Also that New Yorkers tended to hate Guilani before, during, and after the attack. His status as a “hero” was all a media creation. And, of course, the GW Bush administration literally changing environmental reports to hide the risk from the toxic dust. (I was taught that shit like this was lying, but apparently this is all fine to the American Right Wing these days…) 

 

And that brings us to what ended up being GWB’s downfall: Katrina. What a total fuck-up. And Bush was hardly the only one who deserves blame. The media was, simply put, terrible. They led with lies and rumors that turned out to be untrue. They claimed the city was in a chaos of a riot. It wasn’t. They claimed that there were mass murders inside the Superdome. There weren’t. There were a handful of people who died of natural causes. They claimed people were shooting at the cops. They weren’t. 

 

What WAS true, however, was that cops were looting. There was eventually a video on national TV of them cleaning out a WalMart. And Cadillacs were found in the possession of cops as far away as Texas. Yeah, but rattle on about African Americans. 

 

And then there is what Solnit found in investigating dozens of murders of black men by white vigilantes. Man, that whole section is rough. There were others who survived, who describe trying to get help, or transport supplies, only to be met by armed white men who forced them back to flooded neighborhoods. The thing is, one of her major sources was the bragging that these white guys did publicly about killing blacks. And they were never prosecuted. 

 

This dynamic is something I noticed after living through the LA Riots. (You can read about that in the extended footnote to my review of Nadine Gordimer’s book July’s People.) I have made the attempt over the last 25 or so years to unlearn my subconscious reactions from that time in my life - to recognize it as bias and racism, even if unintentional. Unfortunately, most of my former tribe of white evangelicals (including my parents) have gone the other direction, at least in thought and rhetoric. Here is how Solnit looks at the phenomenon:

 

Like elites when they panic, racists imagine again and again that without them utter savagery would break out, so that their own homicidal violence is in defense of civilization and the preservation of order. The killing rage of the Klan and lynching parties of the old South were often triggered or fanned into flame by a story, often fictitious or exaggerated, of a crime by an African American man. Of course there were crimes committed by African Americans in Katrina, but to imagine that every black man is a criminal or to punish a whole group or unconnected individuals for a crime is racism at its most psychotic and vigilantism at its most arrogant.  

 

This is how you get a Kyle Rittenhouse, or a George Zimmerman, or the guy who just murdered a homeless man in a subway station. 

 

Oh, and how about this white evangelical fantasy? (As described by historian Mike Davis, about the prior hurricane, Ivan, and the lessons not learned.)

 

“The evacuation of New Orleans in the face of Hurricane Ivan looked sinisterly like Strom Thurmond’s version of the Rapture. Affluent white people fled the Big Easy in their SUVs, while the old and carless - mainly black - were left behind in their below-sea-level shotgun shacks and aging tenements to face the watery wrath.”

 

I don’t think it is a coincidence that the last few waves of “Rapture” obsession came in response to social change, including the end of Jim Crow, that white evangelicals found uncomfortable. There is a fantasy of getting to leave “those people” behind, and watching them suffer.

 

I’ll end this post with a bit from the epilogue. 

 

Who are you? Who are we? The history of disaster demonstrates that most of us are social animals, hungry for connection, as well as for purpose and meaning. It also suggests that if this is who we are, then everyday life in most places is a disaster that disruptions sometimes give us a chance to change. They are a crack in the walls that ordinarily hem us in, and what floods in can be enormously destructive - or creative. Hierarchies and institutions are inadequate to these circumstances; they are often what fails in such crises. Civil society is what succeeds, not only in an emotional demonstration of altruism and mutual aid but also in a practical mustering of creativity and resources to meet the challenges. Only this dispersed force of countless people making countless decisions is adequate to a major crisis. One reason that disasters are threatening to elites is that power devolves to the people on the ground in many ways: it is the neighbors who are the first responders and who assemble the impromptu kitchens and networks to rebuild. And it demonstrates the viability of a dispersed, decentralized system of decision making. Citizens themselves in these moments constitute the government - the acting decision-making body - as democracy has always promised and rarely delivered. Thus disasters often unfold as though a revolution has already taken place. 

 

This book was written before Trump, so at times it can be a bit optimistic about the direction the US is headed, but I think the core message holds true. If anything, the Covid pandemic has shown that many people can and do pull together in a crisis. And also that the US is deeply fractured right now, with the Right Wing essentially engaging in constant elite panic in every crisis, unable to see those different from them as fellow humans rather than subhuman threats. It seems likely that we will continue to see disasters in the near future, and thus we will have an opportunity. An opportunity to form the kinds of communities that thrive on mutual aid and assistance. As both Solnit in this book, and Octavia Butler in her novel, Parable of the Sower, these communities will be diverse - a variety of races and ethnicities, national origins, genders, sexual orientations - and in stark contrast to the vigilante elites, who will tend to be aggressive white males - or other homogenous groups - drunk on the fantasy of saving civilization from the savage others. 

 

Whatever the future holds, I am firmly on Team Mutuality, eager to build communities of mutual support. And in a disaster, come on over, and me and mine will have food and shelter and first aid ready to go. 

 

Tuesday, May 16, 2023

A Little Night Music by Stephen Sondheim and Hugh Wheeler (Pasadena Playhouse 2023)

Now that Stephen Sondheim has passed, there has been a bit of a revival of his less-performed works. My wife and I enjoyed a local production of Sunday in the Park with George recently, and she caught a gender-swapped version of Company last summer in New York. Going further back, we have seen local productions of Assassins and A Funny Thing Happened on the Way to the Forum, while my wife also saw Into the Woods, Follies, and Sweeney Todd

 

I do not recall that A Little Night Music had been done locally, ever, and neither of us had seen ads for it anywhere else. Despite great commercial success when it came out in 1973, it seems to have faded in popularity. Maybe this is because of its more conventional happy ending. Or perhaps, as my wife pointed out, it really is best done with a real orchestra, and is demanding on the actors for voice and dancing. Whatever the case, we could not pass up the chance to see a top-shelf professional version of it, even if it meant Stacking a very late night onto an already vigorous weekend vacation. Work hard, play hard…

 

The Pasadena Playhouse is both a historically significant building, and a well-respected professional theater. We had never seen a show there, but probably will be planning to return in the future. 

 (Publicity Photo)

This show was, quite simply, amazing. A real orchestra backstage (we got to see them briefly at the entr'acte and at the end), an all-star stage cast that was excellent from top to bottom, and the delight that a smaller venue brings to live theater. 

 

The musical itself is based on, of all things, an Ingmar Bergman film, which explains its Swedish setting and characters. One might call it a love hexagon - there are three main couples with a complex set of relationships - or one might even expand it to an octagon, given the fourth pairing of the maid, Petra, and the manservant, Frid. 

 

So, the widowed lawyer, Fredrik, has recently married Anne, half his age (and about the age of Fredrik’s son, Henrik), but she is repulsed by him, and remains a virgin nearly a year later. Henrik is aiming for the ministry, but has the hots for Anne. But, since he can’t have her, he allows himself to be seduced by the worldly and horny Petra. 

 

Meanwhile, Fredrik and Anne go to see the famous touring actress Desiree, who Fredrik had an affair with years ago. They are still in love, even though Desiree dumped him. Desiree is currently the paramour of Count Carl-Magnus, a blustering dragoon. Carl-Magnus is married to Charlotte, an old friend of Anne’s. Carl-Magnus rubs his affairs in the face of his wife, and is pretty much a dick all around. 

 

So, got that? Fredrik, Anne, Henrik, Carl-Magnus, Charlotte, Desiree, Petra, and Frid. 

 

And then there are the members of the other generations: Madame Armfeldt, Desiree’s mother, a former courtesan who has slept with royalty - she gets a hilarious scene where she describes her past lovers - and what she got from them in return. Finally, there is Fredrika - Desiree’s daughter (a son in the original film), and the name is not a coincidence. 

 

Finally, there is a quintet of voices who serve as the chorus, commenting on the action, and serving up witty observations about male-female relationships. 

 

After the night at the theater, Fredrik sneaks out to see Desiree. Their tryst is interrupted by Carl-Magnus, who tells Charlotte to tell Anne of the infidelity. Meanwhile, Desiree convinces her mother to invite Fredrik and his entire family to the estate for the Midsummer Night celebration. But then Carl-Magnus and Charlotte decide to crash the party and…well, hilarity ensues. 

 

I won’t discuss the plot any further than that, other than to mention that there are a LOT of references to Ibsen and Chekhov in the play, including a loaded gun that has to be used, because Chekhov. 

 

The score is delicious - rather than the pop sounds that Sondheim often used, this one is pure orchestra, no rhythm section. Nearly all of the music is in waltz ¾ time, and endless fete of night music. Despite the title (drawn from Mozart’s most famous string serenade), the music is from a later era. While obviously the golden age grand waltzes of Johann Strauss Jr. can be heard, these lean more toward Ravel in harmony, and Richard Strauss - because of Die Rosenkavalier, another silly rom-com with partner swapping. (A bit of research indicates that Sondheim put a few brief quotes from that opera in the music, as well as some bits from Ravel’s Valses.) 

 

The vocal parts are quite demanding in terms of range and technical skill. Because of the operatic writing (it really is an operetta, not a true musical), the singers have to carry everything from the melody line to what is essentially important dialogue. There are the usual duets, but also rather complex polyphonic ensemble numbers. 

 

I should also mention that the whole thing is packed with witty jokes, razor-sharp satire, and endless double meanings. I mean, laugh out loud funny throughout. 

 

I’ll say a word about the cast. There were really no weak parts anywhere. Everyone was good. And by good, I mean excellent. This was a cast of true professionals doing what they do best. However, let me give particular call outs to a trio of women who particularly owned the scenes they were in. First, Makara Gamble as young Fredrika - it isn’t often you see a tween who can sing and act that well. Keep an eye on her in the future. Second, Jodi Long as Madam Armfeldt. Like most of the actors in this production, she has a long list of stage and screen roles. She played this role as somewhere between an ice queen and a benevolent (if intimidating) grandmother, and you could feel her stage presence throughout. 

 

And finally, Merle Dandridge, recently of The Last of Us (Marlene), as Desiree. From the first we see of her, it is clear why men cannot resist her. And it isn’t primarily sex appeal, although there is that. She just has that certain something - is it confidence? is it ability to turn on her personality at will? is it that she knows who she is and won’t apologize? - whatever it is, she has it, and you cannot keep your eyes off of her. 

 

Because of the original casting back in the day, Sondheim wrote Desiree’s part as less vocally demanding than the others. Which meant in this case that Dandridge had a bit less to work with as far as virtuosity. Instead, she got to make the signature song from this musical, “Send in the Clowns,” into a masterpiece of pathos and defeat. After it ended, I thought Oh My God. It was that good. So understated, never maudlin, but absolutely devastating. All that bravado, and she feels failure so deep it nearly kills her. I would have paid the ticket price just for that song. 

 

[It isn’t the same as with the full orchestra, and in the context of the play, but her stand-alone performance is pretty badass too.] 

 

This was a thoroughly enjoyable evening, and a truly delightful musical. I’m glad we were able to make it. It runs through the end of the month, so if you are a local(ish) sort, go get a ticket and enjoy. 

 

Wednesday, May 10, 2023

The Courtship of Miles Standish by Henry Wadworth Longfellow

Source of book: I own this

 

Longfellow occupies a strange position in American letters. One could say he was born at the wrong time, or that he tried to do the wrong thing at the wrong time, or that he failed to understand the future. Which, well, it happens to many of us. 

 

The thing is, Longfellow was a pretty good guy, progressive if not radical in his time. He was ardently in favor of the abolition of slavery, and gave a lot of his own money toward the cause. More than many writers of his generation, he saw Native Americans as fully human. 

 

So what went wrong for him? Why does his work feel so dated? 

 

Well, the problem stems, I think, from the way he approached his writing. The young nation of the United States of America had just had a fairly dizzying rise. The Civil War was still in the future, and many - Longfellow included - believed that there could be a peaceful abolition similar to that which had occurred in England. 

 

Longfellow set as his project to create the epic poetry of America, the grand mythology that would sing of its origins. I mean, every ancient country has this, from the Hebrew origin myths in the Bible, to the Homeric epics. It was natural that Longfellow would want to see similar works for his own native country. 

 

But how does one do that? I can’t find the quote now, but someone once said that every civilization was founded on a genocide. Which may or may not be true universally, but certainly was in the case of the European conquest of the Americas. Furthermore, our economy was built on the backs of the enslaved. Which was still happening at that time, for that matter. 

 

So what was Longfellow to do? How could he create epic paeans to the founding of America out of the messiness of the truth? He clearly had an impossible task, and despite his best efforts, he failed to create the truly timeless works he intended. 

 

Not that he did a shabby job. His poetry is still lyrical and reads well, and it is understandable why he was the best selling American poet of his time. 

 

I also want to point out again that he tried to rise above the prejudices of his time, which is admirable. He tried to humanize Native Americans. He worked to end enslavement of black Americans. While our modern ears find some of his lines to be some combination of patronizing and whitewashing, he was considered a dangerous radical by the racists of his day. 

 

With that preface, let’s look a bit at this longer narrative poem. I previously blogged about Evangeline, the story of the Acadians - French settlers expelled by the British from Nova Scotia, who were resettled in Louisiana and became the Cajuns. 

 

In this bit of mythology, Longfellow dramatizes a few of those who came over on the Mayflower, namely captain Miles Standish, his good friend John Alden, and the third member of the love triangle, Priscilla Mullins. 

 

Longfellow himself was, shall we say, interested in the story, because he was a descendent on his mother’s side from Alden and Mullins, and claimed that the poem related oral family history. 

 

There is some debate about whether this “family history” was based much in fact, other than the obvious one that Alden and Mullins married and had children, but it is pretty certain that Longfellow took plenty of poetic license even as he based the poem on real history. 

 

Like Evangeline, The Courtship of Miles Standish is written in dactylic hexameter - the same used by Homer in The Iliad and The Odyssey, and by Virgil in The Aeneid. Clearly, Longfellow was aiming for that epic vibe. 

 

The story itself is well enough known, so I assume there are no risks of spoilers. Miles Standish, brusque yet shy, has lost his first wife on the voyage, and wishes to court the beautiful young Priscilla. Who just happened to be the only unmarried woman of marriageable age left in Plymouth. Standish considers himself to be poor at courting, and asks his younger friend John to do the courting for him. 

 

John Alden is torn between his loyalty to his friend and his unspoken love for Priscilla. He mans up, and does the deed he feels he needs to do: he delivers Standish’s proposal as best he can. 

 

Priscilla is no fool, and thinks Standish is too much of a bloody soldier for her taste anyway. She rebuffs the secondhand proposal with one of the most famous lines in all of literature: 

 

“Why don’t you speak for yourself, John?” 

 

Embarrassed by her refusal, Standish blows up on John, swears eternal enmity, and goes off to console himself by focusing on the ongoing war with the Native Americans. Things heat up fast, in no small part because of the hotheadedness of another soldier, and the facts get lost in the fog of battle. The rumor comes back that Standish has been killed. 

 

Later, the scene shifts to the wedding of John and Priscilla. At the height of the proceedings, a ghostly figure appears: Miles Standish. It turns out he is alive, and, rather than furious at John Alden, has forgiven all possible wrong, and comes to give him congratulations and the best of happiness. 

 

In addition to the most famous line, there are some others that I thought were fascinating. The first is when Standish, having lost his wife, looks at his shelf of books, trying to decide what is best to take his mind off his loss. 

 

Fixed to the opposite wall was a shelf of books, and among them

Prominent three, distinguished alike for bulk and for binding;

Bariffe’s Artillery Guide, and the Commentaries of Caesar

Out of the Latin translated by Arthur Goldinge of London,

And, as if guarded by these, between them was standing the Bible. 

Musing a moment before them, Miles Standish paused, as if doubtful

Which of the three he should choose for consolation and comfort,

Whether the wars of the Hebrews, the famous campaigns of the Romans,

Or the Artillery practice, designed for belligerent Christians. 

 

He chooses the Roman book, in case you wondered. This proclivity toward martial pursuits is his reasoning for asking the more literary Alden to do the wooing. 

 

“Go to the damsel Priscilla, the loveliest maiden of Plymouth,

Say that a blunt old Captain, a man not of words but of actions,

Offers his hand and his heart, the hand and heart of a soldier.

Not in these words, you know, but this in short is my meaning;

I am a maker of war, and not a maker of phrases.

You, who are bred as a scholar, can say it in elegant language,

Such as you read in your books of the pleadings and wooings of lovers,

Such as you think best adapted to win the heart of a maiden.” 

 

It should surprise no one that Priscilla isn’t having it. At all. 

 

“If the great Captain of Plymouth is so very eager to wed me,

Why does he not come himself, and take the trouble to woo me?

If I am not worth the wooing, I surely am not worth the winning!”

 

Then, she gives poor John a sick burn to take back to his friend. 

 

“That is the way with you men; you don’t understand us, you cannot.

When you have made up your minds, after thinking of this one and that one, 

Choosing, selecting, rejecting, comparing one with another,

Then you make known your desire, with abrupt and sudden avowal,

And are offended and hurt, and indignant perhaps, that a woman

Does not respond at once to a love that she never suspected,

Does not attain at a bound the height to which you have been climbing.

This is not right nor just: for surely a woman’s affection

Is not a thing to be asked for, and had for only asking.

When one is truly in love, one not only says it but shows it.”

 

Ah, the bumbling of men who fail to think of women as fully human. No, marriage isn’t a favor a man offers a woman, that she would be foolish to refuse. No matter how rich or powerful the man is. You want her? Put in the work. And be willing to take no if she isn’t interested. 

 

Later, Standish ends up part of a council about the upcoming war. He is still furious at his rebuff, and says some pretty horrifying things about violence being the only way to deal with “savages.” A sole voice opposes him, the Elder of Plymouth (perhaps referring to William Bradford?) with what were probably the sentiments of Longfellow himself, who was categorically opposed to war. 

 

Thereupon answered and said the excellent Elder of Plymouth,

Somewhat amazed and alarmed at this irreverent language;

“Not so thought St. Paul, nor yet the other apostles;

Not from the cannon’s mouth were the tongues of fire they spake with!” 

 

While Standish is off botching the battle, John and Priscilla manage to talk things out. They both apologize for saying harsh things. John explains that he wasn’t angry with her, but with himself, for making a mess of his task from Standish. Priscilla’s response is interesting:

 

“No; you were angry with me, for speaking so frankly and freely.

It was wrong, I acknowledge; for it is the fate of a woman

Long to be patient and silent, to wait like a ghost that is speechless,

Till some questioning voice dissolves the spell of its silence. 

Hence is the inner life of so many suffering women

Sunless and silent and deep, like subterranean rivers

Running through caverns of darkness, unheard, unseen, and unfruitful,

Chafing their channels of stone, with endless and profitless murmurs.”

 

Damn. 

 

That is not an apology, is it? More like a bit of a shot across the bow. Longfellow, as I said, was pretty progressive. He understood the stultifying patriarchal culture that expects women to wait in silence, never expressing themselves directly. So, Priscilla, who actually likes John, wants to make clear that if he pursues her, she will not be the shy and silent maiden. As the conversation progresses, she deflects his flattery and insists that she wants his friendship - a friendship where they can both speak directly and openly and assertively. In other words, an egalitarian relationship. 

 Illustration of this scene, from 1903 - that's the one in my edition.

While John is a bit speechless, he is also clearly turned on, and eventually does pursue her the way she wants and needs to be pursued. 

 

Longfellow is just one of a number of men of his era who clearly understood that women were their equals. This idea that was force-fed in the subculture I grew up in - that the good old days were when men were men and women were subordinate doesn’t stand up to scrutiny. There have always been egalitarian marriages. And they have always been the good marriages. (See: Anne Bradstreet) I myself prefer an outspoken and forthright woman - that’s why I married one. 

 

I have chosen to highlight the best parts of the poem. As I said, the violence toward Native Americans is pretty horrifying, if true to the history, and even if Longfellow clearly disapproves of it. And there are some assumptions that go unchallenged. But on balance, Longfellow is aiming in the right direction. This longer poem is worth reading. 

 

***

 

Just a thought on national epics: 

 

To the extent national epics are even possible anymore, in a nation like the United States, it would have to be told, not by any single voice, but by a multicultural, multiracial, and multigendered choir of voices. To be true of any of us, it must be true of all of us. Whether this will ever be written is an open question, but it can be imagined.