Friday, February 21, 2025

Dusk of Dawn by W. E. B. Du Bois

Source of book: I own this.

 

It has been quite a few years since I read Du Bois’ most famous work, The Souls of Black Folk, which was definitely influential on my thinking. 

 

This book, like the other, is a Black History Month selection. You can find the entire list here, and my thoughts on Black History Month here


Dusk of Dawn is an interesting book in that it combines autobiography - it tells the story of Du Bois’ life up until the period immediately before World War Two - with philosophy - his evolving ideas about race and racism in America. 

 

For a book 85 years old, it feels shockingly relevant. We are still dealing with the same issues, the same arguments, the same everything. And I will be clear here: MAGA is the “same old serpent,” as Lincoln put it. It is nothing less than White Supremacy, the new KKK, and Nazism come to life again. 

 

It literally feels like everything in Dusk of Dawn was written today. I am not kidding about that. This is both affirming and discouraging. It is good to read someone who saw it all as clearly as Du Bois did. It is a reminder that the fight is nothing new. Indeed, the economic issues which lead to the Great Depression have re-emerged, and demand a more thorough solution this time around. (Including the full confiscation of the plunder perpetrated by the predator-billionaire class of the working classes, and the prosecution of the plunderers.) 

 

In so many ways, W. E. B. du Bois is the black writer I identify with most in a personal way. We have a lot in common. 

 

Both of us grew up in working-to-lower-middle-class families who valued our education. Both of us surpassed most of our peers academically through hard work, family support, and innate intelligence. Both of us believe in the value of education and knowledge in changing the world. Both of us were initially naive, thinking that racism was mostly a lack of education or a few bad actors, rather than an entire social system of exploitation - aka “CRT,” even if it wasn’t called that back then. 

 

Even in terms of personality, I think there are similarities. We are both introverts, who think better when writing than when giving speeches, who prefer educating to leading. I also find his command of the semicolon to warm my heart. 

 

While I greatly admire so many of the various civil rights advocates, and love reading them, I think W. E. B. du Bois is the one that I would most want to invite to dinner. I feel we would naturally get along and have a lot in common. Oh, and we would both enjoy discussing the ideas of William James, who is mentioned often in this book. 

 

I wrote down a whole bunch of quotes, but it would be impossible to capture the true essence of the book, particularly Du Bois’ theories of economics and race that evolve slowly throughout his story of his life. It’s worth reading, particularly for understanding our times and the national sin of white supremacy which is currently destroying our country. 

 

The introduction really lays out the issue, then and now. 

 

My life had its significance and its only deep significance because it was part of a Problem; but that problem was, as I continue to think, the central problem of the greatest of the world’s democracies and so the Problem of the future world. The problem of the future world is the charting, by means of intelligent reason, of a path not simply through the resistances of physical force, but through the vaster and far more intricate jungle of ideas condition on unconscious and subconscious reflexes of living things; on blind unreason and often irresistible urges of sensitive matter; of which the concept of race is today one of the most unyielding and threatening. 

 

Unlike today’s right wing, which has embraced an Ayn Rand idea of radical individuality, and thus missing the interconnections which underlie society and the economy and make wealth possible, Du Bois understood the connections. I found this line perceptive. 

 

In the folds of this European civilization I was born and shall die, imprisoned, conditioned, depressed, exalted and inspired. Integrally a part of it and yet, much more significant, one of its rejected parts; one who expressed in life and action and made vocal to many, a single whirlpool of social entanglement and inner psychological paradox, which always seem to me more significant for the meaning of the world today than other similar and related problems. 

 

He goes on to note that even through the rise of the scientific method, and the discovery that race is a social fiction, racism continued to be a root facet of society. 

 

But the mind clung desperately to the idea that basic racial differences between human beings had suffered no change; and it clung to this idea not simply from inertia and unconscious action but from the fact that because of the modern African slave trade a tremendous economic structure and eventually an industrial revolution had been based upon racial differences between men; and this racial difference had now been rationalized into a difference mainly of skin color. 

 

After a basic introduction to these ideas, he continues with his boyhood as a free black in New England. I was surprised to find that he and his family were about the same kind of lower-middle-class conservatives me and mine were. I swear I was literally taught this next line as gospel truth. And, I suppose it was at least somewhat true for my dad - a white male Boomer, aka, the most privileged form of human in American history. 

 

My general attitude toward property and income was that all who were willing to work could easily earn a living; that those who had property had earned it and deserved it and could use it as they wished; that poverty was the shadow of crime and connoted lack of thrift and shiftlessness. These were the current patterns of thought of the town in my boyhood.

 

That this has ceased to be true for my children was, unfortunately, apparent years ago. And it was never true for black children. Not really. Which is Du Bois’ point, and his success and the success of the Talented Tenth didn’t change the reality for the greater masses. 

 

Next up is another line that sure seems relevant. With this book being published during the last surge of fascism, some things seem very familiar. 

 

Today both youth and age look upon a world whose foundations seem to be tottering. They are not sure what the morrow will bring; perhaps the complete overthrow of European civilization, of that great enveloping mass of culture into which they were born. Everything in their environment is a meet subject for criticism. They can dispassionately evaluate the past and speculate upon the future. It is a day of fundamental change. 

 

Du Bois contrasts this with his own younger years, when things seemed more fixed, and progress more sure. Another thing that I feel we have in common. Oh, and here is another one. Du Bois had a complicated relationship with religion. He was, as most Americans of the time were, raised Protestant Christian. He later deconverted, mostly following the Baha’i Faith with some Hindu influences. However, he continued to write and use prayers that would be at home in most Protestant churches. Although presumably not as much these days, as white Evangelicalism has been co-opted by a supremacist political movement, and has no further use for Christ. 

 

Anyway, Du Bois recounts how he had his first real challenge to his faith - something that happened to me as well. 

 

But the book on “Christian Evidences” which we were compelled to read, affronted my logic. It was to my mind, then and since, a cheap piece of special pleading. 

 

While the most damaging challenge to my faith is and remains the embrace of Trump by Evangelicalism and bigotry and hate by my parents, the second most challenging discovery was that apologetics is just utter and pure shite. “Special Pleading” is a generous way of putting it. Nothing made me question specific claims more than seeing how flimsy the defense was. If that is all ya got? In contrast, other college studies resonated more with him in the same way they did for me. 

 

Our course in general philosophy under the serious and entirely loveable president was different. It opened vistas. It made me determine to go further in this probing for truth. Eventually it landed me squarely in the arms of William James of Harvard, for which God be praised. 

 

I too wish to seek truth. To have my vistas opened, not narrowed. And William James is perhaps the closest writer to my own philosophy. 

 

Of course, Du Bois got to take classes from James personally, which makes me jealous. The list he gives of luminaries at Harvard of that era too, wow. Santayana, Palmer, Shaler, and so many more. Du Bois got an education worthy of envy, and he really made the most of it. 

 

He also continued to learn throughout life. His years as a teacher are filled with his continuing growth in thought. Here is another line that I think matches my own journey. 

 

I was interested in evolution, geology, and the new psychology. I began to conceive of the world as a continuing growth rather than a finished product. 

 

Along with this knowledge, he came to understand the new imperialism of America, starting with our overthrow of the Hawaiian government

 

At this time, he also started to disagree with the established black leaders, primarily Booker T. Washington. This feud is well known, although it is to my mind a bit overblown. They both respected each other - this was no rapper feud but a disagreement about means, not ends. 

 

Succinctly put, Washington thought that black folk would advance through working in the trades and accumulating property. Du Bois thought that black folk needed education first, or they would always be led by - and exploited by - whites. 

 

Later in the book, he talks about his parting of ways with the NAACP, for similar reasons. Du Bois increasingly saw racism in terms of economic exploitation, and advocated for the elimination of the economic system that oppressed black and white. In this, he foresaw both the effects of the Depression, and our current oligarchy. More on that later. But even in this early disagreement, he correctly noted that the white oligarchy would always prevent the working class, and particularly the black working class, from earning enough to accumulate wealth. 

 

Oh, and Du Bois also took issue with Washington’s tendency to victim-blame. 

 

I was increasingly uncomfortable under the statements of Mr. Washington’s position: his depreciation of the value of the vote; his evident dislike of Negro colleges; and his general attitude which seemed to place the onus of blame for the status of Negroes upon the Negroes themselves rather than upon the whites. 

 

For an excellent rebuttal of this position, I recommend another of my Black History Month selections, The Omni-Americans by Alfred Murray

 

During his academic years, Du Bois was a lead part of a survey of rural blacks in a particular part of the South. It gathered all kinds of information about labor, landlord-tenant relationships, family life, demographics, and more. The government accepted it and paid the costs, but then buried it, claiming it “touched on political matters.” 

 

In other words, it told the truth. 

 

Which, then as now, white supremacists do not want to be spoken. 

 

On a related note, how about this quote from a speech Du Bois gave? It sure seems relevant now as then. And also, it is what I say to the fake-ass “christians” of our time. 

 

"Never before in the modern age has a great and civilized folk threatened to adopt so cowardly a creed in the treatment of its fellow-citizens, born and bred on its soil. Stripped of verbiage and subterfuge and in its naked nastiness, the new American creed says: fear to let black men even try to rise lest they become the equals of the white. And this is the land that professes to follow Jesus Christ. The blasphemy of such a course is only matched by its cowardice."

 

Here is another passage that I saw myself in, about his transition from teaching to advocacy: 

 

My career as a scientist was to be swallowed up in my role as a master of propaganda. This was not wholly to my liking. I was no natural leader of men. I could not slap people on the back and make friends of strangers. I could not easily break down an inherited reserve; or at all times curb a biting, critical tongue. Nevertheless, having put my hand to the plow, I had to go on. 

 

Later, he got the chance to study in Berlin. This was a mixed experience. He had some great teachers. But he also got Heinrich von Treitschke, who was not only a bully but an inveterate racist. 

 

Du Bois comments at length about the problems posed by “scientific racism,” which was popular at the time, but, as he notes, kept moving the goalposts. 

 

The first thing which brought me to my senses in all this racial discussion was the continuous change in the proofs and arguments advanced. I could accept evolution and the survival of the fittest, provided the interval between advanced and backward races was not made too impossible. I balked at the usual “thousand years.” But no sooner had I settled into scientific security here, than the basis of the race distinction was changed without explanation, without apology. I was skeptical about brain weight; surely much depended on what brains were weighed. I was not sure about physical measurements and social inquiries. 

 

As he comes to realize, the racism drove the interpretation of dubious “distinctions,” not the other way around. It was, at its core, a caste system, created for exploitation. This next paragraph is fascinating. 

 

It is hard under such circumstances to be philosophical and calm, and to think through a method of approach and accommodation between castes. The entombed find themselves not simply trying to make the outer world understand their essential and common humanity but even more, as they become inured to their experience, they have to keep reminding themselves that the great and oppressing world outside is also real and human and in its essence honest. All my life I have had continually to haul my soul back and say, “All white folk are not scoundrels nor murderers. They are, even as I am, painfully human.” 

 

The chapter on The White World has an incredible opening, which is worth quoting. 

 

The majority of men resent and always have resented the idea of equality with most of their fellow men. This has had physical, economic, and cultural reasons: the physical fear of attack; the economic strive to avert starvation and secure protection and shelter; but more especially I presume the cultural and spiritual desire to be one’s self without interference from others; to enjoy that anarchy of the spirit which is inevitably the goal of all consciousness. It is only in highly civilized times and places that the conception arises of an individual freedom and development, and even that was conceived of as the right of a privileged minority, and was based on the degradation, the exclusion, the slavery of most others. The history of tribes and clans, of social classes and all nations, and of race antipathies in our own world, is an exemplification of this fight against equality and inability even to picture its possibility. 

 

This is, unfortunately, all too true. If I were to pick one human trait that I think exemplifies our capacity for evil, it is our lust for supremacy. We have to be able to look down on other people, even if it harms us too. (In contrast, our capacity to love and cooperate with each other is our greatest capacity for good.) 

 

Du Bois also talks about the problem of white guilt. For someone like me, whose ancestors weren’t even Americans during slavery, yet who has benefited from white privilege, this really makes sense. I wish more people were open to this knowledge.

 

It may be objected here that so general a statement is not fair; that there are many white folk who feel the unfairness and crime of color and race prejudice and have toiled and sacrificed to counteract it. This brings up the whole question of social guilt. When, for instance, one says that the action of England toward the darker races has been a course of hypocrisy, force and greed covering four hundred years it does not mean to include in that guilt many persons of the type of William Wilberforce and Granville Sharpe. On the other hand because British history has not involved the guilt of all Britons we cannot jump to the opposite and equally fallacious conclusion that there has been no guilt; that the development of the British Empire is a sort of cosmic process with no individual human being at fault. 

 

He goes on:

 

In the history of England, France, America, Germany and Italy, we have villains who have selfishly and criminally desired and accomplished what made for the suffering and degradation of mankind. We have had others who desired the uplift and worked for the uplift of all men. And we have had a middle class of people who sometimes ignorantly and sometimes consciously shifted the balance now here, and now there; and when, in the end, this balance of public opinion, this effective social action, has made for the degradation of mankind or in so far as it has done this, that part of England which has allowed this or made it possible is blood-guilty of the result.

 

That sounds harsh, but he is right. A society that goes along with this is complicit. Full stop. 

 

Another line in this chapter stood out to me, in part because I literally blogged about the idea back when our relationship with religion was starting to crumble, as we slowly figured out that it wasn’t about God at all, but about a supremacist political movement. 

 

Why, man of mine, you would not have the courage to live one hour as a black man in America, or as a Negro in the whole wide world. Ah, yes, I know what you whisper to such accusation. You say dryly that if we had good sense, we would not live either; and that the fact that we do submit to life as it is and yet laugh and dance and dream, is but another proof that we are idiots. 

 

Seriously. White evangelicals wouldn’t last one freaking day as black people. They would utterly lose their shit. Instead, they act like being called out on the most hateful things they say is somehow “persecution.” Yep. I had a relative try to claim it was worse that I called her out on her racism than that she was saying racist stuff. And my dad literally said he cut me out of his life because I called him a racist for saying Nazi-level shit. 

 

There is also a great passage in which Du Bois takes on the reality that “race” is a social construct. He and a not-entirely-imaginary arguer discuss that yes, most black people in the United States have significant white ancestry, for, well, reasons rather unsavory. And likewise, plenty of white people have black ancestry. 

 

So, if we are pretty much “brown and beige,” how do we know who is black?

 

I recognize it quite easily and with full legal sanction; the black man is a person who must ride “Jim Crow” in Georgia. 

 

And here is yet another prescient passage:

 

The democracy which the white world seeks to defend does not exist. It has been splendidly conceived and discussed, but not realized. If it ever is to grow strong enough for self-defence and for embracing the world and developing human culture to its highest, it must include not simply the lower classes among whites now excluded from voice in the control of industry; but in addition to that it must include the colored peoples of Asia and Africa, now hopelessly imprisoned by poverty and ignorance. Unless these latter are included and in so far as they are not, democracy is a mockery and contains within itself the seeds of its own destruction. 

 

This hints at his next point, which is at the root of our current political upheaval. Democracy cannot be mere political equality - the right to vote, as important as it is. It must include social and economic equality, or the vote is meaningless. 

 

Many assume that an upper social class maintains its status mainly by reason of its superior culture. It may, however, maintain its status because of its wealth and political power and in that case its ranks can be successfully invaded only by the wealthy. In white America, it is in this direction that we have undoubtedly changed the older pattern of social hierarchy. Birth and culture still count, but the main avenue to social power and class domination is wealth: income and oligarchic economic power, the consequent political power and the prestige of those who own and control capital and distribute credit. This makes a less logical social hierarchy and one that can only be penetrated by the will and permission of the ruling oligarchy or the chances of gambling. Education, thrift, hard work and character undoubtedly are influential, but they are implemented with power only as they gain wealth; and as land, natural resources, credit and capital are increasingly monopolized, they gain wealth by permission of the dominating wealthy class. 

 

This is, unfortunately, the case. Even with my mostly self-taught education, I can guarantee that I have more thrift and character, and have worked harder than people like Trump can imagine. But those born with money get to pilfer even more. 

 

Du Bois also looks at black culture, and, unsurprisingly, he has some criticism. (Anyone who has read The Souls of Black Folk already knows that he, like all thoughtful members of any group, wishes to improve that group.) I didn’t take any particular notes here, in part because it is like sticking one’s nose in a place it doesn’t belong. 

 

After that comes a chapter on World War One and propaganda. He again notes that his earlier naivete has been replaced with a more systemic and economic understanding of the problem. 

 

I had come to the place where I was convinced that science, the careful social study of the Negro problems, was not sufficient to settle them; that they were not basically, as I had assumed, difficulties due to ignorance but rather difficulties due to the determination of certain people to suppress and mistreat the darker races. 

 

He goes on to note that even suppression of evil men isn’t enough. There needs to be a complete reworking of systems and the subconscious stories we tell ourselves. 

 

Another fascinating idea in this chapter is Du Bois understanding that the causes of World War One were not exactly what we were taught in school. Underrated was Germany’s desire to join the list of imperialist nations, with colonies to match. 

 

(Actually, I read a book recently which does take a look at this: George, Nicholas, and Wilhelm by Miranda Carter. It’s a good read.) 

 

As part of his advocacy efforts, Du Bois wrote a resolution that was adopted by a conference of black organizations during the war. 

 

“We trace the real cause of this World War to the despising of the darker races by the dominant groups of men, and the consequent fierce rivalry among European nations in their effort to use darker and backward people for purposes of selfish gain regardless of the ultimate good of the oppressed. We see permanent peace only in the extension of the principle of government by the consent of the governed, not simply among the smaller nations of Europe, but among the natives of Asia and Africa, the Western Indies and the Negroes of the United States.” 

 

And also, this description of a certain person:

 

William Taft, fat, genial and mediocre, had no grasp of world affairs nor international trends. 

 

True that. He also describes how Taft pretty much threw black southerners under the bus in his federal appointments. 

 

Another interesting passage in the book is Du Bois’ contrast of his experiences in England - where he made friends including H. G. Wells - and the way white people tended to avoid him in America. 

 

I early assumed that most Americans did not wish my personal acquaintance or contact with me except in purely business relations, and that many of them would repay any approach on my part with deliberate insult, while most of them would be at least embarrassed. Probably I was often wrong in this assumption, but I was right often enough to prove to myself that my rule was wise and a great help to my own peace and quiet. 

 

I get his introversion here, and he admits he could have been more outgoing. But it is true that constant rejection isn’t conducive to risk-taking. The fact that Brits, hardly known for extroversion as a culture, were more open to his friendship says a lot. 

 

Want another bit in which this book sounds like the present? He literally mentions 1619. This is nearly a century before the 1619 Project became a thing. So, this is nothing new. This isn’t some 21st Century “woke” invention at all. Black people have been saying it for centuries. 

 

The final chapter - nearly 50 pages long - is entitled “Revolution,” and it gets into a lot of the history of how and why Du Bois left the NAACP after years of service. He had some involvement with the Communist Party in the United States before becoming frustrated with the Russian leaders completely misunderstanding the role of race in American politics. 

 

The stupidest example of this was the leaders’ approach to a case in which black men was falsely accused of assaulting white prostitutes on a train. The NAACP had hired Clarence Darrow (who knew a few things about trying cases…), and expected to get the case quietly dismissed. 

 

The Russian ideologues, on the other hand, decided that it would be better to sacrifice the accused in the hopes of stirring up a revolution. 

 

All this was based on abysmal ignorance of the pattern of race prejudice in the United States. About the last thing calculated to arouse the white workers of America would be the defense of a Negro accused of attacking a white woman, even though the Negro was probably innocent and the woman a prostitute.

 

Yeah, that was a terrible idea. 

 

He did, however, take from these experiences a deeper understanding of how democracy was failing in the United States in the 1920s and 30s. 

 

I had been brought up with the democratic idea that this general welfare was the object of democratic action in the state, of allowing the governed a voice in government. But through the crimson illumination of war, I realized and, afterward by travel around the world, saw even more clearly that so-called democracy today was allowing the mass of people to have only limited voice in government; that democratic control of what are at present the most important functions of men: work and earning an living and distributing goods and services; that here we did not have a democracy; we had oligarchy, and oligarchy based on monopoly and income; and this oligarchy was as determined to deny democracy in industry as it had once been determined do deny democracy in legislation and choice of officials. 

 

You don’t say. And there’s more that sounds like today:

 

During the nineteenth century the overwhelming influence of the economic activities of men upon their thought and action was, as Marx insisted, clear; but it was not until the twentieth century that the industrial situation called not only for understanding but for action. Modern business enterprise organized for private profit was throttling democratic government, choking art and literature and leading work and industry into a dangerous paradox by increasing the production of things for sale and yet decreasing even more rapidly the number of persons able to buy and the amount of money they could spend; thus throwing industry into periodic convulsions. 

 

Yep, here we are today. Let’s just replace workers with AI, and hope “someone” still has any income to buy the things produced. We are headed for another depression, and for the same stupid reasons as the first. 

 

Despite his admiration for Marx (who I agree was pretty brilliant in identifying the problems of industrialized capitalism even if his proposals were more utopian than pragmatic), Du Bois was not much of a revolutionary. He preferred reform - yet another way he and I are similar. 

 

I was not and am not a communist. I do not believe in the dogma of inevitable revolution in order to right economic wrong. I think war is worse than hell, and that it seldom or never forwards the advance of the world.

 

Cue the Beatles…

 

Those are my thoughts on this book. Du Bois really is one of my favorite thinkers, and definitely on my guest list for my all-time dinner party. I’d definitely recommend this book for understanding our national sin and its ongoing reverberations. 

 

Wednesday, February 19, 2025

The Bean Eaters by Gwendolyn Brooks

Source of book: I own this.

 

This is one of my selections for Black History Month.

 

You can check out past selections as well as other notable books by black authors and about black history here.

 

You can read my thoughts on why black history is important here

 

Typically, while I do not “officially” count every book I read during Black History Month, I make an effort to read in three genres: Fiction, Non-Fiction, and Poetry. This book is, obviously, the latter of the categories.

 

I have talked about my homeschool experience quite a lot, including the problematic curriculum we used. (Mostly A Beka.) In retrospect, there sure was a lot of propaganda in it, particularly the history and science books, although it also wasn’t as horrible as the alternatives at the time such as Bob Jones. 

 

The literature curriculum, though, was a mixed bag. Yes, there was a certain amount of “everything Christian is good and everything not Christian is bad” crap. Yes, it glorified Victorian Era white authors a bit too much, although at least it didn’t denigrate female or minority authors. Really, the biggest flaw was its ignoring the latter half of the 20th Century entirely. 

 

Yet I would say that it did expose me to a wide range of literature, and introduced me to many black authors that I still love today. In particular, I learned a lot of poetry, something I unfortunately see as uncommon these days. (Some of my kids’ high school teachers barely touched on it at all, alas.) 

 

In addition to Paul Laurence Dunbar, Countee Cullen, and Langston Hughes, I distinctly remember reading a poem or two by Gwendolyn Brooks. 

 

The Bean Eaters is probably her most famous work, and definitely contains her most famous poem. 

 

One thing that is striking about this collection is just how widely varied Brooks’ poems are. From very modern, free verse, and experimental forms to traditional ballads and sonnets. She was clearly incredibly talented and versatile, as she wrote wonderfully in all of the styles. I will try to feature some of the contrasts in this post. 

 

While the poems are also thematically varied, there are some ideas that dominate the collection. First is the murder of Emmett Till, an event that even shocked the consciences of many white people. The other is the efforts to integrate schools in the wake of Brown v. Board of Education. Many of the other poems illustrate the variety of African American experience, particularly as found in Brooks’ hometown of Chicago. 

 

I’ll start with the poem I read in high school and never forgot. 

 

We Real Cool

The Pool Players.

Seven at the Golden Shovel.

 

We real cool. We

Left school. We

 

Lurk late. We

Strike straight. We

 

Sing sin. We

Thin gin. We

 

Jazz June. We

Die soon.

 

The surface way to read this poem as a racist white person (which was kind of the perspective of the curriculum) is as a condemnation of black culture. But that is to largely miss the point. 

 

Brooks is observing a certain kind of masculinity here, one that knows no race or class. The “live fast, die young” thing is James Dean. It is Jack Kerouac. It is Lord Byron

 

In our own time, we see this all around us. Be cool, drop out of school, get high, brag about ourselves. It’s just one manifestation of toxic masculinity. 

 

But also take a look at the poem itself. Every word is a single syllable. And Brooks chooses to use enjambment rather than start each sentence at the beginning of the line. I believe this does two things. 

 

First, it emphasizes - in different ways - the use of “we.” The phenomenon is a group one. Belonging to the group is the point, and the group is necessary for “cool.” 

 

Second, it is a form of syncopation - of jazz. As a musician, this is very much tying the note across the bar line, an accent on the and of four. It swings. And that is why I never forgot it. 

 

Next up is the title poem, a fascinating portrait. 

 

The Bean Eaters

 

They eat beans mostly, this old yellow pair.

Dinner is a casual affair.

Plain chipware on a plain and creaking wood,

Tin flatware.

 

Two who are Mostly Good.

Two who have lived their day,

But keep on putting on their clothes

And putting things away.

 

And remembering…

Remembering, with twinklings and twinges,

As they lean over the beans in their rented back room

            that is full of beads and receipts and dolls and

            cloths, tobacco crumbs, vases and fringes. 

 

As I mentioned, Emmett Till haunts much of this collection. This short one is heartbreaking, but also amazing. 

 

The Last Quatrain of the Ballad of Emmett Till

After the Murder,

After the Burial

 

Emmett’s mother is a pretty-faced thing;

            the tint of pulled taffy.

She sits in a red room,

            drinking black coffee.

She kisses her killed boy.

            And she is sorry.

Chaos in windy grays

            through a red prairie.

 

Re-reading my favorites, I realize that it is the small portraits that spoke to me the most. Here is another. 

 

The Crazy Woman

 

I shall not sing a May song.

A May song should be gay.

I’ll wait until November

And sing a song of gray.

 

I’ll wait until November.

That is the time for me.

I’ll go out in the frosty dark

And sing most terribly.

 

And all the little people

Will stare at me and say,

“That is the Crazy Woman

Who would not sing in May.”

 

I would be remiss if I didn’t feature at least one sonnet. I have always loved the form, and wrote a few in high school that were technically correct, but not particularly musical. Ah well. I chose two of them in this case, each in a somewhat different version of the form. 

 

A Lovely Love

 

Let it be alleys. Let it be a hall

Whose janitor javelins epithet and thought

To cheapen hyacinth darkness that we sought

And played we found, rot, make the petals fall. 

Let it be stairways, and a splintery box

Where you have thrown me, scraped me with your kiss,

Have honed me, have released me after this

Cavern kindness, smiled away our shocks.

That is the birthright of our lovely love

In swaddling clothes. Not like that Other one.

Not lit by any fondling star above.

Not found by any wise men, either. Run.

People are coming. They must not catch us here

Definitionless in this strict atmosphere. 

 

Just what kind of love Brooks is describing is unknown, but it is illicit. They meet in alleys, they suffer slurs even from the janitor. Perhaps it is interracial. Perhaps it is queer. But it meets with social disapproval. It is definitionless. 

 

And man, what a breathtaking poem it is. It is a sonnet, but Brooks breaks a rule. It is a sonnet, but it sounds modern and daring. 

 

Let’s look at the form. It is in essence an Italian sonnet: two quatrains and a sestet. But the rhyme scheme breaks a rule. Rather than ABBAABBA, it is ABBACDDC. The sestet follows one of the many options: EFEFGG. 

 

It also uses the divisions very well. Each quatrain is its own thought, separate yet related. Then the turn. The first four lines make the metaphor of divine birth explicit. This love may be forbidden, yet it is holy. And then it wraps up with an escape together. 

 

Every so often, I run across a poem that is seemingly perfect, a polished gem that cannot be improved. This is one. 

 

The last one is another sonnet, but in the Shakespearean form. 

 

The Egg Boiler

 

Being you, you cut your poetry from wood.

The boiling of an egg is heavy art.

You come upon it as an artist should,

With rich-eyed passion, and with straining heart.

We fools, we cut our poems out of air,

Night color, wind soprano, and such stuff.

And sometimes weightlessness is much to bear.

You mock it, though you name it Not Enough.

The egg, spooned gently to the avid pan,

And left the strict three minutes, or the four,

Is your Enough and art for any man.

We fools give courteous ear - then cut some more,

Shaping a gorgeous Nothingness from cloud.

You watch us, eat your egg, and laugh aloud. 

 

It is a bit of a curious poem. I think Brooks is poking a bit of fun at the formalist tendencies of mid-20th Century poetry. An egg is real, genuine, concrete. It is grounded in experience. Clouds and air are not - they are mere form in the poetic sense, without lasting substance. It is a more light-hearted poem than others in the collection, and a great note to end on. 

 

I highly recommend Gwendolyn Brooks as one of the finest American poets of all time. And I also recommend exploring the works of black poets in general. Their voices are crucial to understanding America, and understanding what it means to be fully human. I am never disappointed when I pick up a volume of these poems. 




Tuesday, February 18, 2025

M. C. Higgins, the Great by Virginia Hamilton

Source of book: Audiobook from the library, but we also own this. 

 

While I haven’t yet finished any of my “official” Black History Month selections, I suppose this book could qualify. 

 

Virginia Hamilton was an African American author, primarily of books for children. She remains today one of the most award-winning American childrens’ author of all time. M. C. Higgins, the Great won the Newbery award in 1975. Unfortunately, with a handful of exceptions, her books are a bit hard to find 50 years later, which is a shame. The Library of America published a collection of her best known works a few years ago, which I purchased for our home library. I encourage others to do so as well - we preserve Black History (which is a key part of an accurate and complete American history) when we purchase and read books which tell it. 

 

You can find my complete list of Black History Month and works by black authors here. You can read my thoughts on Black History in this post

 

My youngest and I previously read Zeely by this author. I decided to take this one along as an audiobook for our recent trip to Death Valley. 


Like Zeely, M. C. Higgins, the Great is a coming of age story, which takes place primarily internally. The story takes place over a mere three days, and honestly, not that much happens. 

 

You can kind of summarize it as this: teen boy had an epiphany on the way to manhood as the result of two visits. One is an an ethnographer, James Lewis, who is recording folk singing in the rural Appalachian community M. C. lives in. The other is a mysterious girl, Lurhetta Outlaw, who camps near M. C.’s home. As the result of the meetings, M. C. changes. 

 

There is a lot more, though, internally and in the setting. The hills above where M. C. and his family live have been strip mined for coal, and the waste rock is slipping down, threatening their home. 

 

Their closest neighbors are the eccentric Killburn clan, vegetarian farmers of Irish descent who share polydactyly (12 fingers, 12 toes) and combined traditional healing and superstition in their ways, which give them the reputation of “witchy.” Despite this, M. C. plays with Ben, a Killburn his age, on the sly. 

 

Lewis helps M. C. appreciate his family for who they are, while warning them of the impending landslide. Luhretta is able to see things without the prejudice that plagues M. C.’s father, and deliberately breaches the separation imposed on the Killburns. 

 

M. C., in turn, takes Luhretta through a tunnel in the local lake, at peril to them both, and finally comes to see the Killburns as fellow humans. He also comes to a more constructive relationship to his father (who is a mix of good and bad traits) and to his remaining years living at home in the shadow of the mountains. 

 

As I noted above, the book isn’t about what happens in the outside world. It is very introspective, interior, thoughtful, emotional. It unfolds slowly one layer at a time. In this, it reminds me more of authors like Anthony Trollope and Henry James (two favorites), even as the books are aimed at children. 

 

Another thing that occurred to me while listening to this book is that Hamilton isn’t really writing for white readers, although her books are perfectly comprehensible by young readers with the patience for introspection. 

 

We know that M. C. and his family are black, but only because Hamilton describes certain physical features in the same way white authors might mention a character’s blue eyes, or blond hair. There are multiple words used to lovingly describe the various shades of skin color (particularly M. C.’s reaction to Luhretta, who he crushes on pretty hard.) 

 

In contrast, the Killburns are explicitly described as being of Irish descent in addition to their red hair and extra digits. It isn’t entirely clear what race Lewis is, but probably he is white given his profession, which he inherited from his father. 

 

As a story, while this book isn’t particularly exciting, it is very real. After all, most of us “formerly young men” can remember feeling like M. C. Those stirrings of puberty, when we have our first hard crush - oh man, I can remember that. Most of us likely had a crush on an older teen around that time, whether that was our first or not. 

 

And who hasn’t had complicated relationships with parents? The teen years are a time of separation and embrace of selfhood, and even with the best of parents, this is a fraught time. I remember being torn between the natural love children have for their parents and my frustration with their refusal to listen or see my point of view. 

 

For M. C., that his parents remain steadfastly in denial about the threat to their safety is thoroughly frustrating to him. And he is right, as confirmed by Lewis and others. 

 

By the end of the book, he has come to completely doubt his parents’ superstition about the Killburns, and in fact allows their skin to touch his, freaking his father out. M. C. is right about this, though. For all their own odd beliefs, the Killburns are just people, and right decent people too, as it turns out. Would that more of us would reject prejudice like M. C. does. 

 

The audiobook was narrated by Roscoe Lee Browne, who matches the languid speed of the text with an unhurried, warm reading. In particular, his singing of the folk songs that M. C.’s mother sings is evocative and moving. 

 

I believe that children are often more thoughtful than we give them credit for being. Books like this will resonate with children like that, and I would definitely give this book a shot. Not everything has to be exciting and fast paced. It is okay to sit with feelings sometimes, and this book does that very well. 

 

Tuesday, February 11, 2025

The Big Sleep by Raymond Chandler

Source of book: I own this.

 

Let me start this post with a story about my childhood. Back when I was in early double digits, a family friend who worked at JPL at the time gave my brother and I some supplies and training in how to properly solder electronics. The project was these Radio Shack (remember them?) AM radios that needed to be built. 

 

This was a fun project, and the skills we learned have translated well to similar things in real life. Including knowing what trichloroethylene is, how to use it, why it is bad to have it contaminate your water supply. (Don’t worry: there isn’t a site in Los Angeles caused by my brother and I…) 

 

So, we now had a pair of AM radios, and our shared bedroom was on the other side of the house from where my parents slept. So, what kind of trouble did we get into? 

 

You guessed it! We stayed up past our bedtime listening to the Drama Hour on KNX 1070

 

Wait, you didn’t guess that? Well, maybe you didn’t grow up in Los Angeles. For those unfamiliar with that, back in the day, KNX would run replays of old fashioned radio shows from 9 to 10 every evening. It was different each night, and rotated through a whole host of different shows over the course of time. 

 

My brother and I had our favorites, usually mystery or detective shows. (Dragnet, set in LA and based on real cases, was so popular it eventually became a TV show.) We also freaked ourselves out one night when Lights Out came on - I mean, giant spiders and all.

 

Later, my parents bought a couple sets of cassette tapes of old shows, and we would listen to those on road trips. 

 

These days, the Drama Hour is long gone, alas, as are readily available cassettes and CDs. You can stream some of them online here and there.  

 

So, what does this story have to do with this book?

 

Well, one of the shows was The Adventures of Philip Marlowe, based on Raymond Chandler’s detective character. It was generally a bit more “hard-boiled” than the other detective shows, and…well, I’ll talk about him when I get to the book. 

 

Another formative bit of culture in my childhood was Calvin and Hobbes. One of Calvin’s many imaginary alter-egos was “Tracer Bullet,” a (you guessed it) hard-boiled detective in a noir story. One that sure seems to be a lot like the stuff Chandler wrote, between its femme fatales, hard drinking, and memorable one-liners. 

 

Chandler didn’t originate the genre - that would be Dashiell Hammett with Sam Spade. (Trivia fact: Hammett was married to playwright Lillian Hellman.) But much of what we think of in terms of style is Chandler’s particular riff on the genre. 

 

Marlowe first appeared in a series of pulp short stories for magazines. Later, Chandler reworked elements of the plots from those stories into full length novels, of which The Big Sleep was the first.

 

As is my usual practice when writing about mysteries, I am not going to spoil the plot of the book. Rather, I will be quoting a bunch of the best lines, because I can. 

 

And also, I want to talk a bit about the different mystery genres, because I am a nerd that way. 

 

I grew up reading Agatha Christie, which is perhaps the most characteristic of the British tradition. Also in this tradition are G. K. Chesterton’s Father Brown stories, and Dorothy Sayers’ Lord Peter Whimsy novels. And, of course, the godfather of them all, Sherlock Holmes. 

 

The British tradition involves an amateur detective, who solves carefully plotted mysteries using powers of observation and deduction. The reader is encouraged to carefully read the story, looking for clues, and then try to beat the detective to the solution. 

 

In contrast, the American tradition has a professional sleuth, and the solution involves more legwork and investigation rather than deduction. These tend to also subdivide into two subgenres: the police procedural, and the noir private detective. 

 

The borders are blurred a bit, of course. Murder She Wrote is set in the US, and has a private detective, but leans more toward the British genre in other ways. 

 

Ironically, the first mystery story was written by an American: Edgar Alan Poe, and is rather in what would become the British tradition. 

 

So, with all that background, let’s talk about the book. 

 

To quote Tracer Bullet, “In walked trouble. Brunette, of course.” 

 

Well, this one doesn’t quite start with that, but our detective does end up running into the wayward daughters of his client on the way to see him. 

 

He’s an old guy, the wealthy General Sternwood. And he wants Marlowe to take a look at blackmail demands he is receiving. 

 

Marlowe recognizes the name of the blackmailer: he is a small-time bookstore owner. And black market distributor of pornography, in an era when that was illegal. (The book was written in 1939.) But before he can make contact, the pornographer turns up dead, in a house with a drugged and naked Carmen Sternwood. 

 

And that is only the first of many bodies in this book. In some cases, Marlowe witnesses the murder. In others, not so much. In one case, we never find out for sure who killed the person or exactly why - there is only speculation. 

 

Further than that, I won’t go. There are a lot of twists and surprises. The ending is both unexpected and yet predictable, as a good detective story should be. 

 

One of the very enjoyable things about the book for me was its Los Angeles setting. This is my hometown, and, while many of the buildings have been torn down 85 years later, a lot is still there, and the neighborhoods felt very familiar. I could follow a good bit of Marlowe’s route throughout the book. 

 

As a noir tends to be, this one is set during the rainy season. Although it must have been an El Nino year for this book, because that’s a LOT of rain. 

 

I will also note that the book is of its time. The main way this comes out is in a certain amount of casual racism and misogyny. It’s not particularly bad - it’s not even overt except for a bit by a corrupt police officer. And in that case, it’s realistic for our time as much as then, sadly. 

 

The misogyny is both an issue and key to the plot and genre. After all, the femme fatale is the driver of the plot - and indeed many noir plots. It wouldn’t work quite as well, for example, if the women weren’t trying to get Marlowe to sleep with them. 

 

What I would say is that you have to know what you are dealing with, and just go with it as part of the work of art the book is. Yes, Chandler and his hero look down on women. But yes, that’s part of the story too. 

 

Probably the best part of the book, though, is the writing. The deliciously cheesy and overwritten metaphors, the breezy yet snarky quips by Marlowe, the patter and rhythm that come through so well in the radio versions. It’s a fun, immersive experience. 

 

Let’s jump to some quotes. The opening, for example.

 

It was about eleven o’clock in the morning, mid October, with the sun not shining and a look of hard wet rain in the clearness of the foothills. I was wearing my powder-blue suit, with dark blue shirt, black wool socks and dark blue clocks on them. I was neat, clean, shaved and sober, aid I didn’t care who knew it. I was everything the well-dressed private detective ought to be. I was calling on four million dollars.

 

Or this bit about Carmen Sternwood. 

 

Her eyes rounded. She was puzzled. She was thinking. I could see, even on that short acquaintance, that thinking was always going to be a bother to her. 

 

Or the bedridden General Sternwood. 

 

The General spoke again, slowly, using his strength as carefully as an out-of-work showgirl uses her last good pair of stockings. 

 

Come on, that’s so bad it’s good. 

 

And also this exchange between the butler, who clearly knows more than he is telling, and Marlowe. 

 

His blue eyes frosted. “Are you attempting to tell me my duties, sir?”

“No. But I’m having a lot of fun trying to guess what they are.” 

 

Marlowe, for his part, is puzzled at his task. It doesn’t seem to be the sort of thing one needs a detective for, after all. 

 

They were a couple of pretty smooth citizens, she and her father. He was probably just trying me out; the job he had given me was a lawyer’s job. Even if Mr. Arthur Gwynn Geiger, Rare Books and De Luxe Editions, turned out to be a blackmailer, it was still a lawyer’s job. Unless there was a lot more to it than met the eye. At a casual glance I thought I might have a lot of fun finding out. 

 

The description of the bookstore, complete with snarky asides, is fun. 

 

The entrance door was set far back in the middle and there was a copper trim on the windows, which were backed with Chinese screens, so I couldn’t see into the store. There was a lot of oriental junk in the windows. I didn’t know whether it was any good, not being a collector of antiques, except unpaid bills. 

 

The older sister, Vivian, may not be quite as openly wild, but she has a thing for gambling. And her own snarky way of talking. 

 

“Yes. I like roulette. All the Sternwoods like losing games, like roulette and marrying men that walk out on them and riding steeplechases at fifty-eight years old and being rolled on by a jumper and crippled for life. The Sternwoods have money. All it has bought them is a rain check.” 

 

That could be said about a lot of rich people, honestly. Vivian later gets a cutting remark in at Marlowe. 

 

“That makes you just a killer at heart, like all cops.”

 

In another scene, Marlowe ends up with a young man who has just killed another character, in revenge for the killing of his lover. (It’s…a long story, and I’m not spoiling it.) This quip is pretty good. 

 

“Go ------ yourself.”

“That’s how people get false teeth.” 

 

Here’s another great description, of a police bureaucrat. 

 

He swung around slowly and heavily in his swivel chair and put his large flat feet on the bare linoleum that covered his floor. His office had the musty smell of years of routine.

 

And this exchange between the two of them. 

 

“It’s goddamned funny in this police racket how an old woman can look out of a window and see a guy running and pick him out of a line-up six months later, but we can show hotel help a clear photo and they just can’t be sure.”

“That’s one of the qualifications for good hotel help,” I said. 

 

In a later scene comes this line from the cop. 

 

“I’m a copper,” he said. “Just a plain ordinary copper. Reasonably honest. As honest as you could expect a man to be in a world where it’s out of style. That’s mainly why I asked you to come in this morning. I’d like you to believe that. Being a copper I like to see the law win. I’d like to see the flashy well-dressed mugs like Eddie Mars spoiling their manicures in the rock quarry at Folsom, alongside of the poor little slum-bred hard guys that got knocked over on their first caper and never had a break since. That’s what I’d like. You and me both lived too long to think I’m likely to see it happen. Not in this town, not in any town half this size, in any part of this wide, green and beautiful U.S.A. We just don’t run our country that way.”

 

Yikes, that’s a bit too true and definitely subversive. 

 

As is mandatory in the genre, there is the scene where Carmen gets into Marlowe’s apartment and waits for him. Naked of course. He turns her down. 

 

“Neat,” I said. “Managers are like that. Now I know how you got in tell me how you’re going to go out.” 

 

Another great over-the-top description, to finish things off. 

 

He wore a blue uniform coat that fitted him the way a stall fits a horse. 

 

So, it’s a classic noir, a good bit of fun even when dated, and a good escape from reality for a bit. In these troubled times, even as we fight for what is good and decent in the world, we are going to need our refuges where we can get them. And literature is a good place to look. 

 

Monday, February 10, 2025

Pride and Prejudice by Jane Austen - Play adapted by Kate Hamill (Empty Space 2025)

Ah, Pride and Prejudice, the timeless story of the intersection of money, class, and love. Written by the legendary Jane Austen over 200 years ago, it still holds fascination today for its exploration of human vanity, cultural snobbery, and social climbing. 

 

To try to list all of the various adaptations would take far too much space - that’s what Wikipedia is for anyway. However, I do want to note that I have seen two screen versions: the 1940 version starring Laurence Olivier and Greer Garson, which inexplicably won an Oscar despite its butchery of the plot and generic characters; and the gold standard, the 1995 A&E series starring Jennifer Ehle and Colin Firth, among others. 

 

No, I haven’t seen the new Kiera Knightly one. The A&E version will always be the gold standard for its faithfulness to the book, its attention to period detail, its understated vibe, and of course the fact that the musicians are actually playing their instruments! Including a serpent, which is super cool. (Also brilliant is that the gauche country folk are still playing last generation’s music, while the cosmopolitan Bingleys and Darcys are up with the latest from Mozart.) 

 

That said, while I generally believe the book will always be better than the movie or other adaptation, I am not such a snob that I cannot enjoy what is essentially a different work of art. 

 

A great example of this is the Terry Pratchett & Neil Gaiman book, Good Omens, and its television series. Both are good, but very different works of art. 

 

This play also falls into that category. Because it needs to fit into about two hours of stage time, it of necessity will need to make decisions about what to omit and what to keep. In addition, any modern adaptation needs to decide how much of Austen’s lovely and witty, but archaic language to keep. It will always be a compromise of some sort. 

 

As long as you go into the play without expecting it to duplicate Austen, it is enjoyable. It keeps the bones of the story without adding extra plots (all too common, unfortunately), preserves many of the best lines, even if it was impossible to preserve all of them, and largely keeps the feel of the characters the same. 

 

There are some definite changes. Unsurprisingly, characters had to be cut. The most unexpected here was the paring down of the daughters to four. Poor Kitty. Nobody ever respected her anyway. Also gone are Mrs. Bennett’s brother and his family, the other soldiers, and several of the local neighbors. All of the cuts are defensible, given the time limits. 

 

The one character which felt most changed was Mary, who became far more dramatic while also becoming more of the butt of the family jokes. I think this was a bit much, and I felt sorry for Mary. In the book, she gets to be more of an asexual nerd and dour religious fanatic - in other words, Mr. Collins should have married her. It would have been a perfect match. 

 

It feels a bit unnecessary to recount the plot, as it should by now be familiar to anyone who has seen any other version. I suspect Austen fans are likely the core audience anyway. But if not, well, go see the play if you can, and definitely read the book. Trust me, it’s very much worth it. 

 

The vibe of this play, particularly as performed, was definitely less restrained and more over-the-top. The updated script contains a certain amount of mild innuendo, which Austen would never have stated outright. (Her era certainly had plenty of bawdy talk, but not among genteel women. And before her, Shakespeare was…well, you know.) Your mileage may vary on this. Some will hate it, others will find it hilarious. 

 

I would also call the vibe a bit irreverent. Not only does the play retain the social satire of the original, it also pokes a good bit of fun at period dramas themselves. 

 

As usual, The Empty Space found a way to put their own twist on the production, from the “put a flower on it” aesthetic - Portlandia would approve - to the particular twists on the personalities of the characters. 

 

And the costumes. Particularly that pink and plaid ensemble on Mr. Collins and the unique suit on Mr. Bennett. 

 

As with so many local productions, I had friends in this one, including both of the Gradowitz girls. Or, well, women these days. They are all grown up and killing it on stage. 

 

Let me mention some specific actors. First up, Alex Mitts as Mr. Darcy, which is a truly difficult part to pull off, particularly in this version, where he has to be the straight man in the chaos all around him. I always love seeing Alex on stage - he’s versatile and believable and likeable. Well, mostly. Darcy isn’t supposed to be likeable at first. And, well, he does come off as appropriately snobbish and proud. 

 

Andrea Vega, a young up-and-coming actor, shined in the role of Lizzie, and had good chemistry with Darcy. 

 Lizzie (Andrea Vega) and Darcy (Alex Mitts)

The secondary couple, Jane and Bingley, were played by Ruth Luna and Chayce Perlis, respectively. Luna was appropriately shy yet smitten, while Perlis was a kind of overeager puppy dog. Which, well, that actually is Bingley, after all. (In the book, Lizzie predicts that they will be mercilessly cheated by their servants, yet be absurdly happy with each other.) 

 

Mary was played by Grace Piercy, who has been ensemble on a few plays I have seen, but never this major of a part. As I noted, I thought the character was a bit over-the-top, but given the part, Piercy did a good job of acting it. 

 

The fourth daughter, Lydia, was given the full ditz treatment by our friend Marina. And, well, she stole every scene. Which we knew she would. Her seducer and eventual husband, Wickham, was played with appropriate lugubriousness by Josh Carruthers, who has been killing it on stage lately, from Agatha Christie to Tennessee Williams

 Lydia (Marina Gradowitz)

Mr. and Mrs. Bennett were portrayed by local stage veterans Ronnie Warren and Kayleigh Peaker. Again, excellent chemistry between the feuding couple, who respond to the unjust entailment of their estate with denial and avoidance on the one hand, and panic and scheming on the other. 

 Mr. Bennett (Ronnie Warren)

Outside the family are a few other characters. Charlotte Lucas, played by Clarianne Righetti, daughter of family friends, had the other straight man character. The always-excellent Petra Carter played the snobbish Miss Bingley to perfection. 

 

Mr. Collins has long been one of my favorite characters, because he is so devoid of sense or likeability. Jesus Fidel just nailed this part. It’s a bit different than other versions, but he made it his own, and made it work. And that pink suit. 

 

Finally, the eminent, respectable, and thoroughly condescending Lady Catherine de Bourgh. If you have seen the A&E version you know. 

 Lizzie (Andrea Vega), Mr. Collins (Jesus Fidel), and Lady Catherine (Selah Gradowitz)

So, when I heard that Selah would be playing the part - she’s all of 20 years old, and like Marina, rather more “fun-size” than imposing, I was curious to see how she pulled it off. 

 

I was pleasantly surprised in every way. She had serious gravitas, and a sneer you could feel all the way to the back row. (After the show, she said her face hurt from having to hold that sneer the whole time.) 

 

Also fun here is that Selah, the younger sibling, played the old lady, while Marina, the older one, played the 14 year old Lydia. And both totally worked. 

 

In fact, I think the strength of this production was in the full ensemble. Top to bottom, everyone brought themselves to the characters, and the chemistry was solid throughout. Every part was sold well, and felt real. Our local theater people really bring it to every stage. 

 

Pride and Prejudice runs the next two weekends, and I recommend getting tickets in advance, as it has been selling out. 

 

esonline.org







Thursday, February 6, 2025

Mauve by Simon Garfield

Source of book: Borrowed from the library

 

This is the sort of nerdy book I might have read randomly, but I probably wouldn’t have found it if I hadn’t already read and enjoyed Simon Garfield. You can read my posts about Just My Type, On the Map, and Timekeepers if you like. 

 

While each of the other books is different from each other, they are more alike than they are like this book. Published in 2000, it belongs to his earlier period, when he wrote more standard non-fiction, rather than his later collections of interesting stories related to the topic. In this book, therefore, he tells a pretty straightforward story of William Perkin, the chemist who discovered (or better yet created) the first artificial dye. 


This means that this book was informative, interesting, and full of relevant facts. But it wasn’t quite as much fun as the other three, which were more freewheeling and random. No diss to Garfield, whose writing is good, but just a bit different than the other books. 

 

Perkin is, unfortunately, not much celebrated or even remembered by the general public these days. Perhaps this is because dyes are everywhere to the degree that we don’t even remember when color was a luxury in clothing and printing. 

 

He also didn’t have an outsized personality or a portfolio of pithy quotes. He was mostly a meticulous chemist, who took an accidentally creation and followed it to its development into a commercial success.

 

Perkin originally set out to create an artificial version of quinine. His goal was humanitarian: malaria was still costing millions of lives, but the biological source of its treatment was limited and slow growing. If he could create it in a lab, its cost would go down and its availability go up. 

 

Instead, one of his experiments led to a brilliantly purplish substance that stained his fingers. He decided to see if he could turn it into a functional dye, which he called “mauve.” That was the first color created in a laboratory, but soon Perkin and others were creating new colors one after the other. 

 

An industry was born, but more than that, the lessons learned led to even greater discoveries. Within a century after his death, his chemicals had led to “enormous advances in medicine, perfumery, food, explosives, and photography.” 

 

And yet he remains relatively unknown. 

 

His life was a bit mundane, I suppose, which is why the book isn’t as exciting as some stories. Perkin got together some partners and started a dye works. Later, when he needed to either invest a lot more in it, or find investors, in order to expand, he chose to sell and go back to research. 

 

So, while some “pure” chemists considered him a sellout for going commercial, he never really cashed in. He lacked the full capitalist instinct. 

 

While he and his staff did create more dyes, he never did get his medical breakthrough. 

 

He married and had kids, and bought a nice place with his profits. He taught and lectured and did typical scientist stuff. He was a devout evangelical (in the good, British, way, not the toxic American way) and spent a portion of his profits bettering the lives of factory workers and other low wage workers in his town. 

 

Amusingly, the main source of friction appeared to be that Perkin was a teetotaler, while the workers liked their pint after work. But this was mild, and Perkin was generally liked by all. 

 

The second half of the book is less about Perkin’s life than the subsequent history of dyes and the industry he founded. Most of the production moved to Germany in the late 1800s, leading to a crisis when World War One broke out. Now, China and India dominate production. 

 

Dyes also came to be used extensively in medicine, both as a diagnostic - selective staining is discussed at length - and as a treatment - it appears that some dyes have significant therapeutic effect against certain diseases. 

 

One of the coolest things in this section was that methyl violet and methyl violet literally stain different things different colors. The chemical reaction changes the color. (I got to see some of this in action decades ago when my wife took me along on a school field trip to the VA microbiology lab.) 

 

So, interesting stuff. I learned a lot I didn’t know before. 

 

One of those is the name. The color itself had been named previously, but it didn’t really make it into the vernacular until Perkin marketed his dye. The name itself comes from the French name for the common mallow, whose flower can be mauve (and similar shades.) Chances are, you have a member of the mallow family growing as a weed near your house - they are not native to the Americas, and are considered an invasive pest. 

 

There are a lot of other interesting plants - and animals - in the book. Garfield explores the topic of natural dyes, and their competition with the synthetic ones. For example, woad, which is a relative of mustard, with similar brilliant yellow flowers. It is used, however, to make indigo dye. Who knew?

 

Each chapter starts with a quote from somewhere, about something related to mauve. These are pretty cool, and also sometimes unexpected. 

 

For example, this 1999 memo from Buckingham Palace which the Evening Standard got a hold of. The queen was apparently a bit picky about her hotel accomodations, which the rag got to snark on about a bit. 

 

“She doesn’t want the management to think she’s fussy, you understand, but could they please make sure that any flower arrangements do not contain anything mauve (or carnations of any color)...”

 

I’m rather fond of carnations myself, although I have found them more difficult to grow than roses. 

 

And, naturally, we get a snarky Oscar Wilde quote, from The Picture of Dorian Gray

 

“Ordinary women always console themselves. Some of them do it by going in for sentimental colours. Never trust a woman who wears mauve, whatever her age may be, or a woman over thirty-five who is fond of pink ribbons. It always means they have a history.” 

 

The chapter about World War One was interesting. For example, did you know that one military advantage Germany had was that its extensive dye works could quickly switch to producing explosives, because many of the raw materials were the same? 

 

But it wasn’t just materials and factories the British lacked: they also lacked trained chemists. Why? Because their school system failed to produce them. And a significant reason for that was that the government didn’t encourage the study, and the universities saw industry as the enemy, while industry didn’t build ties to the universities. 

 

Some of this sounds familiar today. The US lost its edge in producing scientists, in significant part because after desegregation, public schools have been starved of funds (in many states) and targeted as supposed factories for “wokeness.” Also, the inequality and racist systems in the US have made it more difficult for potential scientists from lower income and minority communities to aspire to that career. (And ditto for women - and Trump is not helping that.) When you limit your field, you miss out on candidates. 

 

(That’s literally what DEI is about, by the way: making sure we do not overlook brilliant people because they have the “wrong” color or gender.) 

 

Garfield also notes another reason for the lack of nourishment of the sciences: a belief in the “great genius” theory of how science progresses. This is a problem here in the US too - the reason people think Elon Musk actually invented anything rather than buying it. 

 

In reality, discovery is the result of many hours of work - increasingly collaborative, industrialized work. And that goes for all sciences. 

 

This was a root problem in Britain’s surrender of its dye industry to Germany. As Garfield puts it, the reasoning of the Secretary of War was that institutional support wasn’t needed, because genius will find its way without need for assistance. 

 

This too is a factor in the decline of the sciences in the US. And why we end up having to hire immigrant engineers to fill the gaps. (Not that immigration is a bad thing. Far from it! But we could also have more native-born scientists and STEM workers generally with more consistent institutional support.)

 

I’ll end with a couple of humorous bits. 

 

An early plastic, Lactoid, was discovered by accident when the chemist’s cat knocked a beaker of formaldehyde over into its own milk saucer. Cats gonna cat, I tell you. 

 

The other is in a passage in the Author’s Note at the end. Garfield lists a bunch of modern authors of an era of British literature (including Julian Barnes), who all seemed to have some sort of a dare, a bet perhaps, where they all worked “mauve” into the first chapter of their books. There are quotes, too. Including this one from John Lanchester’s The Debt to Pleasure

 

“[S]uggested that either the artis was a tragicomically inept doctrinaire cubist, or that Mr. R. B. Fenner-Crossway, MA was in reality a dyspeptic pattern of mauve rhomboids.” 

 

That’s great stuff. It also is just a glimpse of how Garfield would later write, focusing more on the crazy stories like that, and less on serious biography. But don’t miss out on this book. The history of synthetic chemicals literally starts with dyes, and the early days are important to a full understanding of how we got to our modern chemical world.