politics

Feminism & our human destiny

June 7, 2017 | 13 Comments

My grandfather’s essay

May 3, 2017 | 9 Comments

Driving back and forth between Ohio and Virginia late last winter and into spring, as I taught a short course in memoir at Virginia Tech, I thought of how I might write an essay about my granddaughter. Or rather, about the twelve-plus hours in February when I had cared for her alone.

Let me repeat and recast that: a guy in his sixties, with a bad back and a grumpy demeanor, was tasked with watching a toddler, then in the throes of the Terrible Twos, alone for over twelve hours. Oh, she’s adorable—the cutest, sweetest, smartest kid on Earth—but she does something different every 30 seconds. A force of nature, she totally sets your agenda. And did I mention that she doesn’t nap when at home, only at daycare? That she’s in the Terrible Twos? For the uninformed, the latter means “no” is a fraught word. So I’d rolled with the punches, all 12.5 hours of them.

At the end, punch drunk, I had only two clear memories of that Saturday. A vivid one at the start and another indelible moment at the end. Two memories to work with. Which seemed great, in a way: open with the first and close with the second. A memoir sandwich. I steadily warmed to this, seeing how beautifully those two moments captured my and Little Kathy’s rollercoaster of emotions and activities. It was so intense, I have only two memories! She wiped my slate clean and almost killed me! Perfect. The problem, of course, emerged as I tried to write the essay. I have only two clear memories of that day.

Much spilled out for the middle, don’t get me wrong. As I said in my email to my memoir class for retirees that starts tonight, “After this class, should you choose, you’ll be well on your way to inflicting your own grandchild, dog . . . partner, self, or family on the unsuspecting world!”

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A moral master of prose style

April 25, 2017 | 12 Comments

I’m always circling back to James Baldwin. My latest return, reading The Devil Finds Work, his essays on American cinema, was spurred by watching the recent documentary about him, I Am Not Your Negro. I found the film, as a work of history, of racial reconsideration, of brilliantly structured art, quite literally stunning. Based loosely on Baldwin’s unrealized plan to write a book about three slain friends—civil rights leaders Medgar Evers, Malcolm X, and Martin Luther King Jr.—the documentary was nominated for an Oscar. It opened nationwide on February 3, and I saw it shortly afterward in a screening at Ohio State. I’ve been trying since then to watch it again. The film’s power derives, in large part, from its periodic juxtaposition of images of American racists of another era with those who’ve gaped and japed at recent rallies.

Such a stinky revelation of human insufficiency. Hence the timeliness of Baldwin’s urgent message that race is America’s story. Race is where our nation’s transcendent ideals meet the angels and demons of human nature. Is America only an accident of its riches or is it an avatar of the expanding human spirit?

Baldwin sank his teeth in such foundational issues. Which is partly what makes him one of America’s greatest writers. He loved America and its culture, but was an outsider—made doubly so by his race and his homosexuality—and he wrote in fierce, profound clarity and despair. The Devil Finds Work shows you what it’s like for such a man to consider movies he loves and ones he hates. It’s a racial and social deconstruction of American cinema.

Writing of the “mindless and hysterical banality” of the evil in The Exorcist, Baldwin reveals his own feeling of insufficiency before the “heavy, tattered glory of the gift of God.” Any human’s freedom carries the almost unbearable burden of honestly confronting one’s failure to be fully human: “To encounter oneself is to encounter the other: and this is love. If I know that my soul trembles, I know that yours does, too: and if I can respect this, both of us can live.”

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A story structured in shards

March 8, 2017 | 25 Comments

Natalie Portman’s inspired performance and its complex layering of time frames distinguish the film Jackie.

Portman nails Jackie’s breathy finishing-school voice—you imagine it began as an instructed affectation, as an adaption to a wealthier milieu, or as an ambitious adoption that became her. She also conveys Jackie’s sincerity, her flashes of insecurity, her fidelity to duty, and ultimately her pain. After the horror in Dallas, she plans Jack’s funeral, even as she medicates herself with alcohol, comforts her two young children, and oversees the packing of her family’s possessions for their abrupt exodus from the White House.

The movie opens after all that, scant days after the funeral, with Jackie being interviewed. She wants to further her husband’s legacy by cementing his image as a noble leader, as an aristocrat who loved the people, as a demigod. This foreground frame (or recurring braid, if you choose) grounds the narrative. Otherwise a succession of flashbacks, not always linear, the segments reflect Jackie’s PTSD and the nation’s disorientation.

Like many a boomer, I carry memories of November 22, 1963, when Kennedy fell in Dallas and Jackie scrambled briefly onto the car’s trunk: to retrieve a piece of his skull, the movie affirms, not to flee, as it appeared to many at the time. Then, as we watched: Oswald’s killing and JFK’s funeral and John-John’s brave salute. But I’d never contemplated Jacqueline Kennedy’s grief, much less her PTSD.

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Dirge for the undead

December 1, 2016 | 14 Comments

J.D. Vance’s Hillbilly Elegy has been often cited to explain the white rage that surfaced and was grotesquely showcased during and in the aftermath of the 2016 presidential campaign. Vance’s bestseller is an intermittently interesting if not ultimately cohesive hybrid: part memoir, part summation of sociological reports. Vance’s own bootstrap exodus from poverty is inspiring and even moving. But he doesn’t explain so much as morally indict “hillbillies”—and the “welfare state” that, in his view, has abetted their desultory-unto-criminal ways.

An asset of Vance’s origin is that he can blast his people, as it were, for being shiftless without risking the accusation of elitism. His bluntness can be refreshing. But his lack of deep historical perspective and good solutions troubled me. Beyond the moral of his own story—get lucky with one or two parental figures and work like hell—Vance offers cursory insight into his former culture. This may stem from his getting his own answer early on, in high school, reading studies of America’s black underclass. He saw a direct parallel. In short, the poor will always be with us, so don’t coddle them.

Yet he shows himself, late in the book, having graduated from Ohio State and Yale Law School, volunteering to do try to help stray kids from Appalachia and its broad diaspora. It’s what worked for him, a few random, happenstance interventions, plus his own herky-jerky yet upwardly moving efforts.

Vance seems most influenced by what he learned early—from his kick-ass Mamaw, from welfare cheats and lazy workers he encountered in jobs, from studies of inner city black folks. In short, he blames “the way our government encouraged social decay through the welfare state.” Nobody, liberal or conservative, wants to carry freeloaders. But where’s the balance between that sense of justified outrage and the resentment that led to the utter horror of England’s old debtors’ prisons? (Which largely stocked the Appalachians initially with the British Isles’ downtrodden.)

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We can fix a sexist blip

November 16, 2016 | 16 Comments

I flipped over journalist H.L. Mencken’s delicious syntax, in 1980, when I was a young reporter at Today in Cocoa, Florida. A few years later, I made a pilgrimage to his lifelong domicile, a rowhouse in Baltimore. Aside from delighting in his sturdy, witty sentences, I found him hilariously hateful to American anti-intellectualism. Now, what he warned about our republic’s strain of dumbass Babbittry has come true. All the same, I’ve always been suspicious of his hatred of the “booboisie.” He was an elitist Germanic autocrat, a man blinkered for all his brilliance—he looked kindly upon the rise of Adolph Hitler. And here’s what I keep reminding myself:

Hillary Clinton won the popular vote!

I feel like the little boy found upending the dirty stable, who said, “With all this manure, there’s gotta be a pony here somewhere!” But America is too special and too important to despair just because (not quite half) of our fellow voters gave Trump the barn despite his mountainous preexisting dung heaps. Many Americans have only temporarily forgotten why they appointed Barack Obama to shovel us out after George Bush.

The likely right-wing Supreme Court appointment(s) and the probable loss of progress on fighting climate change upset me. But I return to my original point: a majority of American voters chose Hillary Clinton. Trump lacks the mandate of a landslide. Without the Electoral College—thanks, Alexander Hamilton! Love the brilliant musical, not so much the brilliant Republican—Trump wouldn’t have won at all. As a people, we’ve been trying to move in a gently progressive direction, as befits a nation with such progressive ideals. Our mistakes, tragedies, and setbacks notwithstanding, we’ve stacked up a lot of justice since America’s founding.

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Dusting off. Moving forward.

November 9, 2016 | 11 Comments

When Chris Offutt was ten, growing up in an Appalachian backwater, he asked a librarian for a book on baseball. She gave him J.D. Salinger’s Catcher in the Rye. It was a revelation, such writing that was “personal, told in an intimate way, about family issues of supreme importance.” He never read another book for juveniles, and he became a writer of short stories, novels, screenplays, and multiple memoirs. Back in May, I read Offutt’s My Father, the Pornographer: A Memoir, one of the more interesting books I’ve read this year.

This powerful story concerns his brilliant, driven, awful father. In part, My Father, the Pornographer is a portrait of Appalachian Kentucky. Offutt’s town had a toxic charcoal briquette factory and that was it. He was the smartest kid in school, sometimes beaten by teachers who resented him for that and for his quiet defiance of authority. His Kentuckian father, from a farm in the western part of the state, had picked the tiny company town in eastern Kentucky to be a big-fish insurance salesman. He was that, and increasingly a terrifying tyrant to his children. Especially when he quit his lucrative office work to become a freelance writer. Offutt, as his oldest child, got the job when he died of archiving the man’s ton published and unpublished science fiction, fantasy, and pornography. Literally a ton of novels, stories, and comics. Offutt pere could write a novel in three to seven days.

His secret, parallel 50-year project was the creation of extremely sadistic comics. Sometimes he wrote them for patrons, wealthy collectors. Other than a brief description of these comics, the memoir is not unduly graphic. But it’s sad and disquieting. What Offutt endured from his father and this environment turned him toward literature. But he grew up with the permanent wound of feeling unloved. Part of the book’s brilliance, saturating its deft syntax, content, and structure, is that it escapes self-pity while making you feel for Chris’s experiences and what seems his ongoing burden.

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