The Winter of Our Discontent

If you are new to this blog, you will find that I post on a variation of materials. I take a picture of the book cover and mention the version of the book I am reading. There is very little analysis. If I’m reading for pleasure I transcribe what I call “the best bits”. These consist of words, phrases, sometimes full paragraphs or pages that I find wonderfully written and worthy of reading again. The “best bits” pieces are not for school study. I picture someone saying, “I’ve always heard about this book but never knew what it was about.” The best bits help you discover the tone and feel of the writing. The chapter summaries clue you in to the action and general topics. I always leave off summarizing the last chapter because I want you to go to the library and borrow the book! I want you to be inspired to collect a library of your own!

On the other hand, if I am reading for school as a student or a professor, my notes look much different. Study notes are for school essays, discussions, and tests. I note the most important elements of the text. You should still read the original writing, but study notes should help you study. 

Every once in a while I post something original. I’m mostly a reader, but occasionally something unexpectedly pops out. I’ve been exploring critique lately. I’m a movie fanatic so a small handful of film critiques have been posted. I have raw notes and some ideas for the latest Chris Rock stand-up routine. After gathering the raw notes the thinking process becomes more dynamic. How do I take this material and gather it into chunks to discuss? Where do I focus? What do I leave out? I hope you enjoy the variety of offerings on this blog.

The Winter of Our Discontent

John Steinbeck

The Viking Press  New York  1961    281 pages

This book was pure delight. It centers around the family, the domestic sphere, and a general store. It is a small town with few characters, but each is richly drawn. Every time the husband addresses his wife he uses a different pet name and the descriptions of his young adolescent children are hilarious. Our narrator and protagonist is Ethan who continually questions if he has come far enough in life. What bad luck that his once prominent family has fallen into ruin. Why do all the other men in town seem to be richer? What types of games do they play? How would he even know how to play? Is everyone a cheat or do some people remain poor but essentially good and mentally clean? Ethan ponders how far he would go to make that one big score and if he could live with himself afterward. 

The chapters are mostly short with a great deal of dialogue. Steinbeck is a master of language sometimes making up a word or two that fit perfectly. He has a reading nook in the attic where one of the comfy chairs is “rump sprung”. How can you beat that? His descriptions of the weather and ocean, especially his chapter on Spring is delicious with plump details. Amazing. Upon finishing the last page I cried just a little because this beautiful thing was over.

Part One

Chapter 1

Mary and Ethen Hawley have children and live in New Baytown. Ethan is a grocery clerk.

“A day, a livelong day, is not one thing but many. It changes not only in growing light toward zenith and decline again, but in texture and mood, in tone and meaning, warped by a thousand factors of season, of heat or cold, of still or multi winds, torqued by odors, tastes, and the fabrics of ice or grass, of bud or leaf or black-drawn naked limbs. And as a day changes so do its subjects, bugs and birds, cats, dogs, butterflies and people” (10-11).

“‘Why?’ she asked.

“‘Cat’s why to make kittens’ britches.’”

“Golgotha–that is to say, a place of a skull–” (17).

A shifty salesman comes in to offer Ethan a secret money-making deal.

Chapter II

Mary has seen it in the cards that Ethan will become rich.

Chapter III

As an insomniac married to a person who not only sleeps all night but can take a nap anytime, anywhere, this next passage really seeps to my bones. I burst into happy tears after reading it again. Thank the universe for Steinbeck, man.

“My wife, Mary, goes to her sleep the way you would close the door of a closet. So many times I have watched her with envy. Her lovely body squirms a moment as though she fitted herself into a cocoon. She sighs once and at the end of it her eyes close and her lips, untroubled, fall into that wise and remote smile of the ancient Greek gods. She smiles all night in her sleep, her breath purrs in her throat, not a snore, a kitten’s purr. For a moment her temperature leaps up so that I can feel the glow of it beside me in the bed, then drops and she has gone away. I don’t know where. She says she does not dream. She must, of course. That simply means her dreams do not trouble her, or trouble her so much that she forgets them before awakening. She loves to sleep and sleep welcomes her. I wish it were so with me. I fight off sleep, at the same time craving it.

“I have thought the difference might be that my Mary knows she will live forever, that she will step from the living into another life as easily as she slips from sleep to wakefulness. She knows this with her whole body, so completely that she does not think of it any more than she thinks to breathe. Thus she has time to sleep, time to rest, time to cease to exist for a little.

“On the other hand, I know in my bones and my tissue that I will one day, soon or late, stop living and so I fight against sleep, and beseech it, even try to trick it into coming. My moment of sleep is a great wrench, an agony. I know this because I have awakened at this second still feeling the crushing blow. And once in sleep, I have a very busy time. My dreams are the problems of the day stepped up to absurdity, a little like men dancing, wearing the horns and masks of animals” (34-5).

Ethan has a special thinking spot. He went there last night. This chapter is beautiful.

Chapter IV

Ethan is feeling good. It seems he is going to take the deal.

Chapter V

“I scrubbed Marullo and the whole day off my skin with a brush and I shaved in the tub without looking, feeling for the whiskers with my fingertips. Everyone would agree that’s pretty Roman and decadent.”

“Beauty is only skin deep, and also beauty must come from inside. It better be the second if I was to get anywhere. It isn’t that I have an ugly face. To me, it just isn’t interesing. I made a few expressions and gave it up. They weren’t noble or menacing or proud or funny. It was just the same damn face making faces” (67).

Margie comes to dinner and reads her tarot cars. Yesterday she said the cards showed a future fortune for Ethan. Tonight she was freaked out by the reading and left quickly afterward.

Chapter VI

“The red dots were swimming on my eyes, and the street light threw the shadows of naked elm branches on the ceiling, where they made slow and stately cats’ cradles because the spring wind was blowing. The window was open halfway and the white curtains swelled and filled like sails on an anchored boat. Mary must have white curtains and often washed. They give her a sense of decency and security. She pretends a little anger when I tell her it’s her lace-curtain Irish soul” (88).

“Sometimes I wish I knew the nature of night thoughts. They’re close kin to dreams. Sometimes I can direct them, and other times they take their head and come rushing over me like strong, unmanaged horses” (89).

“Mr. Baker and his friends did not shoot my father, but they advised him and when his structure collapsed they inherited. And isn’t that a kind of murder? Have any of the great fortunes we admire been put together without ruthlessness? I can’t think of any.

“And if I should put the rules aside for a time, I knew I would wear scars but would they be worse than the scars of failure I was wearing? To be alive at all is to have scars.

“All this wondering was the weather vane on top of the building of unrest and of discontent. It could be done because it had been done. But if I opened up that door, could I ever get it closed again? I did not know” (92).

Chapter VII

“‘You say such dreadful things, even to the children.’

“‘And they to me. Ellen, only last night, asked, ‘Daddy, when will we be rich?’ But I did not say to her what I know: We will be rich soon, and you who handle poverty badly will handle riches equally badly.’ And that is true. In poverty she is envious. In riches she may be a snob. Money does not change the sickness, on thy the symptoms’” (101).

Mr. Baker wants to use Mary’s inheritance for a business venture.

Chapter VIII

Ethan tells his alcoholic friend Danny that he’s going to pay for his treatment. Ethan also warns him not to sell his parcel of land to Mr. Baker (who has plans to turn it into an airfield). Ellen (Ethan’s daughter) sleepwalks. 

Chapter IX

“On Monday perfidious spring dodged back toward winter with cold rain and raw gusty wind that shredded the tender leaves of too trusting trees. The bold and concupiscent bull sparrows on the lawns, intent on lechery, got blown about like rags, off course and off target, and they chattered wrathfully against the inconstant weather” (129). 

Steinbeck breaks the fourth wall for just a second in this chapter. According to the movie blog, StudioBinder, the “fourth wall is an imaginary wall that separates the story from the real world. This term comes from the theatre, where the three surrounding walls enclose the stage while an invisible “4th wall” is left out for the sake of the viewer. The 4th wall is the screen we’re watching. We treat this wall like a one-way mirror. The audience can see and comprehend the story, but the story cannot comprehend the existence of the audience.

If you break that wall, you break that accord. This is called “Breaking The 4th Wall.” It can also be described as the story becoming aware of itself.” On page 130 Steinbeck is having Mr. Baker say something then follows with, “He didn’t say it meanly the way it looks in print.” This is the only time he does this throughout the novel.

In this version there is a typographical error on page 147 where the word is spelled “mariana” instead of “marina.” This is fixed in the Penguin Classic version of 2008.

Than’s boss tells him to take the kickback; Ethan can use that money to become partner in the store. Ethan takes a thousand of Mary’s money and gives it to the town drunk for rehab. He immediately regrets it and knows Danny has left town.

Chapter X

“…as though my soul had an ulcer” (155).

“We can shoot rockets into space but we can’t cure anger or discontent” (157).

Danny leaves a note to Ethan saying he will repay the money.

Part Two

Chapter XI

“Spring is late and summer late at New Baytown, but when it comes it has a soft, wild, and special sound and smell and feeling. In early June the world of leaf and blade and flowers explodes, and every sunset is different. Then in the evening the bobwhites state their crisp names and after dark there is a wall of sound of whippoorwill. The oaks grow fat with leaf and fling their long-tasseled blossoms in the grass. Then dogs from various houses meet and go on picnics, wandering bemused and happy in the woods, and sometimes they do not come home for days” (160).

This chapter is one of the most beautiful descriptions of spring I have ever read.

Chapter XII

Margie wants a piece of Ethan’s pie. Mr. Baker is desperately seeking Danny. Why does Mr. Baker keep receiving letters from Albany?

Chapter XIII

“I wonder about people who say they haven’t time to think. For myself, I can double think. I find that weighing vegetables, passing the time of day with customers, fighting or loving Mary, coping with the children–none of these prevents a second and continuing layer of thinking, wondering, conjecturing. Surely this must be true of everyone. Maybe not having time to think is not having the wish to think” (184).

“It seems, then, that it is not what you do, but how you do it and what you call it” (186).

“The white window curtains seemed to sigh in and out as though they breathed, because it’s a rare dawn that does not wave a small wind over the land” (189).

“…I stroked the lovely line from ear to shoulder with my second finger but gently enough not to startle and firmly enough not to tickle. She sighed as she always does, a deep, gathered breath and a low release of luxury. Some people resent awakening, but not Mary. She comes to a day with expectancy that it will be good. And, knowing this, I try to offer some small gift to justify her conviction” (191).

“‘Then take it. You sign a check.’

“‘Don’t you want to know how much?.’

“‘I guess so.’

“‘Dong you want to know what the investment is? The figures, the flotage, the graphs, the probable return, the fiscal dinkum, and all that?’

“‘I wouldn’t understand it.’

“‘Oh, yes, you would.’

“‘Well, I wouldn’t want to understand it.’

“‘No wonder they call you the Vixen of Wall Street. That ice-cold, diamond-sharp business mind–it’s frightening’” (193-4). 

Ethan runs over some ideas for obtaining the store by Mr. Baker.

Chapter XIV

“Walking slowly, I found myself not saying but feeling good-by–not farewell. Farewell has a sweet sound of reluctance. Good-by is short and final, a word with teeth sharp to bite through the string that ties past to the future” (202).

Plot point: Ethan hears this on the radio as he walks in. “‘We interrupt this program to bring you a special bulletin. Officials of New Baytown and Wessex County were this afternoon subpoenaed to appear before a grand jury to answer charges ranging from fixing traffic tickets to taking bribes and kickbacks on town and county contracts…” (211).

“For the most part people are not curious except about themselves” (213).

Today is planned for Ethan to rob the bank. Many city leaders are in trouble for illegal activity.

Chapter XV

Marullo is finally picked up as an illegal immigrant. He wants to give Ethan the store. Because this man showed up with the paperwork, Ethan couldn’t go through with his bank robbery plans.

Chapter XVI

Morphy says he just KNEW the bank was going to be held up today. Ethan keeps his secret.

Chapter XVII

“I don’t know for sure how other people are inside–all different and all alike at the same time. I can only guess. But I do know how I will squirm and wriggle to avoid a hurtful truth and, when finally there is no choice, will put it off, hoping it will go away. Do other people say primly, ‘I’ll think about that tomorrow when I am rested,’ and then draw on a hoped-for future or an edited past like a child playing with violence against the inevitability of bedtime” (233)?

Ethan and Mary find a babysitter in order to go away for the weekend.

Chapter XVIII

“She came back trembling like a star. ‘You’ll never guess. You couldn’t.’

“‘I can guess it’s good.’

“‘She said, ‘Have you heard the news? Have you heard the radio?’ I could tell by her voice it wasn’t bad news.’

“‘Could you tell it and then flash back to how she said it?’

“‘I can’t believe it.’

“‘Could you let me try to believe it’” (242)?

Not only has Ethan bought the store, his son earned an honorable mention in an essay contest and will be on tv.

Chapter XIX

Ethan makes the deal for the kickback just as he’d been advised. Mr. Baker says Ethan should run for city manager. Danny is found dead.

Chapter XX

Now that Danny is dead his flat meadow is ripe for the taking to become an airstrip…but Ethan has the papers.

Chapter XXI

Ellen knew her brother had plagiarized his winning essay so she told on him. Ethan comes home to get a pack of razor blades and leaves again.

RAZOR BLADES! OMG! What is going to happen?!? You have to read the book to find out!!

The Color of Water: A Black Man’s Tribute to His White Mother

The Color of Water: A Black Man’s Tribute to His White Mother

By James McBride

Riverhead Books New York 1996 314 pages

Just as the title indicates, this book focuses on McBride’s white Jewish mother who never identified with white people. She loved Black people, married Black men, and was extremely proud of and educated her many Black children who all grew up to be working professionals. It is a fascinating story because you have such deep description of a real person: her history, her words, her actions, her beliefs. It is also heartwarming that an adult male child took such a great interest in the inner world of his mother. His love for her is great and enduring.

There is a short intro where McBride says his mother was “the daughter of an Orthodox Jewish rabbi [who] married a black man in 1942” (xvii). His mother will not reveal where she was from or if she were Black [she was not]. She educated all her children who didn’t even know her maiden name when they were grown.

1  Dead

Whenever the text is in italics it indicates that McBride’s mother is speaking. She begins the narrative with “I’m dead.”: “They want no parts of me and me I don’t want no parts of them.” “I was born an Orthodox Jew on April 1, 1921…in Poland” (1).

Mother says her mother’s name was Rachel Shilsky and “is dead as far as I’m concerned. She had to die in order for me, the rest of me, to live.” “My father’s name was Fishel Shilsky and he was an Orthodox rabbi” (2). When Mother married a Black man they mourned as if she were dead.

2  The Bicycle

The author always thought of his stepfather as Daddy. “He married my mother, a white Jewish woman, when she had eight mixed-race black children, me being the youngest at less than a year old. They added four more children…” “…a stroke, and he was gone” (6).

“Hunter Jordan, my stepfather, was dead. Andrew McBride, my biological father, had died while she was pregnant with me fourteen years earlier.” “The image of her riding that bicycle typified her whole existence to me. Her oddness, her complete nonawareness of what the world thought of her, a nonchalance in the face of what I perceived to be imminent danger from blacks and whites who disliked her for being a white person in a black world. She saw none of it” (8).

“She was the commander in chief of my house, because my stepfather did not live with us.” “Matters involving race and identity she ignored” (9).

“‘C’mon,’ she said, ‘I’ll walk you to the bus stop.’ Surprise reward. Me and mommy alone. It was the first time I remember ever being alone with my mother. 

“It became the high point of my day, a memory so sweet it is burned into my mind like a tattoo, Mommy walking me to the bus stop…” (11).

“Gradually, as the weeks passed and the terror of going to school subsided, I began to notice something about my mother, that she looked nothing like the other kids’ mothers. In fact, she looked more like my kindergarten teacher, Mrs. Alexander, who was white. Peering out the window as the bus rounded the corner and the front doors dlew open, I noticed that Mommy stood apart from the other mothers, rarely speaking to them. She stood behind them, waiting calmly, hands in her coat pockets, watching intently through the bus windows to see where I was, then smiling and waving as I yelled my greeting to her through the window. She’d quickly grasp my hand as I stepped off the bus, ignoring the stares of the black women as she whisked me away.

“One afternoon as we walked home from the bus stop, I asked Mommy why she didn’t look like the other mothers. 

“‘Because I’m not them,’ she said.

“‘Who are you?’ I asked.

“‘I’m your mother.’

“‘Then why don’t you look like Rodney’s mother, or Pete’s mother? How come you don’t look like me?’

By kindergarten McBride sees that his mother looks different than the other mothers. She won’t discuss it.

3  Kosher

Text in italics again. It is a description of the traditions of his mother’s Jewish grandparents.

4  Black Power

“When I asked her if she was white, she’d say, ‘No. I’m light-skinned,’ and change the subject again” (21). There are secrets.

“Yet Mommy refused to acknowledge her whiteness. Why she did so was not clear, but even my teachers seemed to know she was white and I wasn’t. On open school nights, the question most often asked by my schoolteachers was: ‘Is James adopted?’ which always prompted an outraged response from Mommy” (23).

“I thought black power would be the end of my mother” (26).

“Her motto was, ‘If it doesn’t involve your going to school or church, I could care less about it and my answer is no whatever it is.’

“She insisted on absolute privacy, excellent school grades, and trusted no outsiders of either race. We were instructed never to reveal details of our home life to any figures of authority: teachers, social workers, cops, storekeepers, or even friends” (27).

“She and my father brought a curious blend of Jewish-European and African-American distrust and paranoia into our house. On his end, my father, Andrew McBride, a Baptist minister, had his doubts about the world accepting his mixed family” (28).

“…represented the best and worst of the immigrant mentality: hard work, no nonsense, quest for excellence, distrust of authority figures, and a deep belief in God and education. My parents were nonmaterialistic. They believed that money without knowledge was worthless, that education tempered with religion was the way to climb out of poverty in America, and over the years they were proven right.”

“Mommy’s contradictions crashed and slammed against one another like bumper cars at Coney Island. White folks, she felt, were implicitly evil toward blacks, yet she forced us to go to white schools to get the best education. Blacks could be trusted more, but anything involving blacks was probably slightly substandard” (29). 

McBride describes his mother’s personality and society back in 1966. He speaks of civil rights leaders and his mother identifying as Black. McBride always fears that his mother will be hurt by Black people. “The incident confirmed my fears that Mommy was always in danger” (34). 

McBride is always in mortal fear that his mother will be hurt or killed. 

5  The Old Testament

McBride had grandparents and an aunt he never knew. In italics:

“We attracted a lot of attention when we traveled because we were poor and Jewish and my mother was handicapped. I was real conscious of that. Being Jewish and having a handicapped mother. I was ashamed of my mother, but see, love didn’t come natural to me until I became a Christian” (38).

“His marriage was a business deal for him. He only wanted money. That and to be an American. Those were the two things he wanted, and he got them too, but it cost him his family, which he ran into the ground and destroyed” (41).

Mother was sexually abused by her father: “Of course I had something to run from. My father did things to me when I was a young girl that I couldn’t tell anyone about. Such as getting in bed with me at night and doing things to me sexually that I could not tell anyone about. When we’d go to the beach in Portsmouth, he’d get into the water with me, supposedly to teach me how to swim, and hold me real close to his body near his sexual parts and he’d have an erection. When we’d get back to the beach, Mameh would ask, ‘Are you getting better at swimming?’ and I’d say, “Yes, Mameh,’ and he’d be standing there, glaring at me. God, I was scared of him” (42).

“Folks will run with that, won’t they? They’ll say, ‘Oh, she felt low, so she went on and married a nigger.’ Well, I don’t care. Your father changed my life. He taught me about a God who lifted me up and forgave me and made me new. I was lucky to meet him or I would’ve been a prostitute or dead. Who knows what would’ve happened to me. I was reborn in Christ. Had to be, after what I went through” (43). 

6  The New Testament

Mom went to and brought her kids to Black churches. Mom LOVED church.

A little part that reminds me of me: “…about fifteen feet back from the sidewalk, with a sign above the door that was done by a painter who began his lettering without taking into account how little space he had. It read: WHOSOEVER BAPtist Church” (49).

“…like ‘We’ve Come This Far by Faith’ or ‘What a Friend We Have in Jesus,’ she would bow down her head and weep. It was the only time I ever saw her cry. ‘Why do you cry in church?’ I asked her one afternoon after service.

“‘Because God makes me happy.’”’Then why cry?’

“‘I’m crying ‘cause I’m happy. Anything wrong with that?’” (50).

“All my siblings, myself included, had some sort of color confusion at one time or another, but Richie dealt with his in a unique way. As a boy, he believed he was neither black nor white but rather green like the comic book character the Incredible Hulk. He made up games about it and absorbed the character completely into his daily life…”(52).

7  Sam

There is talk of the KKK. In italics: “It seemed to me death was always around Suffolk. I was always hearing about somebody found hanged or floating in the wharf. And we were uneasy too, my family, because in the South there was always a lot of liquor and drinking…” (58).

“They didn’t complain about it. Who would they complain to? The cops? The cops wouldn’t ride back there, you crazy? They were scared to or didn’t want to. But what always struck me about black folks was that every Sunday they’d get dressed up so clean for church I wouldn’t recognize them. I like that. They seemed to have such a purpose come Sunday morning. Their families were together and although they were poor, they seemed happy. Tateh hated black people. He’d call the little children bad names in Yiddish and make fun of their parents, too. ‘Look at them laughing,’ he’d say in Yiddish. ‘They don’t have me in their pocket and they’re always laughing.’ But he had plenty money and we were all miserable. My brother Sam, he couldn’t take it and ran off as soon as he got big enough” (61).

Sam was the author’s uncle. “He didn’t know a soul in Chicago and made it there on his own. Mameh was beside herself with that letter. ‘Write him back,’ she told me. ‘Write him back now and tell him to come home.’ so I did. I wrote Sam and told him to come home, but he never did come home and I never did see him again.

“He joined the army and got killed in World War II, my brother Sam. I didn’t find out what happened to him till long after the fact, when your daddy died in 1957. I had seven kids and was pregnant with you and I called one of my aunts to ask for help and she said, ‘Your brother died in the war.’ I asked her what happened, and she said,’ Stay out of our lives. You’ve been out. Stay out.’ And she hung up on me, so there was nothing I could do for Sam but pray for him” (63).

8  Brothers and Sisters

Stories of what would go on in the house while Mommy was gone. When Helen was 15 she ran away.

9  Shul

When Mom was in grade school nobody liked her for being Jewish. She had one friend, Francis. People were poor, but Mom’s family always had enough to eat. Her dad didn’t mind paying for private tutors.

10  School

“…communicated the sense to us that if we were lucky enough to come across the right Jew in our travels–a teacher, a cop, a merchant–he would be kinder than other white folks. She never spoke about Jewish people as white. She spoke about them as Jews, which made them somehow different.”

“It was in her sense of education, more than any other, that Mommy conveyed her Jewishness to us. She admired the way Jewish parents raised their children to be scholastic standouts, insulating them from a potentially harmful and dangerous public school system by clustering together within certain communities, to attend certain schools, to be taught by certain teachers who enforced discipline and encouraged learning, and she followed their lead” (87-8).

“She invariably chose predominantly Jewish public schools…”

“We grew accustomed to being the only black, or ‘Negro,’ in school and were standout students, neat and well-mannered, despite the racist attitudes of many of our teachers…” (89).

“Ma, what’s a tragic mulatto?” I asked.

Anger flashed across her face like lightning and her nose, which tends to redden and swell in anger, blew up like a balloon. “Where’d you hear that?” she asked.

“I read it in a book.”

“For God’s sake, you’re no tragic mul–What book is this?”

“Just a book I read.”

“Don’t read that book anymore.” She sucked her teeth. “Tragic mulatto. What a stupid thing to call somebody! Somebody called you that?”

“No.”

“Don’t ever ever use that term.”

“Am I black or white?”

“You’re a human being,” she snapped. “Educate yourself or you’ll be a nobody!”

“Will I be a black nobody or just a nobody?”

“If you’re a nobody,” she said dryly, “it doesn’t matter what color you are.”

“That doesn’t make sense,” I said.

She sighed and sat down. “I bet you never heard the joke about the teacher and the beans,” she said. I shook my head. “The teacher says to the class, ‘Tell us about different kinds of beans.’

“The first little boy says, ‘There’s pinto beans.’

“‘Correct,’ says the teacher.

“Another boy raises his hand. ‘There’s lima beans.’

“‘Very good,’ says the teacher.

“Then a little girl in the back raises her hand and says, ‘We’re all human beans!’”

She laughed. “That’s what you are, a human bean! And a fartbuster to boot!” She got up and went back to cooking while I wandered away, bewildered. (92-3)

“The question of race was like the power of the moon in my house. It’s what made the river low, the ocean swell, and the tide rise, but it was a silent power,, intractable, indomitable, indisputable, and thus completely ignorable. Mommy kept us at a frantic living pace that left no time for the problem” (94).

“Now the others began to act out, and the sense of justice and desire for equal rights that Mommy and father had imparted to us began to backfire. Kind, gentle, Sunday school children who had been taught to say proudly, ‘I am a Negro,’ and recite the deeds of Jackie Robinson and Paul Robeson now turned to Malcolm X and H. Rap Brown and Martin Luther King for inspiration. Mommy was the wrong color for black pride and black power, which nearly rent my house in two” (96).

“The extended black family was Mommy’s hole card, and she played it as often as the times demanded because her family was not available to her.”

“I’m dead. They’re dead too by now probably. What’s the difference? They didn’t want me to marry on the black side.”

“But if you’re black already, how can they be mad at you?” (99)

“…and going out with Mommy, which had been a privilege and an honor at age five, had become a dreaded event. I had reached a point where I was ashamed of her and didn’t want to the world to see my white mother. When I went out with my friends, I’d avoid telling her where we were playing because I didn’t want her coming to the park to fetch me. I grew secretive, cautious, passive, angry, and fearful…” (100).

“As I walked home, holding Mommy’s hand while she fumed, I thought it would be easier if we were just one color, black or white. I didn’t want to be white. My siblings had already instilled the notion of black pride in me. I would have preferred that Mommy were black. Now, as a grown man, I feel privileged to have come from two worlds. My view of the world is not merely that of a black man but that of a black man with something of a Jewish soul. I don’t consider myself Jewish, but when I look at Holocaust photographs of Jewish women whose children have been wrenched from them by Nazi soldiers, the women look like my own mother and I think to myself, There but for the grace of God goes my own mother–and by extension, myself. When I see two little Jewish old ladies giggling over coffee at a Manhattan diner, it makes me smile, because I hear my own mother’s laughter beneath theirs. Conversely, when I hear black ‘leaders’ talking about ‘Jewish slave owners’ I feel angry and disgusted, knowing that they’re inflaming people with lies and twisted history, as if all seven of the Jewish slave owners in the antebellum South, or however few there were, are responsible for the problems of African-Americans now. Those leaders are no better than their Jewish counterparts who spin statistics in marvelous ways to make African-Americans look like savages, criminals, drags on society, and ‘animals’ (a word quite popular when used to describe blacks these days). I don’t belong to any of those groups. I belong to the world of one God, one people. But as a kid, I preferred the black side, and often wished that Mommy had sent me to black schools like my friends. Instead I was stuck at that white school, P.S. 138, with white classmates who were convinced I could dance like James Brown. They constantly badgered me to do the ‘James Brown’ for them, a squiggling of the feet made famous by the ‘Godfather of Soul’ himself, who back in the sixties was bigger than life. I tried to explain to them that I couldn’t dance. I have always been one of the worst dancers that God has ever put upon this earth. My sisters would spend hours at home trying out new dances to Archie Bell and the Drells, Martha Reeves, King Curtis, Curtis Mayfield, Aretha Franklin, and the Spinners” (104).

Problems with color out in society.

11  Boys

If there was one thing Tateh didn’t like more than gentiles, it was black folks. And if there was one thing he didn’t like more than black folks in general, it was black men in particular. So it stands to reason that the first thing I fell in love with in life was a black man. I didn’t do it on purpose. I was a rebellious little girl in my own quiet way, but I wasn’t so rebellious that I wanted to risk my own life or anybody else’s life. They would kill a black man for looking at a white woman in the South in those days. They’d hang him. And the girl, they’d run her out of town” (107).

“I was never asked out for a date by anyone in school. I loved to dance and had long legs, and I once auditioned for a dance musical at school and made it, but some of the girls made such a fuss over having to dance next to a Jew that I dropped out of it. During gym class when we’d pick tennis partners, the girls would pick and pick until I’d be standing alone. If Frances wasn’t around, I wouldn’t get picked. I’d like to say I didn’t care about my classmates, and what they thought of me” ((108).

“None of the boys in school would even bother with me. So after a while I had me my own friend, and he didn’t care that I wore secondhand clothes or was Jewish. He never judged me. That’s the first thing I liked about him, in fact that’s what I liked about black folks all my life: They never judged me.”

“I loved that boy to death and he loved me. At least, I thought he did. Who cared that he was black? He was the first man other than my grandfather who ever showed me any kindness in my life, and he did it at the risk of his own because they would’ve strung him up faster than you can blink if they’d have found out. Not us the Ku Klux Klan but the regular white folks in town would’ve killed him. Half of them were probably the Klan anyway, so it was all the same. You know death was always around Suffolk, always around. It was always so hot, and everyone was so polite, and everything was all surface but underneath is was like a bomb waiting to go off. I always felt that way about the South, that beneath the smiles and southern hospitality and politeness were a lot of guns and liquor and secrets. A lot of those secrets ended up floating down the Nansemond River just down the road from us. Folks would go down to the wharf and throw out nets for crabs and turtles and haul in human bodies. I remember one of our customers, Mrs. Mayfield, they found her son out there, he wasn’t more than seventeen or so. He’d been killed and tied to a wagon wheel and tossed into the wat until he drowned or the crabs ate him. You know a crab will eat anything. You have never seen me eat a crab to this day and you never will.”

“Well, Peter and I were having our regular little secret rendezvous, carefully arranged. We’d meet in the yard or the passage behind the store, or he’d write a note and slip it to me secretly. If the store was closed he’d slide the note under the front door. On the Sabbath, Friday nights, it was a thrill for me to pretend I was going downstairs to the kitchen and then creep into the store to pick up the torrid love notes he slipped under the door. He would pledge his love for me no matter what and write out the plan for our secret meeting. At the appointed time he’d come by and pick me up in a car and I’d get into the back seat and lie flat so I wouldn’t be seen. He had friends that lived out in the country in isolated areas, and that’s where we would be together.

“You know, my whole life changed after I fell in love. It was like the sun started shining on me for the first time, and for the first time in my life I began to smile. I was loved, I was loved, and I didn’t care what anyone thought. I wasn’t worried about getting caught, but I did notice that Peter’s friends were terrified of me; they stayed clear anytime I came near them. They’d walk away from me if they saw me walking down the road coming toward them, and if they came into the store, they wouldn’t even look at me. That started to worry me a little but I didn’t worry much. Then after a while, my period was late. By a week.

“Then another two weeks.

“Then it never came.

“Well, the whole thing just started to unravel on me then. I was pregnant and couldn’t tell a soul. The white folks would have killed him and my father would have killed him. I had maybe just turned fifteen then. There wasn’t a person I could tell. I’d wake up in bed in a sweat, and go outside to the back balcony to hide my tears from my sister. I did consider telling Frances, but that was too much to ask. This was 1936. I mean, what I did was way, way out as far as white folks were concerned” (112).

“You know, the thing was, I was supposed to be white and ‘number one,’ too. That was a big thing in the South. You’re white, and even if you’re a Jew, since you’re white you’re better than a so-called colored. Well, I didn’t feel number one with nobody but him, and I didn’t give a hoot that he was back. He was kind! And good! I knew that! And I wanted to tell folks that, I wanted to shout out, ‘Hey y’all, it really doesn’t matter!’ I actually believed folks would accept that, that they’d see what a good person he was and maybe accept us, and I went through a few days of thinking this, after which I told him one night, ‘Let’s run off to the country and get married,’” (113-4).

Momma was never liked by the boys until one black boy came along. He was nicer to her than anyone and they fell in love. 1937. She got pregnant and didn’t know what to do. This could cost them their lives.

12  Daddy

“His name was Hunter Jordan, Sr., and he raised me as his own son.

“As a small boy, I was never quite aware of the concept of ‘father’” (117).

“He married her and made the baseball team his own, adding four more kids to make it an even twelve. He made no separation between the McBride and Jordan children, and my siblings and I never thought of or referred to each other as half brothers and sisters; for the powerless Little Kids, myself included, he was ‘Daddy.’ For the midlevel executives, he was sometimes ‘Daddy,’ sometimes ‘Mr. Hunter’” (118).

“His father was a black man, a railroad brakeman, and his mother a Native American, so he had a lot of Indian in his face: brown skin, slanted brown eyes, high cheekbones, and a weather-beaten outdoor look about him, a very handsome dude” (120).

James had a pretty great stepdad who eventually died of a stroke.

13  New York

“My mother knew I was pregnant and in trouble” (129).

“She just went about it in that matter-of-fact way my mother’s family did things. She made a few phone calls, found a Jewish doctor in Manhattan, and took me to his office, where I had an abortion. It was a horrible, painful experience and the doctor used no anesthesia” (134).

Just as Momma’s family was neither immigrant nor American, Mommy was neither black nor white. (In her soul she was black.)

14  Chicken Man

When James’s stepfather died both he and his mom lost it. James drops out of school. He begins smoking weed and stealing.

“It did not help. My friends became my family, and my family and mother just became people I lived with” (140).

“I was numb. I felt I was getting back at the world for injustices I had suffered, but if you sat me down and asked me which injustices I was talking about, I wouldn’t have been able to name them if my life depended on it…I had no feelings. I had smothered them. Every time they surged up, I shoved them back down inside me the way you stuff clothing in a drawer and shut it. Reefer and wine helped me to forget any pain, and as the pain and guilt increased, my problems with drugs worsened” (142).

“The men did not seem to be afraid of the police, nor did they dislike them. Their lives just seemed complete without the white man. I liked that. Their world was insular, away from the real world that I was running from. They called me ‘New York’…I turned fifteen on the Corner but could act like I was twenty-five, and no one cared. I could hide. No one knew me. No one knew my past, my white mother, my dead father, nothing. It was perfect. My problems seemed far, far away” (147).

“‘And nobody’ll give a damn neither!’ Chicken Man snapped. ‘Everybody on this corner is smart. You ain’t no smarter than anybody here. If you so smart, why you got to come on this corner every summer? ‘Cause you flunkin’ school! You think if you drop out of school somebody’s gonna beg you to go back? Hell no! They won’t beg your black ass to go back. What makes you so special that they’ll beg you! Who are you? You ain’t nobody! If you want to drop out of school and shoot people and hang on this corner all your life, go ahead. It’s your life” (150)!

James is getting a taste of true street life.

15  Graduation

After Moma aborted Peter’s baby in high school, she moved away for a year. During that time peter got another girl pregnant. Mama’s heart was broken.

“Oh, that messed me up. I told him I didn’t want to see him anymore and walked back through the black neighborhood, into the store, and went upstairs and cried my heart out, because I still loved him. I went through this entire ordeal and here he was getting busy with somebody else. The fact that he was black and the girl he was marrying was black–well, that hurt me even more. If the world were fair, I suppose I would have married him, but there was no way that could happen in Virginia. Not in 1937” (154). 

Mom’s father never cared for Mom’s mom.

“I wasn’t going to have an arranged marriage like my parents did. I’d rather die first, which I did do in a way, because I lost my mother and sister when I left home” (155).

Moma’s Jewish father forbid her to go into the Protestant church for her graduation ceremony. Mama left the next day for N.Y.C.

16  Driving

James begins to turn around although he was still seeking solace in drugs in order to distance himself from his mother’s suffering.

“I wanted to give up weed, but I couldn’t. Weed was my friend, weed kept me running from the truth. And the truth was my mother was falling apart.

“Looking back, I see it took about ten years for Mommy to recover from my stepfather’s death. It wasn’t just that her husband was suddenly gone, it was the accumulation of a lifetime of silent suffering, some of which my siblings and I never knew about. Her past had always been a secret to us, and remained so even after my stepfather died, but what she had left behind was so big, so complete that she could never entirely leave it: the dissipation of her own Jewish family, the guilt over abandoning her mother, the separation from her sister, the sudden, tragic death of his first husband, whom she adored. While she never seemed on the verge of losing her mind, there were moments when she teetered close to the edge, lost in space. Even in my own self-absorbed funk, I was worried about her, because as my siblings and I slowly got to our emotional feet, Mommy staggered about in an emotional stupor for nearly a year. But while she weebled and wobbled and leaned, she did not fall. She responded with speed and motion. She would not stop moving. She rode her bicycle. She walked” (163).

“…her Orthodox Jewish ways had long since translated themselves into full-blown Christianity. Jesus gave Mommy hope. Jesus was Mommy’s salvation. Jesus pressed her forward. Each and every Sunday, no matter how tired, depressed, or broke, she got up early, dressed in her best, and headed for church. When we kids grew too old and big for her to force us to go, she went alone, riding the F train from Queens to Brooklyn to New Brown Memorial, the church she started with my father. Church revived her, filled her up, and each Sunday she returned a little more renewed, until that Saturday afternoon she announced she was going to drive my stepfather’s car” (165).

“Rachel Deborah Shilsky could drive a car and pull a trailer behind it, but Ruth McBride Jordan had never touched a steering wheel before that day in 1973, and you can make book on it” (168).

17  Lost in Harlem

“I don’t know what drew me there–maybe because I’d lived around black folks most of my life, or because I’d heard so much about it. In those days, nobody in New York City went to the Village to have fun. Harlem was the place. White and black came to Harlem to party. There weren’t heavy drugs and crime like there is now. It was different. People were flowing up to Harlem in droves, from the South, from Chicago, from everyplace. Harlem was like magic” (171).

“Nobody would hire me. Why would a white girl hang around Harlem unless she was up to something bad” (172)?

“I would stay in the little room he rented for me for a few days, then go back to Bubeh’s, then go back there to my little room again. Bubeh was getting very suspicious now, but she was very old then, she slept a lot, you know, and she had diabetes, and I got over on her the way my grandkids get over on me now. I told her anything, you know, and after a while it got so that I couldn’t see my grandmother anymore and keep doing what I was doing, hanging out in Harlem. I had to break away and not go back home to her, because Bubeh reminded me too much of what I was and where I came from. I needed to move into Harlem completely and make enough money to stay there and e cool and wear the fancy dresses and the clothes. So one day I asked Rocky, ‘When do I get to make money like your other girls?’ I knew what I was saying. I wasn’t blind. But what was love to me? What did I know about love? And sex? I wanted to be swinging, but Rocky said, ‘You’re not ready to get out there yet. I’ll tell you when you’re ready’” (175).

If Mama hadn’t had friends looking out for her she likely would have become a prostitute. She returns to her grandmother’s. 

18  Lost in Delaware

Moving.

“In June 1974, Mommy walked into the kitchen of our house in Queens and said, ‘We’re moving to Delaware. Pack up the house.’ She had five kids at home and seven who were away at college” (177).

“My mother is the only individual I know who can fall asleep instantly for two minutes–deep REM sleep, complete with snoring–only to be awakened instantly by certain select noises” (178).

Culture shock: “…the promised land of Macy’s, Gimbels, and Ohrbach’s, entertaining them for free at museums, parades, block parties, and public concerts, Wilmington was a land of suburban shopping malls, high school marching bands, blond prom queens, small-town gossip, and an inner city from which whites were fleeing as fast as their Ford Pintos could take them. We were shocked by the racial division of the city and surrounding county, where most of the black kids attended understaffed and underfunded city schools while whites attended sparkling clean suburban schools with fantastic facilities. The segregated schools came as a complete surprise to Mommy, who had not even considered that problem, and the southern vibe of the city–anything south of Canal Street in Manhattan was the South to us–brought back unpleasant memories for Mommy. She hates the South” (180).

“But mommy did not have that insight, and from that moment on she hated Delaware. ‘We’re really moving back to new york now,’ she said” (181).

We see James’s life changing in Deleware and how he feels about white people.

“It hurt me a little bit to stand there and lie. Sometimes it seemed like the truth was a bandy-legged soul who dashed from one side of the world to the other and I could never find him” (187).

“She had few friends there. The black folks found her to be awkward. The white folks bored her. But there was no quick and easy escape.

“College was my way out. My eldest brother’s wife, Becky, had gone to Oberlin College in Ohio and she told me I should apply because they had a great liberal ars school, a conservatory of music, and most of all, scholarship money. My high school grades were sour, my SATs low, but my musical and writing abilities were strong and I had good recommendations” (188).

A sad parting from Mama as James leaves for college. This is her eighth child in a row to go to college.

19  The Promise

Dennis the violinist.

…Aunt Mary’s leather factory and we started going out, he brought me by there and said, ‘I want y’all to meet a friend of mine,’ and their eyes kind of popped out when I walked into the room.

This was around 1940 and black and white didn’t do what me and Dennis were doing, walking around and such. Some folks did it, but it was all secret, or they were good-time, partying folks like Rocky’s friends at Small’s Paradise. But Dennis was a Christian man and a serious man and so were his friends. This was no joking matter to them.”

“She was the grandchild of slaves. When I first came to North Carolina and walked into her house, she said, ‘I just hope you excuse me for looking at you so hard, because I’ve never had a white person in my house before, and I’ve never been this close to a white person before.’ And I said, ‘All right,’ and she was my friend till she died. I’ll never forget her as long as I live. She lived to be nearly a hundred. We wouldn’t have made it without Aunt Candis. She came up from North Carolina and cared for y’all after Dennis died, because I was grieving and lost and I couldn’t move. I couldn’t move. She took the train all the way up to New York from North Carolina and took care of all eight of you, including you, James, and you weren’t but a tiny child. She had never been to the city before. She’d never seen so much cement and so many tall buildings in her life. Your stepfather, he bought her a big gold watch after he married me and she left to go home to North Carolina. He said, ‘That’s some woman,’ and he was right. She was some woman” (195).

“So I did my own thing. I moved in with Dennis and I didn’t regret it. He continued to work for my Aunt Mary while I was living with him, and she never knew it” (196).

A father she grew up with but never really knew.

“She tried to ignore that, too, as long as she could, and I don’t think she knew for a while because Tateh was always a little strange anyway, you know, and secretive. He never told us anything, like where he was born, or if he had any family or relatives. Every summer he’d disappear for a few weeks to Europe. He’d say, ‘I’m going to see my landsman,’ and off he’d go on a steamer to France someplace. ‘Landsman’ in Jewish is somebody from your hometown. We’d run the store in his absence, me, Dee-Dee, and Mameh. To this day I don’t know exactly where he went, but a few weeks later he’d strut into the store, put down his bags, and say, ‘Where’s my money?’ We’d give it to him and he’d sit down and count it. Even before he took off his jacket, he’d count his money. He knew just how much he was supposed to earn a week, more or less. He was serious about his money.”

…say our prayers to begin the Sabbath, and Tateh would pack a bag of groceries and throw them in his car while Mameh watched him. He’d say to her in Yiddish, ‘I’m going out.’ Then he’d say to me in English, ‘I won’t be back till Monday. Open up the store Sunday morning.’” (198).

Mama’s parents getting divorced and how hard it was on the family.

20  Old Man Shilsky

As a young adult in Boston facing prejudice. Learning about his grandfather; not a pretty picture.

“‘Well…he just disliked black folks. And he cheated them. Sold ‘em anything and everything and charged ‘em as much as he could. If you owed him five dollars he’d make you pay back ten. He shot ol’ Lijah Ricks in the stomach. Lijah brought that on himself though, went in the Shilskys’ store fussin’ over some sardines and crackers and wouldn’t pay. Shilsky shot him in the left or right side, I can’t remember which. He didn’t kill him, but he was a hateful one, Old Man Shilsky. His own wife was scared of him’” (209).

James goes to Suffolk where his mom grew up. It is difficult to hear more stories of his mean ol’ grandpa.

21  A Bird Who Flies

“There was no life in Suffolk for me. I packed what few things I wanted and tried to talk to Dee-Dee before I left, but she wouldn’t talk to me. ‘You promised you wouldn’t go,’ she said, and she walked away from me. As I left the store to walk downtown to the bus station, Mameh handed me a bag lunch and kissed me and I was out the door and gone. I never saw her or Dee-Dee ever again. Tateh didn’t say a word to me as I walked out” (214).

“I began to yell at him and we argued. Here he was having divorced Mameh and he was still using her against me. Then he said, ‘I know you’re gonna marry a shvartse. You’re making a mistake.’ That stopped me cold, because I didn’t know how he learned it. To this day I don’t know. He said, ‘If you marry a nigger, don’t ever come home again. Don’t come back’” (215).

…he heard Aunt Mary say that my mother was sick and had been brought up to a hospital in the Bronx. I right away went out and called Aunt Mary and asked if she knew where Mameh was. She said, ‘You’re out of the family. Stay out. We sat shiva for you. You can’t see her.’ Well, that just hurt me to the bone. That night I told Dennis, ‘I’ve got to see her.’ He said, ‘Ruth, your aunt Mary made it clear that you’re not welcome up there’” (216). 

“That’s why she gave me that passport. I’ve always held that to this day, that guilt, that I left Mameh, because all her life I was the one who translated for her and helped her around. I was her eyes and ears in America, and when I left…well, Sam had gone, and Bubeh had died, and her husband treated her so bad and divorced her, and her reasons for living just slipped away. It was a bad time” (217). 

The story of when grandpa died.

22. A Jew Discovered

Interactions with white Jews: “Like most of the Jews in Suffolk they treated me very kindly, truly warm and welcoming, as if I were one of them, which in an odd way I suppose I was. I found it odd and amazing when white people treated me that way, as if there were no barriers between us. It said a lot about this religion–Judaism–that some of its followers, old southern crackers who talked with southern twangs and wore straw hats, seemed to believe that its covenants went beyond the color of one’s skin. The Sheffers, Helen Weintraub, the Jaffes, they talked to me in person and by letter in a manner and tone that, in essence, said ‘don’t forget us. We have survived here. Your mother was part of this…’” (224).

“The Shilskys kept to themselves. Your Uncle Sam, he joined the air force and got killed in a plane crash in Alaska” (226).

“The Shilskys were gone. Long gone” (228). 

“It suddenly occurred to me that my grandmother had walked around here and gazed upon this water many times, and the loneliness and agony that Hudis Shilsky felt as a Jew in this lonely southern town–far from her mother and sisters in New York, unable to speak English, a disabled Polish immigrant whose husband had no love for her and whose dreams of seeing her children grow up in America vanished as her life drained out of her at the age of forty-six–suddenly rose up on my blood and washed over me in waves. A penetrating loneliness covered me, lay on me so heavily I had to sit down and cover my face. I had no tears to shed. They were done long ago, but a new pain and a new awareness were born inside me. The uncertainty that lived inside me began to dissipate; the ache that the little boy who stared in the mirror felt was gone. My own humanity was awakened, rising up to greet me with a handshake as I watched the first glimmers of sunlight peek over the horizon. There’s such a big difference between being dead and alive, I told myself, and the greatest gift that anyone can give anyone else is life. And the greatest sin a person can do to another is to take away that life. Next to that, all the rules and religions in the world are secondary; mere words and beliefs that people choose to believe and kill and hate by. My life won’t be lived that way, and neither, I hope, will my children’s. I left New York happy in the knowledge that my grandmother had not suffered and died for nothing.

23  Dennis

In 1942 Dennis and I were living in a room in the Port Royal on 129th Street between Seventh and Eighth Avenues, and one night after work I walked into the hallway of our building and this black woman punched me right in the face. She hit me so hard I fell to the floor. ‘Don’t disrespect me!’ she said. She was a raving lunatic. I never even knew who she was. I somehow got off the floor and she chased me up to our room and I slammed the door on her and waited for my husband to get home. Dennis went to speak to her when he got home from work. ‘That white woman don’t belong here,’ she said. That’s what she told him. Dennis didn’t attack her. He just said, ‘Leave my wife alone,’ and she did. Even though we were not married, we considered ourselves husband and wife.

Some black folks never did accept me. Most did, but there were always a few running around saying ‘Nubian this’ and ‘Nubian that’ and always talking bout Africa and all this. Well, I’m a mother of black children, and nobody will ever deny me my children, and they can put that in their Nubian pipe and smoke it. All this Nubian. If you want to go back to Africa, James, well, you can go. I don’t see the point in your going when you have your family here. But if you feel you want to go to Africa to find your roots I won’t stop you. I’ll still be your mother when you come back. And you’ll still be my son.

There was no turning back after my mother died. I stayed on the black side because that was the only place I could stay. The few problems I had with black folks were nothing compared to the grief white folks dished out. With whites it was no question. You weren’t accepted to be with a black man and that was that. They’d say forget it. Are you crazy? A nigger and you? No way. They called you white trash. That’s what they called me. Nowadays these mixed couples get on TV every other day complaining, ‘Oh, it’s hard for us.’ They have cars and televisions and homes and they’re complaining. Jungle fever they call it, flapping their jaws and making the whole thing sound stupid. They didn’t have to run for their lives like we did. Me and Dennis caused a riot on 105th Street once. A bunch of white men chased us up the street and surrounded Dennis and tried to kill him, throwing bottles and hitting and kicking him until one of them made the rest of them stop. He said, ‘Get out of here while you can!’ and we ran for it. See, most interracial marriages did not last. That’s what Dennis would say when we argued. I’d say, ‘I’m leaving,’ and he’d say, ‘Go ahead. Go ahead. That’s what people want us to do. That’s what they expect.’ And he was right” (231-2).

Dennis was a deacon and he sang in the church choir. And it was a mighty, mighty choir too. What a time it was. Those were my glory years” (234).

“All his friends from North Carolina who lived in Harlem would come see him. They’d holler up to our window. ‘Dennis…Denis!’ and he’d invite them in and give them our last food or the shirt off his back if they asked. He came from a home where kindness was a way of life. I wanted to be in this kind of family. I was proud to join it, and they were happy to have me.”

“There were a lot of stares and whispering and pointing and silly questions when we went to the marriage bureau to get our license. The clerks were very nasty and no one wanted to write up our paperwork, but we didn’t let those fools ruin our marriage. We got the license and Rev. Brown married us in his private office at the church. I had told him the truth about me and Dennis not really being married and he said, ‘Don’t worry. I’ll marry you and be quiet about it.’” (236).

“‘We have to be strong. You know what people will say about us, Ruth. They’ll try to break us up.’ I said, ‘I know. I’ll be strong,’ and over the years we were tested, but we never split up or even spent a night apart except when he took the kids to North Carolina to see his parents. I never could go south with him because of the danger. The first time I went south with him was the last time, when I took his body down there to bury him” (237).

“Our family grew so fast, before I knew it me and Dennis and four kids were cramped in that one room. So we applied to get an apartment in the Red Hook Housing Projects in Brooklyn” (239).

“I loved that man. I never missed home or my family after I got married. My soul was full.”

“With his little salary, we could barely afford to feed our kids–we had gone from four kids to five to six to seven. I mean, after a while they just dropped like eggs and we loved having them…” (240).

Prejudice is experienced even in life-or-death situations.

“A sinking feeling like I was going right down into blackness. The children woke up and they were huddled together crying and I started to cry. Part of me died when Dennis died. I loved that man more than life itself and at times I wished the good Lord would have taken me instead of him, because he was a much better person for living than me. He just had so much more to give the world than me. He brought me new life. He revived me after I left my family, brought me to Jesus, opened my eyes to a new world, then passed on himself. Lord, it was hard. Very hard to let him go. I was angry at him for dying for a while afterwards, angry that he left me with all those kids, but more than that, I missed him” (244).

“I was thirty-six then and had been with Dennis nearly sixteen years and I’d never functioned without him” (245). 

I was on my own then, but I wasn’t alone, because like Dennis said, God the Father watched over me, and sent me your stepfather, who took over and he saved us and did many, many things for us He wasn’t a minister like Dennis. He was different, a workingman who had never been late for work in the thirty years that he worked for the New York City Housing Authority, and he was a good, good man. I met him after you were born and after a while he asked me to marry him, and Aunt Candis said, ‘Marry that man, Ruth. Marry him!’ and she’d clean the house spotless and cook up these splendid meals when your stepfather came by, to make me look good. He thought I was making up those tasty yams and pork chips and I can’t cook to save my life. When I told him the truth, he said it didn’t matter, that he wanted to marry me anyway, even though his brothers thought he was crazy. I had eight children! But I wasn’t ready to marry. I turned him down three times. I took you down to North Carolina to show you to Dennis’s parents, Etta and Nash, in late ‘57–they only lasted four or five years after their only child died–and when I told Grandma Etta I was thinking of marrying again, she said, ‘God bless you, Ruth, because you’re our daughter now. Marry that man.’ That’s how black folks thought back then. That’s why I never veered from the black side. I would have never even thought of marrying a white man. When I told your stepfather about how my sister and Aunt Betts treated me, he spoke about them without bitterness or hate. ‘You don’t need them to help you,’ he said. ‘I’ll help you for the rest of my life if you’ll marry me,’ which I did, and God bless him, he was as good as his word” (246-7).

The story of Daddy Dennis dying and how the stepfather took over a family of eight kids.

Chapter 24: New Brown

New Brown in the Red Hook Housing Projects. “This is Mommy’s home church. This is the church where I got married. This is the church my father Andrew McBride built” (250).

“He left behind no insurance policy, no dowry, no land, no money for his pregnant wife and young children, but he helped establish the groundwork for Ma’s raising twelve children which lasted thirty years–kids not allowed out after five o’clock; stay in school, don’t ever follow the crowd, and follow Jesus–and as luck, or Jesus, would have it, my stepfather helped Mommy enforce those same rules when he married her. The old-timers at New Brown used to say god honored Rev. McBride. The man died without a penny, yet his children grew up to graduate from college, to become doctors, professors, teachers, and professionals all. It was the work, they said, of none other than Jesus Christ Himself” (251).

This is what extraordinary mothers and fathers can do.

Living in certain past memories while avoiding others:

“For years, Mommy rarely talked about my father. It was as if his death was so long ago that she couldn’t remember; but deep inside she saw her marriage to him as the beginning of her life, and thus his death as part of its end, and to reach any further beyond that into her past was to go into hell, an area that she didn’t want to touch. In order to steer clear of the most verboten area, the Jewish side, she steered clear of him as well. Her memory was like a minefield, each recollection a potential booby trap, a Bouncing Bettery–the old land mines the Viet Cong used in the Vietnam War that never went off when you stepped on them but blew you to hell the moment you pulled your foot away” (253).

How Mom morphed into the new era of New Brown Church.

Chapter 25: Finding Ruthie

“‘No way, I spent all my life running from the South. Don’t put me in the South.’

‘Okay. New York,’ I said. ‘You lived there forty years. You still love New York.’

‘Too crowded,’ she sniffed. ‘They bury them three deep in New York. I don’t want to be smushed up under somebody when I’m buried.’

‘Where should we bury you then?’

“She threw up her hands. ‘Who cares?’”

“Doctors found squamous cell cancer in a small mole they removed from Ma’s face, a condition caused by too much exposure to the sun. Ironically, it’s a condition that affects mostly white people. To the very end, Mommy is a flying compilation of competing interests and conflicts, a black woman in white skin, with black children and a white woman’s physical problem” (260).

Identity issues for James

If it takes as long to know Jesus as it took to know you, I think, I’m in trouble. It took many years to find out who she was, partly because I never knew who I was. It wasn’t so much a question of searching for myself as it was my own decision not to look. As a boy I was confused about issues of race but did not consider myself deprived or unhappy. As a young man I had no time or money or inclination to look beyond my own poverty to discover what identity was. Once I got out of high school and found that I wasn’t in jail, I thought I was in the clear. Oberlin College was gravy–all you could eat and no one telling you what to do and your own job to boot if you wanted one. Yet I laughed bitterly at the white kids in ragged jeans who frolicked on the camps lawn tossing Frisbees and went about campus caroling in German at Christmas. They seemed free in ways I could not be. Most of my friends and the women I dated were black, yet as time passed I developed relationships with white students as well, two of whom,–Leander Bien and Laurie Weisman–are close friends of mine today. During the rare, inopportune social moments when I found myself squeezed between black and white, I fled to the black side, just as my mother had done, and did not emerge unless driven out by smoke and fire. Being mixed is like that tingling feeling you have in your nose just before you sneeze–you’re waiting for it to happen but it never does. Given my black face and upbringing it was easy for me to flee into the anonymity of blackness, yet I felt frustrated to lie in a world that considers the color of your face an immediate political statement whether you like it or not. It took years before I began to accept the fact that the nebulous ‘white man’s world’ wasn’t as free as it looked; that class, luck, religion all factored in as well; that many white individuals’ problems surpassed my own, often by a lot; that all Jews are not like my grandfather and that part of me is Jewish too. Yet the color boundary in my mind was and still is the greatest hurdle. In order to clear it, my solution was to stay away from it and fly solo” (261-2). 

“…I wore my shirt and tie like an imposter. I wandered around the cities by day, stumbling into the newsroom at night, exhausted, to write my stories. I loved an empty city room, just the blinking terminals and a few deadbeats like myself. It was the only time I could write, away from white reporters, black reporters, away from the synergy of black and white that was already simmering inside my soul, ready to burst out at the most inopportune moments. Being caught between black and white as a working adult was far more unpleasant than when I was a college student. I watched as the worlds of blacks and whites smashed together in newsrooms and threw off chunks of human carnage that landed at my feet. I’d hear black reporters speaking angrily about a sympathetic white editor and I’d disagree in silence. White men ruled the kingdom, sometimes ruthlessly, finding clever ways to gut the careers of fine black reporters who came into the business full of piss and vinegar, yet other white men were mere pawns like myself. Most of my immediate editors were white women, whom I found in general to be the most compassionate, humane, and often brightest in the newsroom, yet they rarely rose to the top–even when compared to their more conservative black male counterparts, some of whom marched around the newsrooms as if they were the second coming of Martin Luther King, wielding their race like baseball bats” (263).

“It was a devastating realization, coming to grips with the fact that all your life you had never really known the person you loved the most. Even as a young boy I was used to Mommy hiding her past, and I grew to accept it, and the details of her past got lost as my own life moved forward, which is probably how she wanted it anyway. I never even seriously broached the subject with her until 1977, when I was in college and had to fill out a form that for some reason or other required Ma’s maiden name. I called her long-distance, in Philadelphia, to find out, and she was suddenly evasive” (266). 

“I felt like a Tinkertoy kid building my own self out of one of those toy building sets; for as she laid her life before me, I reassembled the tableau of her words like a picture puzzle, and as I did, so my own life was rebuilt.

“Mommy has changed, changed from the time she adopted Christianity back in the 1940s. What’s different is that she can face the past now. After years of saying, ‘Don’t tell my business,’ she reached a point where she now says, ‘It doesn’t matter. They’re all dead now, or in Florida,’ which in her mind is the same as being dead. ‘I’ll never retire to Florida,’ she vowed. Riding past a graveyard one day, she looked over and remarked, ‘That’s Florida Forever.’

“Ma settled in to get her college degree in social work from Temple University at age sixty-five. She enjoyed the intellectual back-and-forth, the study, reading different authors–I’d forgotten how bright she was. The constant learning and yearning for knowledge was what helped her finally move away from the bustle of Philadelphia to settle into the quieter, safer suburb of Ewing with my sister Kathy. For a few years, she used her degree to work as a volunteer in a Philadelphia social service agency that helped pregnant, unwed mothers; then she moved on to run a weekly reading group for literate and illiterate senior citizens at the local Ewing library, which she still does today. But that’s not enough to keep her busy. Every day she rises, spirits her two grandchildren off to school and drives around central New Jersey, haggling with merchants at flea markets, taking yoga classes in sweats and Nikes, tooling along in a 1995 Toyota at twenty-seven miles an hour in a fifty-five-mile-an-hour zone, holding up traffic on Route 1 listening to Bernard Maltzer on WOR-AM or the Howard Stern show. (‘Grandma laughs when Howard Stern talks dirty,’ my niece Maya whispers.) Sometimes she’ll get up in the morning and disappear for days at a time, slipping away to her old stomping grounds, the Red Hook Housing Projects, to go to church and see her old friends there. She loves Red Hook. Despite the fact that my siblings often urge her to stay out of the projects, she won’t. ‘Don’t tell me how to live,’ she says. She’s always been slightly out of control, my mother, always had the unnerving habit of taking the ship into the air to do loops and spins, then fleeing the cockpit screaming, ‘Someone do something, we’re gonna crash!’ then at the last dying second slipping into the pilot’s seat and coolly landing the thing herself, only to forget the entire incident instantly. She wouldn’t recall it for you if you showed her pictures of herself doing it. She wipes her memory instantly and with purpose; it’s a way of preserving herself. That’s how she moves. Her survival instincts are incredible, her dances with fire always fun to watch. ‘Ruthie,’ my sisters affectionately called her. ‘Ruthie’s crazy’” (271).

“Like any family we have problems, but we have always been close. Through marriage, adoptions, love-ins, and shack-ups, the original dozen has expanded into dozens and dozens more–wives, husbands, children, grandchildren, cousins, nieces, nephews–ranging from dark-skinned to light-skinned; from black kinky hair to blond hair and blue eyes. In running from her past, Mommy has created her own nation, a rainbow coalition that descends on her house every Christmas and Thanksgiving and sleeps everywhere–on the floor, on rugs, in shifts; sleeping double, triple to a bed, ‘two up, three down,’ just like old times” (277).

The Horse Whisperer  

by Nicholas Evans  

1995  Dell Publishing  

451 pages

I saw this movie years ago but didn’t remember anything about it. The writing by Evans feels above mediocre, but not poetic or memorable. There were only two short passages where I felt oh, I just have to mark this but it was to express a personal connection rather than poeticism or beauty. The novel is much more plot-based; that is what kept me turning pages. The plot is well-paced; nothing takes too long to brew or happen. I was truly motivated to find out what would happen next. The chapters are rather short, but not uniformly so. The novel begins with a horrific accident and it is graphic. It gave me a feeling like hold up…I didn’t sign up for this. The terrible scene is needed, though, to set up the rest of the story. This novel feels more about emotional psychology than anything else, but we also see themes of marriage, mothers and daughters, career, expertise, and–I have to admit–romance. 

The novel begins with a quote that I like from “On Trust in the Heart” by Seng-t’san

“Pursue not the outer entanglements,

Dwell not in the inner void;

Be serene in the oneness of things,

And dualism vanishes by itself.”

1  We meet Grace Maclean and her father, Robert. Along with Annie (mother/wife), they live in a New York apartment on Central Park West. In another area and unrelated is Wayne P. Tanner, a truck driver. Mrs. Dyer owns the horse stables where Judith and Grace, both young teenagers, learned to ride. It is a beautiful morning with freshly fallen snow. Judith and Grace go out before anyone is up to go horse riding. They collide with Tanner’s eighteen-wheeler and Judith and her horse do not survive.

2  Annie’s daughter Grace loses her leg from the knee down and is in a coma. They do not know if she is going to live.

3  Physical therapists work with Grace and similarly (although not in a coma), her horse, Pilgrim. Will Grace even live?

4  Pilgrim seems more traumatized than anyone. Grace doesn’t want to ride again.

5  Pilgrim seems irredeemable. Grace gets a prosthetic leg.

6  Annie (who is a top magazine editor) researches horse whisperers.

7  Annie comes across the name Tom Booker as being an expert in how to rehabilitate traumatized horses. We get to see Tom at work.

8  We learn a little about Tom’s past.

9  Annie finds Tom who comes to check out Pilgrim. Annie is at work.

10  When Tom arrives early to a farm where Pilgrim is being housed, he does not like what he sees.

11  Annie makes contact with Tom Booker. His advice is to put Pilgrim down.

12  In secret, Annie rearranges everyone’s life to take her daughter and Pilgrim to work with Tom. She feels that if the horse can be saved, so can her daughter. She and Grace will take the horse and go while Robert stays home to work. Annie can work remotely.

13  Grace is not speaking to her mother as they take the horse across country.

14  Not much

15  Tom starts to feel if he helps the horse he’ll help the entire family.

16  They all watch Tom work his magic. There is a little flirtation between Tom and Annie.

17  They all spend the day working and bonding. Annie and Grace will move into the guest house on the ranch where Tom, his brother, and his brother’s family live (along with a few ranch hands).

18 and 19  –

20  Tom hears Grace’s entire story and does some research on how to help Pilgrim.

21  “Annie’s grandmother was a small, malicious woman with a tight white perm through which the pink of her scalp glowed like a warning” (260).

“Her father had been a bounding, joyous man. The only one who ever thought she was of value” (261).

Grace simply won’t talk to her mother but tells Tom all she can remember of the accident then tells her dad she feels better after talking. Annie hears everything from afar.

22  With Joe, Grace feels so comfortable that he talks her into taking her first post-accident horse ride, but not on Pilgrim.  

23  Annie’s dinner party has more than one fight and Grace silently starts her period for the first time. With that plus not having a leg, she feels no boy will ever want her.

24  Robert hears rumors that maybe Annie’s job is in jeopardy. 

25  A barn dance where Grace flirts with Joe and Annie with Tom.

26  Tom makes major headway with Pilgrim. Grace helps. Annie doesn’t even know if she wants to keep her job.

27  They all go on the summer cattle drive. Tom and Annie finally kiss. Everyone is going out of town next week; is it time to go back East? Robert is coming to visit.

28  Grace needs a new prosthetic fitting. Robert comes to visit.

29  Everyone is nice to Robert and while he and Annie have sex that night Annie thinks of Tom.

30  Grace needs a new prosthetic but can only get it in New York. Annie and the farm hands will run the farm while everyone is out of town next week.

31  Tom and Annie finally make love. 

32  [There are a couple of ichy moments where Evans is trying to imagine what it feels like to be a woman after sex. Blech.] While they have the chance, the lovebirds take a few days off on horseback.

33  This chapter will make you cry: how Grace finally rode Pilgrim.

34  Annie tells Tom she wants to leave her family for him. He basically says, “No, you don’t.”

35  Grace overhears information about her mother and Tom being together. The next morning she takes Pilgrim with the intention to burn down the summer cabin high in the mountains. Before she reaches her goal, she gets trapped with a herd of wild horses. Tom saves her, but there is a twist.

The final chapter has another twist!

Well worth the read if you like romance, horses, prosthetics, and wide-open spaces.

The Illustrated Man

The Illustrated Man  by  Ray Bradbury

The Grand Master Editions  Bantam Books  1951   186 pages

I am very glad I did not take the time to read this in graduate school when I was researching tattoos. More than one person suggested this book because the “illustrated man” is heavily tattooed, yet the book has nothing to do with him. I don’t even know why Bradbury went to what little trouble he did to include him at the beginning of what is essentially a collection of short stories. A tattooed man wanders place to place in search of a job. He comes upon a young lad whom he befriends and explains that his tattoos tell the future. At night the tattoos move. The tattoos are a curse placed upon him by a witch. Each tattoo tells a story, and if one looks at him long enough, he or she will become one of the tattooed stories. Even though the boy is asked not to, he stares at the man’s tattoos all night as the tattooed man sleeps. Each tattoo shows us the story that we have before us. Each tale is pretty short, so this book would be a good “before going to sleep” book. Most of the stories have to do with spaceships and intergalactic travel. Each story also seems to hint at a moral of some kind. I will give you the name of each story, some best bits, and its synopsis.

  1. The Veldt This is one of my favorites since it puts the kids in charge of their own world. What they do with it is gruesome! The Hadleys have allowed technology to take over their life. It spoils their children and kills the parents.
  1. Kaleidoscope A philosophical piece regarding looking back at your life and wondering what it was all for. How did you use your time? Did you live or dream about living?
  1. The Other Foot People of color were shipped to Mars as Earth began a nuclear war. Twenty years later a white man came to visit and let them know that Earth was destroyed. The Martians had plans to subjugate the man like the way of life in America, but when they learn of the fate of the Earth, they feel the man has been punished enough.
  1. The Highway A theme of atomic war again and the thought of being so far removed that you don’t know or even understand the news.
  1. The Man Of searching, belief, skepticism, and faith. What would you think if Jesus actually returned? Would you dismiss it? Believe? Follow him? Laugh?
  1. The Long Rain On Venus there is only rain. It makes all visitors crazy.
  1. The Rocket Man I really liked the following passage that described the mindfulness a child needs from his/her parent:.

“‘Let’s hear it,’ he said at last.

And I knew that now we would talk, as we had always talked, for three hours straight. All afternoon we would murmur back and forth in the lazy sun about my school grades, how high I could jump, how fast I could swim.

Dad nodded each time I spoke and smiled and slapped my chest lightly in approval. We talked. We did not talk of rockets or space, but we talked of Mexico at noon, seeing the hundred butterflies sucked to our radiator, dying there, beating their blue and crimson winds, twitching, beautifully, and sad. We talked of such things instead of the things I wanted to talk about. And he listened to me. That was the thing he did, as if he was trying to fill himself up with all the sound he could hear. He listened to the wind and the falling ocean and my voice, always with a rapt attention, a concentration that almost excluded physical bodies themselves and kept only the sounds. He shut his eyes to listen. I would see him listening to the lawn mower as he cut the grass by hand instead of using the remote-control device, and I would see him smelling the cut grass as it sprayed up at him behind the mower in a green fount.”

What is it like to be an astronaut with a family? He is caught between two worlds. He loves his family and space equally. Eventually, the father/astronaut is killed in space. The wife began pretending he was dead long ago in preparation for this eventuality.

  1. The Fire Balloons This passage is good:

“‘I wonder–’ Father Peregrine mopped his face. ‘Do you think if we called Hello! They might answer?’

‘Father Peregine, won’t you ever be serious?’

‘Not until the good Lord is. Oh, don’t look so terribly shocked, please. The Lord is not serious. In fact, it is a little hard to know just what else He is except loving. And love has to do with humor, doesn’t it? For you cannot love someone unless you put up with him, can you? And you cannot put up with someone constantly unless you can laugh at him. Isn’t that true? And certainly we are ridiculous little animals wallowing in the fudge bowl, and God must love us all the more because we appeal to His humor.’

‘I never thought of God as humorous,’ said Father Stone.

‘The Creator of the platypus, the camel, the ostrich, and man? Oh, come now!’ Father Peregrine laughed.”

On the next page there is some more good stuff:

“And again, Independence Night, thought Father Peregrine, tremoring. He felt like a child back in those July Fourth evenings, the sky blowing apart, breaking into powdery stars and burning sound, the concussions jingling house windows like the ice on a thousand thin ponds. The aunts, uncles, cousins crying, ‘Ah!’ as to some celestial physician. The summer sky colors. And the Fire Balloons, lit by an indulgent grandfather, steadied in his massively tender hands. Oh, the memory of those lovely Fire Balloons, softly lighted, warmly billowed hits of tissue, like insect wings, lying like folded wasps in boxes and, last of all, after the day of riot and fury, at long last from their boxes, delicately unfolded, blue, red, white, patriotic–the Fire Balloons! He saw the dim faces of dear relatives long dead and mantled with moss as Grandfather lit the tiny candle and let the warm air breathe up to form the ballon plumply luminous in his hands, a shining vision which they held, reluctant to let it go; for, once released, it was yet another year gone from life, anther Fourth, another bit of beauty vanished. And then up, up, still up through the warm summer night constellations, the Fire Balloons had drifted, while red-white-and-blue eyes followed them, wordless, from family porches. Away into deep Illinois country, over night rivers and sleeping mansions the Fire Balloons dwindled, forever gone…”

Missionaries thought they were going to bring Christianity to the Martians, but they ended up learning from them.

  1. The Last Night of the World Everyone has the same dream about the world ending. It seems so logical that everyone just accepts it.
  1. The Exiles Best bit: “Mr. Poe’s face was weary; there were fire coals remaining, fading, in his eyes, and a sad wildness in the way he talked, and a uselessness of his hands and the way his hair fell lanky over his amazing white brow. He was like a satan of some lost dark cause, a general arrived from a derelict invasion. His silky, soft, black mustache was worn away by his musing lips. He was so small his brow seemed to float, vast and phosphorescent, by itself, in the dark room.”

The thought that authors cannot live beyond their works. When their books were censored and destroyed, the authors would disappear from the face of the Earth.

  1. No Particular Night or Morning Best bit: “‘Why should I hold onto things I can’t use?’ said Hitchcock, his eyes wide, still staring into space. ‘I’m practical. If Earth isn’t here for me to walk on, you want me to walk on a memory? That hurts. Memories, as my father once said, are porcupines. To hell with them! Stay away from them. They make you unhappy. They ruin your work. They make you cry.’”

A man goes crazy out in space. If something is not physically interacting with him he believes it doesn’t exist.

  1. The Fox and the Forest Time travelers try to escape their horrible war-torn world…but it’s not so easy to disappear into the past.
  1. The Visitor Sick people are exiled to Mars and find a man who can hypnotize them to see anything. Their possessive jealousy ends up killing him. No more escapism.
  1. The Concrete Mixer I made a note that I might like this one best. Martians visiting earth are not met with force but invited in. How slothful and unhealthy will they become? How fast will they become dumb like humans?
  1.  Marionettes, Inc. You can buy a look-alike so it can cover at home and work while you live your best life. But what happens when the clone wants you out of the way?
  1. The City A city once destroyed by men lays in wait for revenge. When men come they turn them into robots, load their rocket with disease and send them to Earth.
  1. Zero Hour Another version of kids wanting to kill their parents. An outside force recruits them because no one really pays attention to what they do.
  1. The Rocket How can a poor man afford space travel? Ask Mr. Bodoni.

Ethan Frome

 by  Edith Wharton

A Norton Critical Edition edited by Kristin O. Lauer and Cynthia Griffin Wolff

Ends with authoritative text backgrounds and contexts criticism

Ethan Frome

The narrator is curious about lonely and quiet Ethan Frome. He begins to learn a bit more when Frome begins giving the narrator rides to work.

1

We go back in time 24 years earlier

“The guests were preparing to leave, and the tide had already set toward the passage where coats and wraps were hung, when a young man with a sprightly foot and a shock of black hair shot into the middle of the floor and clapped his hands. The signal took instant effect. The musicians hurried to their instruments, the dancers–some already half-muffled for departure–fell into line down each side of the room, the older spectators slipped back to their chairs, and the lively young man, after diving about here and there in the throng, drew forth a girl who had already wound a cherry-coloured ‘fascinator’ about her had, and, leading her up to the end of the floor, whirled her down its length to the bounding tune of a Virginia reel.

“Frome’s heart was beating fast. He had been straining for a glimpse of the dark head under the cherry-coloured scarf and it vexed him that another eye should have been quicker than his. The leader of the reel, who looked as if he had Irish blood in his veins, danced well, and his partner caught his fire. As she passed down the line, her light figure swinging from hand to hand in circles of increasing swiftness, the scarf flew off her head and stood out behind her shoulders, and Frome, at each turn, caught sight of her laughing panting lips, the cloud of dark hair about her forehead, and the dark eyes which seemed the only fixed points in a maze of flying lines” (14).

“The face she lifted to her dancers was the same which, when she saw him, always looked like a window that has caught the sunset” (16).

Frome is beginning to care more for Mattie, his wife’s cousin, than for his wife.

II

I think Frome’s wife, Zeena, knows what is going on.

III

Zeena will be in town overnight to see a new doctor. Frome and Mattie will be alone.

IV

“There was in him a slumbering spark of sociability which the long Starkfield winters had not yet extinguished. By nature grave and inarticulate, he admired recklessness and gaiety in others and was warmed to the marrow by friendly human intercourse” (29).

“…the laughter sparkling through her lashes” (34).

A special dish is broken during dinner. When will Zeena learn of the broken dish and how it was being used over a flirtatious dinner?

V

Mattie and Ethan spend a quiet evening together, both too nervous to really do anything.

VI

All Ethan thinks about is Mattie though they’ve never touched or kissed. His wife has now returned. Ethan now has to secretly fix the dish they broke.

VII

Zeena finds the broken dish. Mattie confesses. 

VIII

Ethan is going to ask the Hales for an advance so he can run away but he changes his mind. He just couldn’t lie to them.

IX

“She clung to him without answering, and he laid his lips on her hair, which was soft yet springy, like certain mosses on warm slopes, and had the faint woody fragrance of fresh sawdust in the sun” (60). 

Zeena knows all…you can tell by the clues and the way she acts.

“…all their intercourse had been made up of just such inarticulate flashes, when they seemed to come suddenly upon happiness as if they had surprised a butterfly in the winter woods…” (63).

Mattie and Ethan stop by a shared memory space on the way taking her to the train. They share a sled ride down a long run and almost hit a tree. Mattie decides instead of parting that they should sled down the hill once again and that is when they hit the tree. They’d rather die together than part.

“…and her dark eyes had the bright witch-like stare that disease of the spine sometimes gives” (71).

Read this short novella to find out the juicy details! The story is only 72 pages long (in this version). Just an afternoon’s read. 

I didn’t read all of the background and context material (too boring), but I did find something of note in a piece by Carroll Smith-Rosenberg. Her essay is called “They Hysterical Woman: Sex Roles and Role Conflict in Nineteenth-Century America”

“Hysteria as a chronic, dramatic, and socially accepted sick role could thus provide some alleviation of conflict and tension, but the hysteric purchased her escape from the emotional and –frequently–from the sexual demands of her life only at the cost of pain, disability, and an intensification of woman’s traditional passivity and dependence.”

II

“The effect of hysteria upon the family and traditional sex-role differentiation was disruptive in the extreme. The hysterical woman virtually ceased to function within the family. No longer did she devote herself to the needs of others, acting as self-sacrificing wife, mother, or daughter: through her hysteria she could and in fact did force others to assume those functions. Household activities were reoriented to answer the hysterical woman’s important needs. Children were hushed, rooms darkened, entertaining suspended, a devoted nurse recruited. Fortunes might be spent on medical bills or for drugs and operations. Worry and concern bowed the husband’s shoulders; his home had suddenly become a hospital and he a nurse. Through her illness, the bedridden woman came to dominate her family to an extent that would have been considered inappropriate–indeed, shrewish–in a healthy woman. Taking to one’s bed, especially when suffering from dramatic and ever-visible symptoms, might also have functioned as a mode of passive aggression, especially in a milieu in which weakness was rewarded and in which women had since childhood been taught not to express overt aggression. Consciously or unconsciously, they had thus opted out of their traditional role.”

I do remember reading that back in the day when some husbands became increasingly unsatisfied with their wives, they would begin to make a case that the wife was hysteric or was losing her mind. In this way, they could have their wives committed against their will. They would leave their wives in asylums while they married new, younger wives. Can you imagine having to resort to hysterics in order to rest? We’ve come a long way, baby.

Moby Dick (or The Whale)

One may easily look at the novel Moby Dick (or The Whale) and think no way can I read that! That book is 568 pages! But what you don’t know is how funny and exciting it can be. The best thing is that the chapters are super short. I love when a novel has short chapters because you can choose to read for short spurts of time and still end with the chapter. This novel was written by Herman Melville in 1851. When you read Melville you somehow begin to believe that he is your long-time friend. Like Hugo’s Les Miserables, Melville can go off on a tangent. You will learn about whaling in the 1800s, but probably a bit more than you care to know. Still, since you have probably never been a whaler, it is interesting to learn about the process. 

On one of the front pages it reads: “The text of Moby-Dick in this volume is from The Northwestern-Newberry Edition of The Writings of Herman Melville, edited by Harrison Hayford, Herschel Parker, and G. Thomas Tanselle and published by Northwestern University Press and The Newberry Library, with the permission of the publishers It is an approved text of the Modern Language Association of America.” This is the Barnes and Noble edition from 1988. This volume comes with gorgeous artwork, yet too little of it! The illustrations were done by Mark Summers. There are also appendices: “Creating Moby-Dick” by Leon Howard, letter excerpts, reviews, “Rebirth” by Leon Howard, “The Chronology of Whales” (and whaling) by Ivan Sanderson, “Dictionary of Sea Terms” by Richard Dana, and “At Melville’s Tomb” reprinted from The Complete Poems and Selected Letters and Prose of Hart Crane.

I have included the names of each chapter because, as simple as they are, they amuse me somehow. Here are some of the best bits and broad chapter summaries. As per my rule, the last chapter remains a mystery until you read it for yourself.

Chapter One: Loomings

“What of it, if some old hunks of a sea-captain orders me to get a broom and sweep down the decks? What does that indignity amount to, weighed, I mean, in the scales of the New Testament? Do you think the archangel Gabriel thinks anything the less of me, because I promptly and respectfully obey that old hunks in that particular instance? Who aint a slave? Tell me that. Well, then, however the old sea captains may order me about–however they may thump and punch me about, I have the satisfaction of knowing that it is all right; that everybody else is one way or other served in much the same way–either in a physical or metaphysical point of view, that is; and so the universal thump is passed round, and all hands should rub each other’s shoulder-blades, and be content” (4).

“…this the invisible police officer of the Fates, who has the constant surveillance of me, and secretly dogs me, and influences me in some unaccountable way–he can better answer than any one else” (5).

Ishmael loves to get away from the stresses of life by going to sea as a sailor. He has to work a bit but he gets paid. He was also interested in going on a whaling expedition.

Chapter Two: The Carpet-Bag

“Yes, these eyes are windows, and this body of mine is the house. What a pity they didn’t stop up the chinks and the crannies though, and thrust in a little lint here and there. But it’s too late to make any improvements now. The universe is finished; the copestone is on, and the chips were carted off a million years ago.”

“What a fine frosty night; how Orion glitters; what northern lights! Let them talk of their oriental summer climes of everlasting conservatories; give me the privilege of making my own summer with my own coals” (9).

Ishmael wants to board a ship from Nantucket and nothing less will do. When he arrives one ship has already left. He finds lodging at The Spouter Inn.

Chapter Three: The Spouter-Inn

“Better sleep with a sober cannibal than a drunken Christian” (24).

There are no more beds so Ishmael agrees to share a bed with a harpooner who is out. Ishmael is in bed when he returns. The harpooner has been out selling shrunken human heads. Late at night Ishmael sees the man who turns out to be a dark, hairless cannibal performing odd rituals. Ishmael jumps out of bed to consult with the landlord. They are introduced and then spend a peaceful night sleeping side-by-side. 

Chapter Four: The Counterpane

Queequeg is asleep with his arm lovingly draped over Ishmael. When the cannibal awakes he performs his toilet and leaves.

Chapter Five: Breakfast

“However, a good laugh is a mighty good thing, and rather too scarce a good thing; the more’s the pity. So, if any one man, in his own proper person, afford stuff for a good joke to anybody, let him not be backward, but let him cheerfully allow himself to spend and be spent in that way. And the man that has anything bountifully laughable about him, be sure there is amore in that man than you perhaps think for” (29).

Ishmael is ready for some whaling stories from all these men over breakfast, but they all keep shyly quiet, eat, and wander into the public room.

Chapter Six: The Street

Description of the New England town, New Bedford, by day.

Chapter Seven: The Chapel

“But what then? Methinks we have hugely mistaken this matter of Life and Death. Methinks that what they call my shadow here on earth is my true substance. Methinks that in looking at things spiritual, we are too much like oysters observing the sun through the water, and thinking that thick water the thinnest of air. Methinks my body is but the lees of my better being. In fact take my body who will, take it I say, it is not me” (36).

Ishmael runs across Queequeg at the church where people are praying for the ones killed out on whaling expeditions. This frightens Ishmael at first but then thrills him.

Chapter Eight: The Pulpit

The preacher arrives and climbs up into his pulpit by way of a boat ladder which he pulls in behind him afterward.

Chapter Nine: The Sermon

“In this world, shipmates, sin that pays its way can travel freely, and without a passport; whereas Virtue, if a pauper, is stopped at all frontiers” (43).

“…prodigy of ponderous misery drags him drawing down to sleep” (44).

The preacher tells the story of Jonah and how he asked God for forgiveness. After being returned to land by the whale he spoke of truth in the face of falseness.

Chapter Ten: A Bosom Friend

“And those same things that would have repelled most others, they were the very magnets that thus drew me. I’ll try a pagan friend, thought I, since Christian kindness has proved but hollow courtesy” (50).

“But what is worship?–to do the will of God--that is worship. And what is the will of God?–to do to my fellow man what I would have my fellow man to do to me–that is the will of God.”

“How it is I know not; but there is no place like a bed for confidential disclosures between friends. Man and wife, they say, there open the very bottom of their souls to each other; and some old couples often lie and chat over old times till nearly morning. Thus, then, in our hearts’ honeymoon lay I and Queequeg–a cosy, loving pair” (54).

Queer theory, anyone? Anyone?

Back at the inn Queequeg and Ishmael are the only two so they have a visitation and become friends.

Chapter 11: Nightgown

“We felt very nice and snug, the more so since it was so chilly out of doors; indeed out of bed-clothes too, seeing that there was no fire in the room. The more so, I say, because truly to enjoy bodily warmth, some small part of you must be cold, for there is no quality in this world that is not what it is merely by contrast. Nothing exists in itself. If you flatter yourself that you are all over comfortable, and have been so a long time, then you cannot be said to be comfortable any more.”

“For this reason a sleeping apartment should never be furnished with a fire, which is one of the luxurious discomforts of the rich. For the height of this sort of deliciousness is to have nothing but the blanket between you and your snugness and the cold of the outer air. Then there you lie like the one warm spark in the heart of an arctic crystal” (53).

They nap and talk over and over again until by midnight they are wide awake again. Queequeg begins telling the story of his history.

Chapter Twelve: Biographical

Queequeg left his native land where his father is king so that he could see the oceans and other lands. He learns to be a harpooner but has not come to embrace the ways of Christianity. He trades a king’s scepter for a harpoon. They decide to sail out of Nantucket together.

Chapter Thirteen: Wheelbarrow

“We cannibals must help these Christians” (61).

They board ship. Queequeg gets in a short fight. The ship’s boom comes loose and knocks a man overboard–the man Queequeg was fighting with. Queequeg first secures the broom with a rope then saves the man who fell overboard. Now everyone approves of him.

Chapter Fourteen: Nantucket

Describes Nantucket

Chapter Fifteen: Chowder

They find the Try-Pot Inn that has been suggested and have excellent chowder. Before going to bed the landlady takes Queequeg’s harpoon from him saying it is too dangerous to allow.

Chapter Sixteen: The Ship

Bildad, Peleg and Ahab are introduced. Ishmael signs on with Bildad and Peleg, the owners of the ship and settles on his wages. Queequeg tells Ishmael that his god tells him whichever ship Ishmael chooses would be the fated ship. Ishmael kind of wonders about his decision because the two owners seem to fight a lot and he hasn’t yet met the ship’s captain: Ahab, a one-legged man who hasn’t been in the right spirit since a whale ate his leg.

Chapter Seventeen: The Ramadan

“…for I cherish the greatest respect towards everybody’s religious obligations, never mind how comical…”.

“…let him be, I say: and Heaven have mercy on us all–Presbyterians and Pagans alike–for we are all somehow dreadfully cracked about the head, and sadly need mending” (81).

Queequeg has a day and night of fasting and meditation before the both of them board their ship, the Pequod.

Chapter Eighteen: His Mark

At first Bildad and Peleg don’t want a cannibal on board but Ishmael convinces them he is a member of the first congregation. They then want to see if Queequeg can really harpoon and he proves himself and is set up to make quite a bit of money. Now Bildad wants to convert the cannibal to Christianity.

Chapter Nineteen: The Prophet

“A soul’s a sort of a fifth wheel to a wagon” (91).

Queequeg and Ishmael disboard and are met by a man named Elijah who asks if they are sailing with that ship. He asks weird questions about if they know all about Captain Ahab and the prophecy. Elijah says he will not sail with the boat. Ishmael blows him off as being crazy.

Chapter Twenty: All Astir

The ship was being loaded with all provisions over the course of a few days but no one saw Captain Ahab. He is rumored to be getting better but Ishmael is trying to cover up his uncomfortable feelings about not having yet met the man.

Chapter 21: Going Aboard

On the way to board the ship Elijah appears again and asks if they have seen men go on board. They have. Elijah says, “See if you can find them.” They can’t. Later they meet up with another crew member who says Captain Ahab has boarded and they are finally ready to set sail.

Chapter Twenty-two: Merry Christmas

The ship gets underway with Bildad and Peleg the co-captains. They both seem a bit agitated but are trying to hide it. They say as soon as the boat sees a sunny day Captain Ahab will appear, so no one has seen him yet. Bildad and Peleg depart the boat in a dinghy.

Chapter Twenty-three: The Lee Shore

Reintroduction of Bulkington who stands at the helm. Even though he just came off a dangerous four year voyage, he is up again on a three year boat.

Chapter Twenty-four: The Advocate

Ishmael speaks of the history and dignity of whaling.

Chapter 25: Postscript

Chapter 26: Knights and Squires

Starbuck is the chief mate and has seen many battles.

Chapter 27: Knights and Squires [why are two chapters titled the same?]

Starbuck, Stubb, and Flask. Tashtego and Daggoo. Introduction of the harpooners. Ishmael explains that the leaders of the ship are usually American whereas everyone else comes from all parts of the world. How islanders usually make the best harpooners.

Chapter 28: Ahab

Captain Ahab finally appears on deck. He looks healthy. Ishmael is surprised to find a long scar stretching down his cheek to his shirt. They are heading for warmer climates.

Chapter 29: Enter Ahab; to him, Stubb

The warmly cool, clear, ringing, perfumed, overflowing, redundant days, were as crystal goblets of Persian sherbet, heaped up–flaked up, with rose-water snow. The starred and stately nights seemed haughty dames in jewelled velvets, nursing at home in lonely pride, the memory of their absent conquering Earls, the golden helmeted suns! For sleeping man, ‘twas hard to choose between such winsome days and such seducing nights. But all the witcheries of that unwaning weather did not merely lend new spells and potencies to the outward world. Inward they turned upon the soul, especially when the still mild hours of eve came on; then, memory shot her crystals as the clear ice most forms of noiseless twilights” (123).

Second steward, Stubb, had a run in with Captain Ahab and Ahab was rude first by calling Stubb names.

Chapter 30: The Pipe

Ahab hasn’t been sleeping but instead spends his time pacing the decks.

Chapter 31: Queen Mab

That night Stubb has a dream that it is not an insult to be kicked with Ahab’s ivory leg, but an honor. The next day Ahab says he sees whales about and if anyone spots a white one to scream loudly.

Chapter 32: Cetology

Cetology, or the science of whales. Ishmael goes into detail describing types of whales.

Chapter 33: The Specksynder

Speaking how the men are divided into groups onboard.

Chapter 34: The Cabin-Table

Description of the order and manner in which the crew takes dinner.

Chapter 35: The Mast-Head

“Perhaps they were; or perhaps there might have been shoals of them in the far horizon; but lulled into such an opium-like listlessness of vacant, unconscious reverie is this absent-minded youth by the blending cadence of waves with thoughts, that at last he loses his identity; takes the mystic ocean at his feet for the visible image of that deep, blue, bottomless soul, pervading mankind and nature; and every strange, half-seen, gliding, beautiful thing that eludes him; every dimly-discovered, uprising fin of some indiscernible form, seems to him the embodiment of those elusive thoughts that only people the soul by continually flitting through it. In this enchanted mood, thy spirit ebbs away to whence it came…(157).

What it is like to watch for whales from the crow’s nest.

Chapter 36: The Quarter-Deck

Ahab announces that they are looking for the great white whale that took his leg. Starbuck thinks it is foolish, but everyone else gets pumped.

Chapter 37: Sunset

Ahab’s thoughts while alone. He says it was prophesied that he would be dismembered and now he wants the prophecy to be him to dismember the one who crippled him.

Chapter 38: Dusk

Starbuck in despair and alone. He thinks it foolish to help Ahab seek revenge, but he also pities Ahab and wants to help him.

Chapter 39: First Night-Watch

Stubb knows that the reason for the journey is a queer one but decides he will go to it laughing.

Chapter 40: Midnight, Forecastle

“A row a’low, and a row aloft–Gods and men–both brawlers! Humph” (174)!

The men are all hanging around drinking, singing, sleeping or arguing. A storm comes up.

Chapter 41: Moby Dick

“…all truth is profound” (183). Ahab seems to have chosen the crew for his specific purpose. He had placed all his hatred and energy into this one whale. People knew stories and myths about the white whale like how he would be getting stabbed by boatmen then all of a sudden turn and destroy them.

Chapter 42: The Whiteness of the Whale

Ishmael explains the meaning of the color white and how when white is coupled with a vicious thing it makes people twice as afraid.

Chapter 43: Hark!

One mate with excellent ears hears a cough below deck and states the sound comes from a person they have yet to see above deck.

Chapter 44: The Chart

“While thus employed, the heavy pewter lamp suspended in chains over his head, continually rocked with the motion of the ship, and for ever threw shifting gleams and shadows of lines upon his wrinkled brow, till it almost seemed that while he himself was marking out lines and courses on the wrinkled charts, some invisible pencil was also tracing lines and courses upon the deeply marked chart of his forehead” (196).

Captain Ahab can’t even sleep without being woken up by nightmares of the whale. It will be a one in a million chance to find him.

Chapter 45: The Affidavit

There have been stories of whales being wounded once then captured years later. There have been incidents where sperm whales have sunk ships.

Chapter 46: Surmises

Knowing that head mate Starbuck didn’t care for the purpose of the voyage and that he could eventually cause the ranks to mutiny, Captain Ahab was careful to keep everything as normal as possible and do all the things normally done on a whaling expedition. 

Chapter 47: The Mat-Maker

“It was a cloudy, sultry afternoon; the seamen were lazily lounging about the decks, or vacantly gazing over into the lead-colored waters. Queequeg and I were mildly employed weaving what is called a sword-mat, for an additional lashing to our boat. So still and subdued and yet somehow preluding was all the scene, and such an incantation of reverie lurked in the air, that each silent sailor seemed resolved into his own invisible self.

“I was the attendant or page of Queequeg, while busy at the mat. As I kept passing and repassing the filling or woof of marline between the long yarns of thewarp, using my own hand for the shuttle, and as Queequeg, standing sideways, ever and anon slid his heavy oaken sword between the threads, and idly looking off upon the water, carelessly and unthinkingly drove home every yarn: I say so strange a dreaminess did there then reign all over the ship and all over the sea, only broken by the intermitting dull sound of the sword, that it seemed as if this were the Loom of Time, and I myself were a shuttle mechanically weaving and weaving away at the Fates. There lay the fixed threads of the warp subject to but one single, ever returning, unchanging vibration, and that vibration merely enough to admit of the crosswise interblending of other threads with its own. This warp seemed necessity; and here, thought I, with my own hand I ply my own shuttle and weave my own destiny into these unalterable threads. Meantime, Queequeg’s impulsive, indifferent sword, sometimes hitting the woof slantingly, or crookedly, or strongly, or weakly, as the case might be; and by this difference in the concluding blow producing a corresponding contrast in the final aspect of the completed fabric; this savage’s sword, thought I, which thus finally shapes and fashions both warp and woof; this easy, indifferent sword must be chance–aye, chance, free will, and necessity–no wise incompatible–all interweavingly working together. The straight warp of necessity, not to be swerved from its ultimate course–its every alternating vibration, indeed, only tending to that; free will still free to ply her shuttle between given threads; and chance, though restrained in its play within the right lines of necessity, and sideways in its motions modified by free will, though thus prescribed to by both, chance by turns rules either, and has the last featuring blow at events” (213-4).

The first sighting of a school of whales. Everyone is preparing for the hunt when Captain Ahab appears on deck with five unknown men.

Chapter 48: The First Lowering

“But little King-Post was small and short, and at the same time little King-Post was full of a large and tall ambition…” (220).

At the same time the men were hunting their first whales a storm came up and messed up the hunt. They lost the ship for the night, but returned safely to it by morning. 

Chapter 49: The Hyena

“There are certain queer times and occasions in this strange mixed affair we call life when a man takes this whole universe for a vast practical joke, though the wit thereof he but dimly discerns, and more than suspects that the joke is at nobody’s expense but his own” (226).

Ishmael made out a will because he was confused. Starbuck was supposed to have the most knowledge yet he was the one who led Ishmael’s boat into a storm while hunting.

Chapter 50: Ahab’s Boat and Crew–Fedallah

It is hard enough for people with two legs to hunt whales, much less a person with one!

Chapter 51: The Spirit-Spout

Every few nights there is one spray from a whale in the distance as if leading them on. Ahab is getting more quiet and seems to sleep with his eyes open to the compass.

Chapter 52: The Albatross

They come upon another ship the crew of which acts very strange. They exchange no words when asked if they’d seen the white whale and the captain drops his trumpet into the sea. A large school of fish that had been following the Pequod now switch to following the other ship. Ahab took this as a sign.

Chapter 53: The Gam

When two ships pass they usually GAM, or have a visitation. So it was highly unusual for that ship to pass without a word.

Chapter 54: The Town-Ho’s Story

Ishmael repeats a story he heard of mutiny aboard a ship and how it ends with the spotting of Moby Dick. In pursuit, one man gets pitched overboard and is eaten by the whale!

Chapter 55: Of the Monstrous Pictures of Whales

Discusses how whales have been described and portrayed across the years…usually inaccurately.

Chapter 56: Of the Less Erroneous Pictures of Whales, and the True Pictures of Whaling Scenes

Pictures of whales done accurately.

Chapter 57: Of Whales in Paint; in Teeth; in Wood; in Sheet-Iron; in Stone; in Mountains; in Stars

More historic chronicling of whales.

Chapter 58: Brit

Brit is a yellowish brine that whales feed off of and float upon the surface of the water while feeding.

Chapter 59: Squid

A large white form is spotted. Upon sailing out, they find it is a giant white squid which sperm whale usually feed on.

Chapter 60: The Line

Explains how the harpoons are connected to a rope line and how it all works within the boat.

Chapter 61: Stubb kills Whale

The first whale is killed by Stubb. No accidents.

Chapter 62: The Dart

Explains how the harpooner must yell and paddle at full speed, then harpoon the whale. Ishmael feels this is too exhausting and that others should yell and paddle while the harpooner should save his energy for shooting.

Chapter 63: The Crotch

The crotch is a short plank to rest two harpoons upon. Both harpoons are flung in case one doesn’t stick. This leaves one rope that can cut off the other or get entangled in things and cause accidents.

Chapter 64: Stubb’s Supper

Stubb cut off a slab of whale meat and had the old cook come from out of bed to cook it for him.

Chapter 65: The Whale as a Dish

The history of eating the whale.

Chapter 66: The Shark Massacre

When a whale is captured late at night it’s usually lashed to the ship until morning when it will be chopped and brought on board. In the Pacific, the sharks will come and start eating on the carcass so they have to kill some and try and keep them away.

Chapter 67: Cutting In

Describes hoisting the whale on board to begin stripping and cutting him.

Chapter 68: The Blanket

Speaking of the thickness of a whale’s skin and how he maintains his warm body temperature.

Chapter 69: The Funeral

After skinning the whale for his blubber he is dropped back off in the sea where the sharks and birds still pick on him.

Chapter 70: The Sphynx

The whale is beheaded. While the head was hanging to the side of the ship and everyone was down at lunch, Captain Ahab talked with the whale’s head asking it what secrets it withheld.

Chapter 71: The Jeroboam’s Story

The Pequod came upon another ship that had been taken under the influence of a crazy shipmate who thought himself a prophet. He warned to stay away from the white whale and when they came in contact with Moby Dick one man had died so they gave up.

Chapter 72: The Monkey-rope

As Queequeg dangled over the side working on the whale Ishmael held the other end of the rope keeping him from getting crushed between ship and whale or falling too deep into the water and being eaten by sharks. If one went down, so would the other.

Chapter 73: Stubb and Flask ill a Right Whale; and Then Have a Talk over Him

As Flask and Stubb went out to kill the right whale (to hang his head on the opposite side of the sperm whale’s head to even the ship) they began talking of Fedallah and how he seems devilish.

Chapter 74: The Sperm Whale’s Head–Contrasted View

Describes the head and jaws of the sperm whale.

Chapter 75: The Right Whale’s Head–Contrasted View

Description of the right whale’s head.

Chapter 76: The Battering-Ram

How the front of the head between the eyes is so hard as to be impregnable.

Chapter 77: The Great Heidelburgh Tun

The Heidelburgh Tun is where all the oil is stored.

Chapter 78: Cistern and Buckets

“Midwifery should be taught in the same course with fencing and boxing, riding and rowing” (344).

While Tashtego was removing the oil from the whale’s head he fell down in the hold and was almost drowned. If it hadn’t been for Queeque who saved him by cutting a slit and pulling him out.

Chapter 79: The Prairie

Speaking of the study of faces, both human and animal. How the sperm whale really doesn’t have a face.

Chapter 80: The Nut

Talking of how the brain is about twenty feet down into the head and the length and breadth of the backbone.

Chapter 81: The Pequod meets the Virgin

“But pity there was none. For all his old age, and his one arm, and his blind eyes, he must die the death and be murdered, in order to light the gay bridals and other merry-makings of men, and also to illuminate the solemn churches that preach unconditional inoffensiveness by all to all” (358).

Another ship was visiting to borrow oil when a school of whale was spotted. There was a chase. Stubb, Flask and Starbuck win the race, but upon killing the whale it began to heavily sink and they eventually had to cut it free.

Chapter 82: The Honor and Glory of Whaling

The royal history of famous whalemen.

Chapter 83: Jonah Historically Regarded

The story of Jonah and the arguments against it.

Chapter 84: Pitchpoling

Stubb is an expert pitchpoler. When a whale is too far ahead and hasn’t been stopped by a harpoon, a large lance is tossed way up in the air that comes straight down on the whale.

Chapter 85: The Fountain

“And how nobly it raises our conceit of the mighty, misty monster, to behold him solemnly sailing through a calm tropical sea; his vast, mild head overhung by a canopy of vapor, engendered by his incommunicable contemplations, and that vapor–as you will sometimes see it–glorified by a rainbow, as if Heaven itself had put its seal upon his thoughts. For, d’ye see, rainbows do not visit the clear air; they only irradiate vapor. And so, through all the thick mists of the dim doubts in my mind, divine intuitions now and then shoot, enkindling my fog with a heavenly ray. And for this I think God; for all have doubts; many deny; but doubts or denials, few along with them, have intuitions. Doubts of all things earthly, and intuitions of some things heavenly; this combination makes neither believer nor infidel, but makes a man who regards them both with equal eye” (374).

Examining the spout hole of the whale.

Chapter 86: The Tail

Explanation of the tale; how it looks and how it works.

Chapter 87: The Grand Armada

“…that oriental sea are enriched, it seems a significant provision of nature, that such treasures, by the very formation of the land, should at least bear the appearance, however ineffectual, of being guarded from the all-grasping western world” (380).

“Surely, he will stop for water. Nay. For a long time, now, the circus-running sun has raced within his fiery ring, and needs no sustenance but what’s in himself” (381).

A footnote: To gally, or gallow, is to frighten excessively,–to confound with fright. It is an old Saxon word. It occurs once in Shakspere:–

“The wrathful skies

Gallow the very wanderers of the dark,

And make them keep their caves.” 

Lear, Act III. sc. ii.

To common land usages, the word is now completely obsolete. When the polite landsman first hears it from the gaunt Nantucketer, he is apt to set it down as one of the whaleman’s self-derived savageries. Much the same is it with many other sinewy Saxonisms of this sort, which emigrated to the New-England rocks with the noble brawn of the old English emigrants in the time of the Commonwealth. Thus, some of the best and furthest-descended English words–the etymological Howards and Percys–are now democratised, nay, plebeianised–so to speak–in the New World. 384

“Best, therefore, withhold any amazement at the strangely gallied whales before us, for there is no folly of the beasts of the earth which is not infinitely outdone by the madness of men” (385).

While going through the straights the Pequod was chasing a large shoal of whales but being chased from behind by a pirate ship. They got right in the middle of a huge circle of whales trying to hunt through the commotion.

Chapter 88: Schools and Schoolmasters

“The same secludedness and isolation to which the schoolmaster whale betakes himself in his advancing years, is true of all aged Sperm Whales. Almost universally, a lone whale–as a solitary Leviathan is called–proves an ancient one. Like venerable moss-bearded Daniel Boone, he will have no one near him but Nature herself; and her he takes to wife in the wilderness of waters, and the best of wives she is, though she keeps so many moody secrets” (394).

How the males and females travel according to their stage of life.

Chapter 89: Fast-Fish and Loose-Fish

“…the By-laws of the Chinese Society for the Suppression of Meddling with other People’s Business…” (396).

When a fish has been chased, harpooned, even caught, then lost, what are the rules on who recovers a loose fish?

Chapter 90: Heads or Tails

Even when a fish is caught, it is still the property of the king and queen.

Chapter 91: The Pequod meets the Rose-bud

Stubb cheats another ship out of a whale they had alongside to get the valuable ambergris found inside.

Chapter 92: Ambergris

Speaks of ambergris and the smell of whales

Chapter 93: The Castaway

A shiphand, Pip, was moved up to work in the harpoon boats. He was so scared that he jumped once, getting caught in the rope and they had to let the whale go. The second time he jumped, it was a while before he could be picked up. During that time he went mad. 

Chapter 94: A Squeeze of the Hand

“Squeeze! squeeze! squeeze! all the morning long; I squeezed that sperm till I myself almost melted into it; I squeezed that sperm till a strange sort of insanity came over me; and I found myself unwittingly squeezing my co-laborers’ hands in it, mistaking their hands for the gentle globules. Such an abounding, affectionate, friendly, loving feeling did this avocation beget; that at last I was continually squeezing their hands, and looking up into their eyes sentimentally; as much as to say,–Oh! My dear fellow beings, why should we longer cherish any social acerbities, or know the slightest ill-humor or envy! Come; let us squeeze hands all round; nay, let us all squeeze ourselves into each other; let us squeeze ourselves universally into the very milk and sperm of kindness” (417).

Speaking of the parts of the whale that can be used for profit.

Chapter 95: The Cassock

The cutting of the blubber.

Chapter 96: The Try-Works

“It has an unspeakable, wild, Hindoo odor about it, such as may lurk in the vicinity of funereal pyres. It smells like the left wing of the day of judgment; it is an argument for the pit” (422).

“To every pitch of the ship there was a pitch of the boiling oil, which seemed all eagerness to leap into their faces. Opposite the mouth of the works, on the further side of the wide wooden hearth, was the windlass. This served for a sea-sofa. Here lounged the watch, when not otherwise employed, looking into the red heat of the fire, till their eyes felt scorched in their heads. Their tawney features, now all begrimed with smoke and sweat, their matted beards, and the contrasting barbaric brilliancy of their teeth, all these were strangely revealed in the capricious emblazonings of the works. As they narrated to each other their unholy adventures, their tales of terror told in words of mirth; as their uncivilized laughter forked upwards out of them, like the flames from the furnace; as to and fro, in their front, the harpooneers wildly gesticulated with their huge pronged forks and dippers; as the wind howled on, and the sea leaped, and the ship groaned and dived, and yet steadfastly shot her red hell further and further into the blackness of the sea and the night, and scornfully champed the white bone in her mouth, and viciously spat round her on all sides; then the rushing Pequod, freighted with savages, and laden with fire, and burning a corpse, and plunging into that blackness of darkness, seemed the material counterpart of her monomaniac commander’s soul” (423).

“Look not too long in the face of the fire, O man! Never dream with thy hand on the helm! Turn not thy back to the compass; accept the first hint of the hitching tiller; believe not the artificial fire, when its redness makes all things look ghastly. To-morrow, in the natural sun, the skies will be bright; those who glared like devils in the forking flames, the morn will show in far other, at least gentler, relief; the glorious, golden, glad sun, the only true lamp–all others but liars” (424)!

“Give not thyself up, then, to fire, lest it invert thee, deaden thee; as for the time it did me. There is a wisdom that is woe; but there is a woe that is madness. And there is a Catskill eagle in some souls that can alike dive down into the blackest gorges, and soar out of them again and become invisible in the sunny spaces” (425).

Speaking of the oven that cooks the blubber. Ishmael was hypnotized by the fire and caught hold of a feeling of death. He had to shake it off.

Chapter 97: The Lamp

The men can now replenish their lamps and live in light.

Chapter 98: Stowing Down and Clearing Up

“Oh! My friends, but this is man-killing! Yet this is life” (428).

How the ship becomes so filthy while cutting and boiling, then how spotless afterward. When it becomes clean, another whale is spotted and the cycle begins again. 

Chapter 99: The Doubloon

There is a valuable gold coin kept on display at the center of the ship that will go to whoever does in the white whale.

Chapter 100: Leg and Arm: The Pequod, of Nantucket, meets the Samuel Enderby, of London

Ahab visits a ship whose captain lost an arm chasing the white whale. Ahab gets the direction the whale was last seen to head.

Chapter 101: The Decanter

How the Dutch and English whalers like to eat and drink well on their voyages.

Chapter 102: A Bower in the Arsacides

Ishmael comes across a whale’s skeleton and claims to tattoo the measurements on his arm since he had nothing else to write on.

Chapter 103: Measurement of the Whale’s Skeleton

Measurements of the whale’s skeleton.

Chapter 104: The Fossil Whale

Historic look at the whale and their bones.

Chapter 105: Does the Whale’s Magnitude Diminish?–Will He Perish? 

How the whale has been hunted and his numbers have decreased over the years.

Chapter 106: Ahab’s Leg

Captain Ahab cracked his ivory leg and had the carpenter begin making him a new one.

Chapter 107: The Carpenter

Chapter 108: Ahab and the Carpenter

The carpenter constructing Ahab’s new leg.

Chapter 109: Ahab and Starbuck in the Cabin

The oil casks were leaking below. Starbuck told Ahab they had to re-seal them and at first Ahab said no; he can only think of Moby Dick. Re-thinking himself, Ahab then consents to re-sealing the casks.

Chapter 110: Queequeg in his Coffin

“Top-heavy was the ship as a dinnerless student with all Aristotle in his head” (475).

Queequeg became so sick that they had a coffin made for him. At the last minute, Queequeg remembered an important errand he had upon returning to port and therefore rallied back from death.

Chapter 111: The Pacific

The Pacific has been gained; the last part of their adventure. Ahab’s restlessness becomes heightened. 

Chapter 112: The Blacksmith

The blacksmith’s life.

Chapter 113: The Forge

Ahab has his own harpoon made.

Chapter 114: The Gilder

The sea is calm. Men fall to philosophizing.

Chapter 115: The Pequod meets the Bachelor

They pass a fully oil loaded ship heading joyously home. The men on the Pequod become melancholy looking after her.

Chapter 116: The Dying Whale

They catch four more whales.

Chapter 117: The Whale Watch

Chapter 118: The Quadrant

Ahab charts his location by the sun then asks the sun the location of Moby Dick. He gets angry at the sun and says he will look at it no more.

Chapter 119: The Candles

“Warmest climes but nurse the cruellest fangs…” (497).

During a typhoon the top of the masts catch fire. Starbuck cautions Ahab to head for home, but Ahab says no way. They are all bound to the white whale.

Chapter 120: The Deck towards the End of the First Night Watch

Ahab sinks deeper into insanity.

Chapter 121: Midnight–The Forecastle Bulwarks

The crew is soaked from wind and rain.

Chapter 122: Midnight Aloft–Thunder and Lightning

Chapter 123: The Musket

As Starbuck goes down to tell Ahab the ship is on course, he finds Ahab sleeping. Starbuck grabs a gun and stands there wanting to kill Ahab, save the crew, and head home. He eventually puts the gun down and returns topside. He asks Stubb to carry a message.

Chapter 124: The Needle

The lightning turned the compass backwards. Ahab made a new one. The top three crewmen are no longer behind the quest of Ahab.

Chapter 125: The Log and Line

“‘The greater idiot ever scolds the lesser,’ muttered Ahab, advancing. ‘Hands off from that holiness!’” (516)

Ahab made an unreasonable demand concerning a worn out rope. He and Pip get in a crazy conversation. (They have both lost their minds.)

Chapter 126: The Life-Buoy

None thought of it, but as they entered the sea of Moby Dick, one man fell overboard and never was seen again. The buoy they sent after him also sank. They are going to use Queequeg’s casket for a new buoy.

Chapter 127: The Deck

Ahab talking crazy.

Chapter 128: The Pequod meets the Rachel

The ship Rachel had seen Moby Dick the day before. Three boats were lowered for a shoal of whales ahead. One lowered behind for Moby Dick. All returned safely except for the boat pursuing the white whale. When the Rache’s captain asks Ahab to help search, Ahab refuses. He is behind schedule.

Chapter 129: The Cabin

Pip and Ahab are becoming friends because they have both gone crazy.

Chapter 130: The Hat

Ahab now never leaves the deck, ever searching. He puts Starbuck as head watch. A wild bird swoops down and flies away with the captain’s hat.

Chapter 131: The Pequod meets the Delight

Another ship that encountered the whale and lost a man.

Chapter 132: The Symphony

Starbuck tries to convince Ahab to go home. No. Fedallah has lowered himself over the side of the ship to search.

Chapter 133: The Chase–First Day

They find Moby Dick. Boats are lowered. The boat Ahab is in is attacked by the whale and smashed in two. Moby Dick circles them until he is run off by the ship. They search for him the rest of the evening.

Chapter 134: The Chase–Second Day

The second time they go out for Moby Dick the lines for the weapons become tangled and one man gets taken out to sea. The whale attacks when he is chased.

Chapter 135: The Chase–Third Day

Mapplethorpe

By Patricia Morrisroe

Random House  New York   1995    461 pages

I have always been a fan of photography and, in a marginal way, ever since college, Robert Mapplethorpe was on my radar. Somehow over the years his daring imagery made an impression and I was drawn to the macabre and fringes like the artist. I was interested to know more about him and a biography was just the thing. Yet, the more I read the less I liked the artist. I haven’t read many biographies, so I suppose I just presumed that, in the main, they highlighted the more lovable aspects of their subjects. This was a no-holes-barred type study that slowly but surely revealed a person I would never want to know. Mapplethorpe only cared about fame, period. Well, fame and fucking. Okay: fame, fucking and drugs…perhaps in that order. If those are the top three things you care about, imagine what you will do to get them. Mapplethorpe did them all. He used people in every way imaginable while being an asshole prick all the while. While reading the last half of the book I was audibly huffing and puffing every time he would make a dick move. Once, I was reading in bed while my husband was going through his pre-bed toilet and I said, “Man…this guy is just an asshole.” By the time my husband finished brushing his teeth I said, “He’s made five more dick moves since you’ve been in there.” It’s kind of a bummer when your gods are burned, but in this case he ended up burning himself. All his excess led to a slow death from AIDS. 

Prologue

“Mapplethorpe’s artistic credo had always been to ‘see things like they’ve never been seen before’” (4). “…the fascination of the abomination” (7).

Part One: Dark Secrets

“Robert Michael Mapplethorpe was born on November 4, 1946” (13).

“What Robert liked best, however, was the freak displays, where ‘ape girls,’ bearded women, tattooed men, snake charmers, and dwarves were hidden away in dark booths. His older sister, Nancy, was terrified of them, but Robert always wanted to peek inside and was frustrated by his grandmother’s efforts to keep him away. ‘There’s nothing worse than wanting to see something and having someone stop you,’ he said. The freaks became symbols to him of all things strange and forbidden, and while he would not pursue them as vigilantly as Diane Arbus did in her photographs, they would crop up in different guises in Mapplethorpe’s pictures. By identifying the Catholic Church and Coney Island as the two most vivid memories of his childhood, he was touching upon the essential drama of his photographs–the push-pull between the sacred and the profane that was to give his work what he called an ‘edge’” (18).

“Up until now, Robert’s vision of art had been limited to the iconography of the Catholic Church–the madonnas and Christ figures to whom he directed his prayers. His trips to the museums added another dimension, and he began drawing Cubist madonnas, inspired by Picasso. ‘These were not beautiful Botticelli-type madonnas,’ said Cassidy, ‘but grotesque creatures with split profiles. I guess they were religious in that they were madonnas, but there was something disturbing about the way he had broken up their faces’” (21).

“His lunch hours were spent at Times Square, where, after a hot dog at Nathan’s, he would got to Hubert’s Freak Museum to feast his eyes on such human curiosities as Sealo the Seal Boy, whose hands grew out of his shoulders; a hermaphrodite named Alberto Alberta; and Congo the Jungle Creep, a Haitian in a fright wig who performed voodoo rituals. Diane Arbus found many of her subjects at Hubert’s, but Robert lost interest in the freaks after he spotted a gay pornographic magazine in a store on Forty-second Street” (26).

“They led the overwrought pledges into another room, where they had devised a variety of different tests, many of which evoked the rituals of gay sadomasochistic sex. The Pershing Rifles were regarded as an elite military unit, and their stylish uniforms played into the fantasy of the master-slave scenario. In this case the ‘masters’ stripped the pledges naked, blinded them with sanitary napkins, and commanded them to perform close-order drill with their bayonets. Subsequently they bound the pledges’ penises with one end of a rope, then attached bricks to the other end and ordered them to hurl the brick across the room. Next the pledges were ordered to crawl into a bathroom on their hands and knees; they were told to eat excrement from a toilet bowl–it turned out to be mashed bananas and chunky peanut butter. Mapplethorpe later confided to Patti Smith that someone had also inserted the tip of a rifle into his rectum” (31).

“He preferred the art of self-presentation to self-analysis…”

[Margin note: Not “writing what he knows”] “Mapplethorpe was aware of Warhol’s growing reputation as a pop provocateur, and he had already targeted the elusive artist as ‘someone who knew what he was doing.’ Mapplethorpe’s attraction both to Warhol and to the Pershing Rifles was an early indication of how he would later take a ‘cool’ approach to his militaristic S&M imagery, but at Pratt he was still too intimidated by his own instincts to allow his creativity free rein” (32). 

[The monkey skull story]  “Scratch’s brief and bizarre history encapsulated many of the major themes of Mapplethorpe’s adult life–his preoccupation with images of death and violence; his fascination with the devil; his desire to transform the ugly, or freakish, into works of beauty. It also pointed to a darker side of his nature, which would later emerge in his sexual relationships with other men–a need to break all the rules and transgress taboos.”

“…his LSD flowers have more in common with Walt Disney’s Fantasia, but his benign, giddy view of nature was perhaps reflective of his belief that LSD had provided him with the ability to lose himself in a guilt-free sensory experience. And since he felt guilty about so many aspects of his life, drugs temporarily solved his moral dilemma.

“For the next twenty years Mapplethorpe would use drugs almost daily–marijuana, amphetamines, Quaaludes, acid, MDA, cocaine, and amyl nitrite; they became an integral part of his sexual experimentation, for they helped blur the distinction between pleasure and pain and allowed him to silence his internal censors. He found that drugs enhanced his creativity, too, and from that time on, he would never put pencil to paper–or later take a picture–without first getting stoned.

“Timothy Leary’s Psychedelic Reader became Mapplethorpe’s new bible, and instead of going to church he attended Leary’s “Celebrations” of the League for Spiritual Discovery (LSD) at the Village Theater on Second Avenue in Manhattan, which featured multimedia light shows and guest speakers such as LeRoi Jones and Allen Ginsberg.

“From living at home, to sharing an apartment with two army men and a studio with a monkey, Mapplethorpe settled into a brownstone on St. James Place, with was described by one occupant as a ‘psychedelic Animal House.’ The parquet floors were strewn with mattresses and drug paraphernalia, and hanging from the top of the mahogany staircase was an upside-down Christmas tree decorated with rubber chickens. ‘Everybody was doing so many drugs that the place had a real hallucinatory quality,’ said Claude Alverson, an interior-design major who lived on the top floor. The tenant devised a grotesque game called ‘Creative Kill,’ for which they were obliged to record on a kitchen clipboard the dates and ‘creative’ ways they exterminated the resident cockroaches. Visitors recalled seeing bugs impaled on safety pins and dangling from tiny nooses made of dental floss.

“Acid-inspired art was becoming so common at Pratt that teachers could often tell the exact moment a student had discovered drugs. Mapplethorpe’s drawings, for example, became more obsessive and detailed, and after taking LSD he would retreat to the brownstone’s garden, where he would spend five or six hours drawing a single leaf, or covering a piece of paper with his signature or thousands of colored dots. He shared a bedroom with Harry McCue, and although McCue refrained from taking drugs, he, too, was enthusiastic about the idea of being a psychedelic artist’. They searched for inspiration in the dreamlike eroticism of Hieronymus Bosch and Egon Schiele, and in photographs by the German surrealist Hans Bellmer, know for his unnerving images of dismembered dolls. They came to the conclusion that they would never be able to produce such graphically disturbing work unless they rid themselves of their traditional Catholic morality and embraced life at its most extreme.

“Mapplethorpe picked Andy Warhol to be his role model; the artist had created an antichurch within the Factory, his silver-walled studio on West Forty-seventh Street, where his followers–many of who, like Warhol, had been raised Catholic–were involved in exploitative sexual games that hinged on a need to confess their sins and seek absolution for them. Their outlandish and pathetic antics had recently been documented in Warhol’s Chelsea Girls, which Mapplethorpe had found ‘terrifying’ in the way its stars willingly descended into drug-induced paranoia and self-hatred. Clearly, Warhol was more Satan than saint, and after seeing the movie Mapplethorpe was further convinced that exploring the dark side would incite his imagination. He vowed that when he moved to Manhattan after graduation he would find Warhol, and perhaps befriend him.

“‘We wanted the power of Satan,’ McCue said, ‘so we tried to seek out people and situations through which we could get in touch with him.’ Some of their efforts were almost laughably juvenile, as in the time they bought a goat’s head from a butcher’s shop and, encircling it with candles, attempted to raise the devil himself. They targeted blacks and homosexuals as two groups with intimate ties to Satan, and they made a concerted effort to socialize with Bioletta and Rosita Cruz, whom Mapplethorpe was convinced knew voodoo witchcraft; they also visited Greenwich Village for the purpose of staring at homosexuals in order to bask in their malevolent aura.

“On one occasion McCue purchased a pirat’s shirt from a shop that catered to gay men, and although Mapplethorpe teased him about looking like a homosexual, he bought the same shirt the following week. It was all done in the spirit of ‘exploring the weird,’ as McCue described it, but given Mapplethorpe’s attraction to men, his motivations seem far more complicated. As with the Columbian Squires jacket and the Pershing Rifles uniform, he used clothing to forge an identity for himself, and with the pirate shirt he could play at being gay–for art’s sake.

“Mapplethorpe’s wardrobe at the time revealed a psychologically divided man; switching back and forth between a magician’s cape, a ‘homosexual’ shirt, and an ROTC uniform, he was still at war eith himself. That spring, the growing tension between Pratt’s art students and the engineers–’North Prattnam versus South Prattnam,’ as the school’s newspaper described them–would force Mapplethorpe to choose between the two uniforms.

“The engineering students largely comprised ROTC, and as the antiwar sentiment grew at Pratt, the army–and the engineers–were targeted as the enemy.” [margin note: turning point] “On April 15, 1967, fifty students from ‘Pratt Action for Peace’ joined 125,000 protesters in Central Park, and roused by the demonstration, they staged a sit-down four days later, to denounce the presence of a visiting army colonel on campus. Trapped inside the athletic hall along with the ROTC cadets, the colonel eventually escaped through the back entrance, leaving Robert and his regiment to face the 150 demonstrators who waved signs that read WAR IS HELL and USE YOUR BRAINS NOT YOUR GUNS. Mapplethorpe was booed and hissed by members of his own art department, and soon afterward he began soliciting advice from friends on how to fail his upcoming army physical. They suggested everything from puncturing an eardrum to mangling a leg, but Mapplethoorpe eventually opted to swallow a tab of acid before traveling to the army’s induction center on Whitehall Street. By the time he submitted to his physical, he appeared so psychotic the doctor deemed him unfit to serve.

“Escaping the army was Mapplethorpe’s last hurdle to freedom. No longer obligated to keep his hair clipped short, he let it grow past his collarbone. He had always toned down his outfits before he visited Floral Park, but he could not hide his hair; when his father saw it, he flew into a rage. Fathers across America were engaged in similar battles with their long-haired sons, but in this case Harry’s contempt was fueled by his growing suspicion that Robert was homosexual. Why else, Harry wondered, would his son have been rejected from the army? ‘You look like a girl,’ he shouted. ‘You make me sick.’

“In addition, Harry was infuriated by Robert’s latest revelation that he would not be graduating with the class of ‘67, for, having switched majors, he was now a semester behind. Harry had warned his son that he would pay for only four years of college, and true to his word, he refused to give Robert an extra penny. It was not a totally unreasonable position; Harry still had three children to educate on his modest salary. But Robert had failed to make any contingency plans, and he drifted through the rest of the semester in a druggy haze. Same Alexander, who had taught Robert typographic design several years earlier, recalled that Mapplethorpe stumbled into one of Alexander’s evening workshop classes and passed out on the floor. ‘He wasn’t even enrolled in the class,’ Alexander said, ‘but he stood there by the door, then he just fell.  I caught him and put him in a chair. He was totally blotto’” (42-6).

Gothic crow

“‘When I work, and in my art, I hold hands with God,’ he once scribbled in Smith’s notebook. She sparked his interest in the occult, and he often accompanied her to Samuel Weiser’s bookstore on Astor Place to buy manuals on witchcraft and astrology. She read the books while he studied the pictures, and he began to fashion an aesthetic that combined Catholic and occult symbols. His favorite motif was the pentagram, a five-pointed ‘magical’ star that would reappear again and again in his sculptures and photographs” (53).

“‘Nineteen sixty-eight had the vibrations of an earthquake about it,’ reported Time magazine. ‘America shuddered. History cracked open: bats came flapping out, dark surprises’” (56).

“‘Robert and Patti had gotten into a fight,’ Michels explained, and ‘Robert had hung the wolf.’ The next time Michels visited Smith, she sat in a corner muttering an incantation, and as her voice grew louder and the words more jumbled, a strange black cat pounced on the windowsill and entered the room. ‘It was like a death cat from Hell,’ Michels said. ‘I totally freaked.’ Michels made a swift retreat from Smith, and their relationship ended on that bizarre note.

Part Two: Patron Saints

“Mapplethorpe’s exposure to the Dionysian atmosphere of Max’s had made him even more determined to use gay pornography in his art, and he began searching through Times Squarre bookstores for old copies of gay magazines in order to understand the conventions of homosexual erotica. In the late forties, muscle and fitness publications such as Grecian Guild Pictorial and Physique Pictorial had begun to include photographs and drawings aimed at a growing gay readership, and the models, posed in bathing suits and loincloths, personified the idealized man. George Quaintance, an American illustrator and painter, contributed to Physique Pictorial, and before his death in 1957 he produced a series of pictures os naked cowboys and sailors who projected the all-American athleticism of Johnny Weissmuller. It was the Finnish-born artist Tom of Finland, however, who pointed to a new homoeroticism that was more overtly sexual. Aroused by this memories of German soldiers during World War II, he created drawings of men in black leather jackets, motorcycle caps, and knee-high leather boots that centered on the ‘butch’ male. It was an image that would become more and more visible as the growing gay rights movement helped erase the prevailing ‘camp’ behvioral style, by which some men adopted feminine mannerisms. Instead, gay activist advanced the notion that a man could be both gay and virile, which served to focus attention on the previously hidden S&M subculture, where men in leather bars enacted complicated master-slave scenarios that tested one’s masculinity” (72-3).

“Throughout the summer Smith had been giving impromptu poetry readings at the Chelsea, and using her raspy voice to accentuate the rhythm of the words, she was unconsciously edging her way toward a career in music. Certainly she could not have failed to notice the sudden prominence of rock and roll at Max’s Kansas City, where the Velvet Underground performed five nights a week, thereby paving the way for the emergence of a local New York band scene. Encouraged by the success of the Velvet Underground, Mickey Ruskin opened a cabaret on the second floor and helped launch the careers of Billy Joel and Bruce Springsteen. Eventually the musicians began to outnumber the artists, as Max’s evolved from an art scene to a music scene” (90-1).

Colta  [what a cool name]

Part Three: Sex and Magic

“At the beginning, though, punk didn’t have such an extreme connotation; in fact, when Patti Smith and her band played an eight-week engagement at CBGB in the spring of 1975, the term ‘punk rock’ wasn’t even being used to define the emerging sound. ‘I think all the groups had one similarity in that we wanted to elevate the idea of rock while still trying to keep it simple,’ Smith said. ‘It was a real reaction against disco music and the glitter-rock thing. Our lyrics were much more sophisticated, and we weren’t into artifice at all. The whole punk phenomenon in England was much more reactionary and more ‘high style.’ We didn’t comb our hair not because we were making a political statement, but because we just didn’t comb our hair.’ Smith has often been credited with initiating the trend for ripped or shredded clothing, as she mutilated her T-shirts because she often felt ‘claustrophobic’ in them. Other performers embellished the ‘ripped’ style by piecing their clothing together again with safety pins, and later borrowing the accessories of the S&M subculture, to which punk owed a debt in its outlaw mentality and fascination with extremes. Such was the connection between music and sex that malcolm McLaren even owned a shop in London called SEX, which sold leather and bondage gear to both hardcore enthusiasts and artists alike. The shop was co-owned by fashion designer Vivienne Westwood, who summed up the prevailing ethos: ‘We’re totally committed to what we’re doing and our message is simple. We want you to live out your wildest fantasies to the hilt’” (154-5).

“Years later, when Rolling Stone composed a list of “The 100 Greatest Album Covers of All Time,” Horses ranked twenty-sixth. The stark black-and-white imagery provided a dramatic contrast to the psychedelic palette of most seventies rock albums, and Smith’s swaggering unisex pose radically altered the prevailing feminine stereotype of ‘girl singers.’ ‘I saw Horses in a record store in Australia,’ said art critic Paul Taylor, who died of AIDS in 1992, ‘and immediately fell in love with the picture. I didn’t know anything about Patti Smith or about punk, but I bought the album on the strength of the photograph. It was elegant and totally modern, and I remember looking at the photo credit and wondering, ‘Who is Robert Mapplethorp?’”

“But Studio 54 was more for socializing…[whereas] Mineshaft, [was] a hardcore ‘leather environment’” (189). “‘The scene at the Mineshaft was not about conversation.’”

“Nick…menacing demeanor of a pit bull, and his swarthy face, with its dark brows and black eyes, was made even more ominous by the flaming skull tattoo on his forehead” (190-1).

“Do it for Satan” (192).

“Arthur Fellig, better known as Weegee, who, during the thirties and forties, documented the seamy underside of New York’s nightlife” (204).

“Mapplethorpe was loath to be labeled a ‘gay artist,’ yet his rise to prominence paralleled the acceptance and assimilation of a gay aesthetic into the cultural mainstream. Frank Rich, in a 1987 essay for Esquire entitled ‘The Gay Decades,’ delineated nine episodes in ‘the homosexualization of America.’ These included Mart Crowley’s Boys in the Band; the rise of Bette Midler and her campy bathhouse sensibility; rock music’s ‘merchandizing of androgyny’; the American Psychiatric Association’s 1973 resolution that homosexuality should no longer be classified as a psychiatric disorder; and Studio 54’s institutionalization of gay chic. The gay rights and women’s movements helped liberate the male nude; women could now look at photographs of naked men in magazines such as Playgirl, thereby blurring the lines between ‘the sex that looks,’ as art scholar Margaret Walters defined the traditional male voyeuristic pose, and ‘the sex that is looked at.’ George Stambolian, who taught a course in the male nude at Wellesley College, explained: ‘For years the male nude was repressed, and when one spoke about ‘the nude,’ one usually meant the female nude. But in the late seventies, all that began to change. The Marcuse Pfeiffer Gallery did a major survey on the male nude that included works by both male and female photographers, and that inspired a lot of debate about the sexist notions we held about male nudes versus female ones–mean having to project a powerful image, women passive and powerless.’”

“In contrast, Mapplethorpe was working at a time when many gay photographers were using their pictures to express both their public and private selves. Both Arthur Tress and Duane Michals analyzed their homosexuality through dreamlike images that borrowed from surrealism and Jungian psychology; Robert Giard took pictures of nude models in ordinary domestic settings, such as in the bathtub or reading the newspaper; Jimmy DeSana photographed S&M scenes in a crude, confrontational way that was the exact opposite of Robert’s cool classicism; and Peter Jujar expressed his melancholy vision of the world through moody pictures of friends and lovers” (216).

“…framing had always been an integral part of his art” (218).

“STill, she might not have removed herself so quickly from the ‘vicious game’ had she not become involved with a man who roused her fantasies of unconditional love like no other boyfriend before him. Fred (Sonic) Smith had been the rhythm guitarist for the MC5, the Detroit-based group managed by White Panther leader John Sinclair. The ‘Five,’ as they were known, were expected to take his convoluted message of rock, dope, and armed self-defense to the airwaves. Sinclair had established a commune in Ann Arbor–’Trans-Love Energies’–where the band lived in an eighteen-room house with a group of women who, according to Rolling Stone, provided the ‘domestic energies’ by cooking, cleaning, and sewing their clothing. ‘It was an astonishing thing,’ said Danny Fields, who had once promoted the MC5, ‘because here was this band preaching liberation of all aspects of humanity, of the races, of the sexes, of everything. Then the men would come back from a concert, and they’d sit at a table chomping on spareribs, and the women would be in the kitchen scurrying around. The women didn’t eat with the men, except for John Sinclair’s wife, who had gone to school and was tough. But the others were these little pansy types in flowered hippie dresses just cooking and serving their men. I don’t know if Fred was married then, but they all had ‘women.’ You couldn’t tell one from the other. They were like nonpeople’” (221).

Part Four: Blacks and Whites

[margin note: racism]

“Photographic images of the black male nude, however, were relatively rare. Of the 134 images in Constance Sullivan’s Nude: Photographs 1850-1980, the black male is not represented at all. Given the taboo against male nudity in general, white heterosexuals were not inclined to celebrate the erotic properties of the black male body. And since blacks rarely had the financial resources to become art photographers, it was left to gay white men to present their vision of the black male nude” (237).

“It was a dramatic reversal from the days of Max’s Kansas City, where famous artists had traded their work for a bar tab. But Max’s had been replaced as an artists’ hangout by the elegant Mr. Chow’s on the Upper East Side, and the art stars of the eighties were not reclusive intellectuals, but people such as Keith Haring, who would later open a shop that sold T-shirts, shoelaces, and wallpaper that featured his trademark doodle designs” (285).

“…a Warhol silkscreen portrait of Mapplethorpe himself”  (297).

Part Five: the Perfect Moment

“…and certainly one of the most macabre images was the photograph he took of a human skull. It was, for him, the purest sculptural image of all; neither hair nor flesh spoiled its clean lines, and everything, literally , was stripped to the bone.

“He had been drawn to skull imagery from the time he first turned his pet monkey, Scratch, into a musical instrument, but never before had he used the death’s head symbol to make such a powerful statement about the terrifying process of bodily decay. He returned to the same theme in a more personal way with Self Portrait, 1988, one of his finest photographs, and certainly the most intimate. At first he had only intended to take a picture of one of his walking canes, which had a carved skull at the top, but while Ed Maxey and Brian English were busy setting up the shot, he suddenly disappeared into the bedroom and emerged, five minutes later, in a black turtleneck. He knew that by dressing in black the body could be made to appear almost invisible–he had used the same technique to great effect in his portraits of Doris Saatchi and Roy Cohn. Intuitively, Ed understood what Robert was trying to do, and as he photographed his brother, he focused the camera on the hand holding the skull cane, leaving Robert’s blurred face to drift into the darkness” (335).

Epilogue

Chronology of the “Perfect Moment” Controversy

“The AFA targeted a New York artist named Andres Serrano, whose Piss Christ, an image of a crucifix submerged in a yellow liquid, had been exhibited several months earlier at the Southeastern Center for Contemporary Art in Winston-Salem. (Serrano described Piss Christ as a protest against the commercialization of sacred imagery.)

[I had always mistakenly associated Piss Christ with Mapplethorpe]

Woolgathering/Just Kids

Woolgathering By Patti Smith

A New Directions Book  1992

The Woolgatherers

“And the image of the woolgatherers in that sleepy field drew me to sleep as well. And I wandered among them, through thistle and thorn, with no task more exceptional than to rescue a fleeting thought, as a tuft of wool, from the comb of the wind” (12).

Just Kids

By Patti Smith

HarperCollinsPublishers  2010  New York

I read this book in tandem with Patricia Morrisroe’s biography of Robert Mapplethorpe. I was interested to see if any of the stories collided. They were obviously different works with Patti writing from first person and Mapplethorpe being a biography. Patti focuses her work, Just Kids, on the friendship between Mapplethorpe and herself, mythologizing along the way about both of their personas. I often felt like Patti was working to appear stranger and more quirky than perhaps was actually her true self. Morrisroe’s Mapplethorpe biography did not focus on the friendship, for its target is Robert himself. Whereas the Mapplethorpe biography (to be summarized in a separate piece) does not shy away from the decadent details of sexual exploration pre-and-inside the AIDS epidemic, Smith engages in very little discussion of Mapplethorpe’s twisted sexual proclivities. It feels as if she wanted his focus to remain on her as muse rather than face the harsh reality that she was simply another stepping-stone to Mapplethorpe’s promotion of his outsized ego. 

Monday’s Children

“On one such day, limping back to the home front beneath the anvil of the su, I was accosted by my mother.

“‘Patricia,’ my mother scolded, ‘put a shirt one!’

“‘It’s too hot,’ I moaned. ‘No one else has one on.’

“‘Hot or not, it’s time you started wearing a shirt. You’re about to become a young lady.’ I protested vehemently and announced that I was never going to become anything but myself, that I was of the clan of Peter Pan and we did not grow up” (10).

“I’m certain, as we filed down the great staircase, that I appeared the same as ever, a moping twelve-year-old, all arms and legs. But secretly I knew I had been transformed, moved by the revelation that human beings create art, that to be an artist was to see what others could not” (11).

Of Mapplethorpe she writes: “The light fell upon the pages of his coloring book, across his child’s hands. Coloring excited him, not the act of filling in space, but choosing colors that no one else would select. In the green of the hills he saw red. Purple snow, green skin, silver sun. He liked the effect it had on others, that it distrurbed his siblings. He discovered he had a talent for sketching. He was a natural draftsman and secretly he twisted and abstracted his images, feeling his growing powers. He was an artist, and he knew it. It was not a childish notion. He merely acknowledged what was his” (13).

“No one expected me. Everything awaited me” (25).

“We piled the best leaves on the bread and happily ate.

“‘A real prison breakfast,’ I said.

“‘Yeah, but we are free.’

“And that summed it up” (28).

“When it got really rough, I would go back to Pratt, occasionally bumping into someone I knew who would let me shower and sleep a night. Or else I would sleep in the hall near a familiar door. That wasn’t much fun, but I had my mantra, ‘I’m free, I’m free.’ Although after several days, my other mantra, ‘I’m hungry, I’m hungry,’ seemed to be in the forefront. I wasn’t worried, though. I just needed a break and I wasn’t going to give up. I dragged my plaid suitcase from stoop to stoop, trying not to wear out my unwelcome.

“It was the summer Coltrane died. The summer of ‘Crystal Ship.’ Flower children raised their empty arms and China exploded the H-bomb. Jimi Hendrix set his guitar in flames in Monterey. AM radio played ‘Ode to Billie Joe.’ There were riots in Newark, Milwaukee, and Detroit. It was the summer of Elvira Madigan, the summer of love. And in this shifting, inhospitable atmosphere, a chance encounter changed the course of my life” (31).  She meets Robert Mapplethorpe.

Just Kids

“But Robert, wishing to shed his Catholic yoke, delved into another side of the spirit, reigned over by the Angel of Light. The image of Lucifer, the fallen angel, came to eclipse the saints he used in his collages and varnished onto boxes. On one small wooden box, he applied the face of Christ; inside, a Mother and Child with a tiny white rose; and in the inner lid, I was surprised to find the face of the Devil, with his extended tongue.

“I would return home to find Robert in brown monk’s cloth, a Jesuit robe he had found in a thrift store, poring over pamphlets on alchemy and magic. He asked me to bring him books slanted toward the occult. At first he didn’t read these books so much as utilize their pentagrams and satanic images, deconstructing and refiguring them. He was not evil, though as darker elements infused his work, he became more silent.

“He grew interested in creating visual spells, which might serve to call up Satan, like one would a genie. He imagined if he could make a pact that accessed Satan’s purest self, the self of the light, he would recognize a kindred soul, and that Satan would grant him fame and fortune. He did not have to ask for greatness, for the ability to be an artist, because he believed he already had that” (62-3).

“Robert was cutting out sideshow freaks from an oversized paperback on Tod Browning. Hermaphrodites, pinheads, and Siamese twins were scattered everywhere. It threw me, for I couldn’t see a connection between these images and Robert’s recent preoccupation with magic and religion” (67).

“It was in that spirit that we would go to Coney Island to visit the sideshows. We had looked for Hubert’s on Forty-second Street, which had featured Snake Princess Wago and a flea circus, but it had closed in 1965. We did find a small museum that had body parts and human embryos in specimen jars, and Robert got fixated on the idea to use something of that sort in an assemblage. He asked around where he might find something of that sort, and a friend told him about the ruins of the old City Hospital on Welfare (later Roosevelt) Island.”

“We went from room to room and saw shelves of medical specimens in their glass jars. Many were broken, vandalized by visiting rodents. Robert combed each room until he found what he was looking for, an embryo swimming in formaldehyde within a womb of glass.

“We all had to agree that Robert would most likely make great use of it. He clutched the precious find on the journey home. Even in his silence, I could feel his excitement and anticipation, imagining how he could make it work as art” (68).

“In early June, Valerie Solanas shot Andy Warhol” (69).

“In response I made a collage drawing for him called My Hustler, where I used one of his letters as a component. Even as he reassured me that I had nothing to worry about, he seemed to be moving deeper into the sexual underworld that he was portraying in his art. He seemed to be attracted to S&M imagery–’I’m not sure what that all means–just know it’s good’–and described to me works titled Tight Fucking Pants, and drawings in which he lacerated S&M characters with a matte knife. ‘I have a hook coming out of where his prick should be, where I’m gonna hang that chain with dice and skulls from it.’ He spoke of using bloody bandages and starred patches of gauze.

“He wasn’t merely jerking off. He was filtering this world through his own aesthetic, criticizing a movie called Male Magazine as ‘nothing more than an exploitation film using an all male cast.’ When he visited the Tool Box, and S&M bar, he felt it was ‘just a bunch of big chains and shit on the wall, nothing really exciting,’ and wished he could design a place like that.

“As the weeks went on, I worried that he wasn’t doing well. It wasn’t like him to complain about his physical condition. ‘My mouth is sick,’ he wrote, ‘my gums are white and achy.’ He sometimes didn’t have enough money to eat.

“His P.S. was still filled with Robert bravado. ‘I’ve been accused of dressing like a hustler, having the mind of a hustler and the body of one” (84). [Well…if it looks, sounds and walks like a duck…]

Hotel Chelsea

“I’m in Mike Hammer mode, puffing on Kools reading cheap detective novels sitting in the lobby waiting for William Burroughs. He comes in dressed to the nines in a dark gabardine overcoat, gray suit, and tie. I sit for a few hours at my post scribbling poems. He comes stumbling out of the El Quixote a bit drunk and disheveled. I straighten his tie and hail him a cab. It’s our unspoken routine.

“In between I clock the action. Eyeing the traffic circulating the lobby hung with bad art. Big invasive stuff unloaded on Stanley Bard in exchange for rent. The hotel is an energetic, desperate haven for scores of gifted hustling children from every rung of the ladder. Guitar bums and stoned-out beauties in Victorian dresses. Junkie poets, playwrights, broke-down filmmakers, and French actors. Everybody passing through here is somebody, if nobody in the outside world.

“The elevator is slowgoing. I get off at the seventh floor to see if Harry Smith is around. I place my hand on the doorknob, sensing nothing but silence. The yellow walls have an institutional feel like a middle school prison. I use the stairs and return to our room. I take a piss in the hall bathroom we share with unknown inmates. I unlock our door. No sign of Robert save a note on the mirror. Went to big 42nd street. Love you. Blue. I see he straightened his stuff. Men’s magazines neatly piled. The chicken wire rolled and tied and the spray cans lined in a row under the sink.

“I fire up the hot plate. Get some water from the tap. You got to let it run for a while as it comes out brown. It’s just minerals and rust, so Harry says. My stuff is in the bottom drawer. Tarot cards, silk ribbons, a jar of Nescafe, and my own cup–a childhood relic with the likeness of Uncle Wiggly, rabbit gentleman. I drag my Remington from under the bed, adjust the ribbon, and insert a fresh sheet of foolscap. There’s a lot to report” (91).

Stanley Bard is the hotel manager. They have Room 1017 for 55 dollars a week to live at the Chelsea Hotel.

“Twenty-third Street between Seventh and Eighth Avenues still had a postwar feel” (96).

The Manson murders occur.

“A week or two later I waltzed into the El Quixote looking for Harry and Peggy. It was a bar-restaurant adjacent to the hotel, connected to the lobby by its own door, which made it feel like our bar, as it had been for decades. Dylan Thomas, Terry Southern, Eugene O’Neill, and Thomas Wolfe were among those who had raised one too many a glass there.

“I was wearing a long rayon navy dress with white polka dots and a straw hat, my East of Eden outfit. At the table to my left, Janis Joplin was holding court with her band. To my far right were Grace Slick and the Jefferson Airplane, along with members of Country Joe and the Fish. At the last table facing the door was Jimi Hendrix, his head lowered, eating with his hat on, across from a blonde. There were musicians everywhere, sitting before tables laid with mounds of shrimp with green sauce, paella, pitchers of sangria, and bottles of tequila” (105).

“The Chelsea was like a doll’s house in the Twilight Zone, with a hundred rooms, each a small universe. I wandered the halls seeking its spirits, dead or alive. My adventures were mildly mischievous, tapping open a door slightly ajar and getting a glimpse of Virgil Thomson’s grand piano, or loitering before the nameplate of Arthur C. Clarke, hoping he might suddenly emerge. Occasionally I would bump into Gert Schiff, the German scholar, armed with volumes on Picasso, or Viva in Eau Sauvage. Everyone had something to offer and nobody appeared to have much money. Even the successful seemed to have just enough to live like extravagant bums. 

“I loved this place, its shabby elegance, and the history it held so possessively. There were rumors of Oscar Wilde’s trunks languishing in the hull of the oft-flooded basement. Here Dylan Thomas, submerged in poetry and alcohol, spent his last hours. Thomas Wolfe plowed through hundreds of pages of manuscript that formed You Can’t Go Home Again. Bob Dylan composed ‘Sad-Eyed Lady of the Lowlands’ on our floor, and a speeding Edie Sedgwick was said to have set her room on fire while gluing on her thick false eyelashes by candlelight.

“So many had written, conversed, and convulsed in these Victorian dollhouse rooms. So many skirts had swished these worn marble stairs. So many transient souls had espoused, made a mark, and succumbed here. I sniffed out their spirits as I silently scurried from floor to floor, longing for discourse with a gone procession of smoking caterpillars” (112-3).

“This mission led us to the city’s Bermuda Triangle: Brownie’s, Max’s Kansas City, and the Factory had moved from its original location on Forty-seventh Street to 33 Union Square. Brownie’s was a health food restaurant around the corner where the Warhol people ate lunch, and Max’s where they spent their nights.”

“Max’s Kansas City was on Eighteenth Street and Park Avenue South. It was supposedly a restaurant, though few of us actually had the money to eat there. The owner, Mickey Ruskin, was notoriously artist-friendly, even offering a free cocktail-hour buffet for those with the price of a drink. It was said that this buffet, which included Buffalo wings, kept a lot of struggling artists and drag queens alive. I never frequented it as I was working and Robert, who didn’t drink, was too proud to go.

“There was a big black-and-white awning flanked by a bigger sign announcing that you were about to enter Max’s Kansas City. It was casual and sparse, adorned with large abstract pieces of art given to Mickey by artists who ran up supernatural bar tabs. Everything, save the white walls, was red: booths, tablecloths, napkins. Even their signature chickpeas were served in little red bowls. The big draw was surf and turf: steak and lobster. The back room, bathed in red light, was Robert’s objective, and the definitive target was the legendary round table that still harbored the rose-colored aura of the absent silver king.

“On our first visit we only made it as far as the front section. We sat in a booth and split a salad and ate the inedible chickpeas. Robert and Sandy ordered Cokes. I had a coffee.The place was fairly dead. Sandy had experienced Max’s at the time when it was the social hub of the subterranean universe, when Andy Warhol passively reigned over the round table with his charismatic ermine queen, Edie Sedgwick. The ladies-in-waiting were beautiful, and the circulating knights were the likes of Ondine, Donald Lyons, Rauschenberg, Dali, Billy Name, Lichtenstein, Gerard Malanga, and John Chamberlain. In recent memory the round table had seated such royalty as Bob Dylan, Bob Neuwirth, Nico, Tim Buckley, Janis Joplin, Viva, and the Velvet underground. It was as darkly glamorous as one could wish for. But running through the primary artery, the thing that ultimately accelerated their world and then took them down, was speed. Amphetamine magnified their paranoia, robbed some of their innate powers, drained their confidence, and ravaged their beauty” (116-7).

“We drew on everything from Butterfield 8 to the French New Wave. She shot the stills from our imagined movies. Although I didn’t smoke, I would pocket a few of Robert’s Kools to achieve a certain look. For our Blaise Cendrars shots we needed thick smoke, for our Jeanne Moreau a black slip and a cigarette.

“When I showed him Judy’s prints, Robert was amused by my personas. ‘Patti, you don’t smoke,’ he’d say, tickling me. ‘Are you stealing my cigarettes?’ I thought he would be annoyed, since cigarettes were expensive, but the next time I went to Judy’s, he surprised me with the last couple from his battered pack.

“‘I know I’m a fake smoker,’ I would say, ‘but I’m not hurting anybody and besides I gotta enhance my image.’ It was all for Jeanne Moreau” (125).

“I looked around at everyone bathed in the blood light of the back room. Dan Flavin had conceived his installation in response to the mounting death toll of the war in Vietnam. No one in the back room was slated to die in Vietnam, though few would survive the cruel plagues of a generation” (127).

Gregory made lists of books for me to read, told me the best dictionary to own, encouraged and challenged me. Gregory Corso, Allen Ginsberg, and William Burroughs were all my teachers, each one passing through the lobby of the Chelsea Hotel, my new university” (138).

“‘I don’t want to sing. I just want to write songs for him. I want to be a poet, not a singer’” (142).

“Memento mori. It means ‘Remember we are mortal’” (155).

I call my granddaughter LouLou, so this next passage stood out to me: “I liked Loulou, a charismatic redhead who was the celebrated muse of Yves Saint Laurent, the daughter of a Schiaparelli model and a French count. She wore a heavy African bracelet, and when she unclasped it, there was a red string tied around her tiny wrist, placed there, she said, by Brian Jones” (156).

“Michael Pollard was usually by her side. They were like adoring twins, both with the same speech patterns, punctuating each sentence with man. I sat on the floor as Kris Kristofferson sang her ‘Me and Bobby McGee,’ Janis joining in the chorus. I was there for these moments, but so young and preoccupied with my own thoughts that I hardly recognized them as moments” (159).

“It was an infamous address, having housed the Film Guild Cinema in the twenties, and a raucous country-western club hosted by Rudy Vallee in the thirties. The great abstract expressionist artist and teacher Hans Hoffman had a small school on the third floor through the forties and fifties, preaching to the likes of Jackson Pollock, Lee Krasner, and Willem de Kooning. In the sixties it housed the Generation Club, where Jimi Hendrix used to hang out, and when it closed he took over the space and built a state-of-the-art studio in the bowels of 52 Eighth Street” (168).

“I was excited to go. I put on my straw hat and walked downtown, but when I got there, I couldn’t bring myself to go in. By chance, Jimi Hendrix came up the stairs and found me sitting there like some hick wallflower and ginned. He had to catch a plane to London to do the Isle of Wight Festival. When I told him I was too chicken to go in, he laughed solely and said that contrary to what people might think, he was shy, and parties made him nervous. He spent a little time with me on the stairs and told me his vision of what he wanted to do with the studio. He dreamed of amassing musicians from all over the world in Woodstock and they would sit in a field in a circle and play and play. It didn’t matter what key or tempo or what melody, they would keep on playing through their discordance until they found a common language. Eventually they would record this abstract universal language of music in his new studio.

“‘The language of peace. You dig?’ I did.

“I can’t remember if I actually went into the studio, but Jimi never accomplished his dream. In September I went with my sister and Annie to Paris. Sandy Daley had an airline connection and helped us get cheap tickets. Paris had already changed ina year, as had I. It seemed as if the whole of the world was slowly being stripped of innocence. Or maybe I was seeing a little too clearly.

“As we walked down the boulevard Montparnasse I saw a headline that filled me with sorrow: Jimi Hendrix est mort. 27 ans. I knew what the words meant” (169).

“But the next night we would meet in Johnny’s room to console one another again. I wrote but two words in my diary: Janis Joplin. For she had died of an overdose in room 105 of the Landmark Hotel in Los Angeles, twenty-seven years old” (170).

Holy Modal Rounders

“It was like being at an Arabian hoedown with a band of psychedelic hillbillies. I fixed on the drummer, who seemed as if he was on the lam and had slid behind the drums while the cops looked elsewhere. Toward the end of their set he sang a song called ‘Blind Rage,’ and as he slammed the drums, I thought, This guy truly embodies the heart and soul of rock and roll. He had beauty, energy, animal magnetism” (171). That man turned out to be Sam Shepard “the biggest playwright off-Broadway. He had a play at Lincoln Center. He won five Obies!”

“I was also writing more pieces for rock magazines–Crawdaddy, Circus, Rolling Stone. This was a time when the vocation of a music journalist could be an elevated pursuit. Paul Williams, Nick Tosches, Richard Meltzer, and Sandy Pearlman were some of the writers I held in esteem. I modeled myself after Baudelaire, who wrote some of the great idiosyncratic critiques of nineteenth-century art and literature” (178).

“I wanted to infuse the written word with the immediacy and frontal attack of rock and roll” (180).

…”but then I remembered Lenny Kaye had said he played electric guitar. I went to see him.”

“With a nod to Brecht, I decided to open the reading singing ‘Mack the Knife.’ Lenny played along” (181).

“We finished with ‘Ballad of a Bad Boy’ accompanied by Lenny’s strong rhythmic chords and electric feedback. It was the first time an electric guitar had been played in St. Mark’s Church, provoking cheers and jeers. As this was hallowed ground for poetry, some objected, but Gregory was jubilant.”


“I was bombarded with offers stemming from my poetry reading. Creem magazine agreed to publish a suite of my poems; there were proposed readings in London and Philadelphia; a chapbook of poems for Middle Earth Books; and a possible record contract with Steve Paul’s Blue Sky Records. At first this was flattering, and then seemed embarrassing. It was a more extreme reaction than had greeted my haircut” (182).

“I thought of something I learned from reading Crazy Horse: The Strange Man of the Oglalas by Mari Sandoz. Crazy Horse believes that he will be victorious in battle, but if he stops to take spoils from the battlefield, he will be defeated. He tattoos lightning bolts on the ears of his horses so the sight of them will remind him of this as he rides. I tried to apply this lesson to the things at hand, careful not to take spoils that were not rightfully mine” (183).

“When we got to the part where we had to improvise an argument in a poetic language, I got cold feet. ‘I can’t do this,’ I said. ‘I don’t know what to say.’

“‘Say anything,’ he said. ‘You can’t make a mistake when you improvise.’

“‘What if I mess it up> What if I screw up the rhythm?’

“‘You can’t,’ he said. ‘It’s like drumming. If you miss a beat, you create another.’

“In this simple exchange, Sam taught me the secret of improvisation, one that I have accessed my whole life” (185).

“An important new presence entered Robert’s life. David had introduced Robert to the curator of photography at the Metropolitan Museum of Art. John McKendry was married to Maxime de la Falaise, a leading figure in New York’s high society. John and Maxime provided Robert with an entrance into a world that was as glamorous as he could have wished for. Maxime was an accomplished cook and hosted elaborate dinner parties where she served obscure dishes taken from her knowledge of centuries of English cooking. For every sophisticated course presented, there was equally well-spiced repartee served up by her guests. Those typically seated at her table: Bianca Jagger, Marisa and Berry Berenson, Tony Perkins, George Plimpton, Henry Geldzahler, Diane and Prince Egon von Furstenberg” (189).

“Being allowed to lift the tissues from these photographs, actually touch them and get a sense of the paper and the hand of the artist, made an enormous impact on Robert. He studied them intently–the paper, the process, the composition, and the intensity of the blacks. ‘It’s really all about light,’ he said” (190).

“I never anticipated Robert’s complete surrender to its powers. I had encouraged him to take photographs to integrate into his collages and installation, hoping to see him assume the mantle of Duchamp. But Robert had shifted his focus. The photograph was not a means to an end, but the object itself. Hovering over all of this was Warhol, who seemed to both excite and paralyze him.

“Robert was determined to do something Andy had not yet done. He had defaced Catholic images of the Madonna and Christ; he had introduced physical freaks and S&M imagery into his collages. But where Andy had seen himself as a passive observer, Robert would eventually insert himself into the action. He would participate in and document that which he had previously only been able to approximate through magazine imagery.

“He began to branch out, photographing those he met through his complex social life, the infamous and the famous, from Marianne Faithfull to a young tattooed hustler. But he always returned to his muse. I no longer felt that I was the right model for him, but he would wave my objections away. He saw in me more than I could see in myself. Whenever he peeled the image from the Polaroid negative, he would say, ‘With you I can’t miss’” (192).

Separate Ways Together

“It seemed like Allen was always on the road with Blue Oyster Cult…”(213).

Todd Rundgren and Bebe Buell  [We now know what this coupling produced]

Holding Hands With God

Madame Bovary

Madame Bovary

by Gustave Flaubert

A Norton Critical Edition Trans. Paul De Man New York  1965

I can tell I read this book long ago because my reading note style has changed significantly since then. There were no end-of-chapter summaries which I incorporate now. The best bits were marked in highlighter which I find fades over the years. I caught up with plot twists by writing in pencil in very small lettering in the margins. Now I write in pen as long as the ink doesn’t seep through to the other side. I didn’t even write my name inside the front cover which I do now along with the season and year in which I completed the read. I wasn’t sure there would be enough material to share, but some of these lines are wonderful. I know I read this during the time before I’d read the intro or preface thinking it unnecessary and boring; it is not. I also did not read any of the critical reflections on the work afterward. If I were doing a serious college paper on Madame Bovary I would read all the critical works provided in the back of the book. Madame Bovary was first printed in 1857 and was originally written in French. At the time it was seen as scandalous and in need of censors.

“He grew thin, his figure became taller, his face took a saddened look that made it almost interesting” (7).

“For him the universe did not extend beyond the silky circumference of her petticoat” (24).

“This nature, positive in the midst of its enthusiasms, that had loved the church for the sake of the flowers, and music for the words of the songs, and literature for the passions it excites, rebelled against the mysteries of faith as it had rebelled against discipline, as something alien to her constitution” (28).

“Perhaps she would have liked to confide all these things to some one. But how tell an undefinable uneasiness, changing as the clouds, unstable as the winds? Words failed her and, by the same token, the opportunity, the courage” (29).

About the baby: “Thus she did not amuse herself with those preparations that stimulate the tenderness of mothers, and so her affection was perhaps impaired from the start” (63).

Because he is not the jealous type, Charles thinks nothing of Leon spending time with Emma. “Wasn’t the husband also a part of her after all” (71)?

Emma is praising Charles to Leon…out of nervousness? Charles is late and is due any minute. This irritates Leon.

Charles becomes the representation of her unfulfilled dreams: “What exasperated her was that Charles did not seem to be aware of her torment. His conviction that he was making her happy looked to her a stupid insult, and his self-assurance of this point sheer ingratitude. For whom, then, was she being virtuous? Was it not for him, the obstacle to all happiness, the cause of all misery, and, as it were, the sharp clasp of that complex strap that buckled her in all sides” (77)?

Emma meets Monsieur Rodolphe Boulanger who wants her, but only for an affair: “‘I think he is very stupid. She must be tired of him, no doubt. He has dirty nails, and hasn’t shaven for three days. While he is trotting after his patients, she sits there mending socks. How bored she gets! How she’d want to be in the city and go dancing every night! Poor little woman! She is gaping after love like a carp on the kitchen table after water. Three gallant words and she’d adore me, I’m sure of it. She’d be tender, charming. Yes; but how get rid of her afterwards’ (93)? He plans his strategy to use her.

By page 117, Emma and Rodolphe do the nasty.

The first thing Rodolphe does to slow things down: “‘What is wrong?’ she said. ‘Are you ill? Tell me!’

“He ended up declaring earnestly that her visits were too dangerous and that she was compromising herself” (118). 

There is regret and more regret.

When Charles was at his lowest Emma rejected him. She hates his existence. 

Uh-oh! Now the shop man knows Emma is having an affair! Emma begins to change and become more bold.

The shop man now knows she is planning to run away. The closer they get to their escape, the more Rodolphe understands this will be a mistake.

Although he was a womanizer, Emma regrets not being a man.

Another regret: “All her attempts at critical detachment were swept away by the poetic power of the acting, and, drawn to the man by the illusion of the part, she tried to imagine his life–extraordinary, magnificent, notorious, the life that could have been hers if fate had willed it. If only they had met! He would have loved her, they would have travelled together through all the kingdoms of Europe from capital to capital, sharing in his success and in his hardships, picking up the flowers thrown to him, mending his clothes” (163).

They see Leon at the opera. She is so easily swayed by the moment that it is pathetic!

Charles is absolutely oblivious to the motives of other men.

Charles puts even his grief for his own father’s death behind him for Emma.

Emma wants power of attorney in order to manage Charles’s inheritance.

Emma stays out all night…BRAZEN!

“One must not touch one’s idols, a little of the gilt always comes off on one’s fingers” (205).

“Besides, nothing was worth the trouble of seeking it; everything was a lie. Every smile concealed a yawn of boredom, every joy a curse, every pleasure its own disgust, and the sweetest kisses left upon your lips only the unattainable desire for a greater delight” (206).

Since Leon does not show with the money, Emma, at the last minute, thinks of Rodolphe.

You will have to read the novel to find how it ends!

The Norton Edition includes:

Earlier Versions of Madame Bovary 

“Structures of Imagery in Madame Bovary” by D. L. Demorest

“On Rereading Madame Bovary” by Albert Beguin

Biographical Sources:

“The Real Source of Madame Bovary” by Rene Dumesnil

“Flaubert and Madame Bovary: Outline of a New Method” by Jean-Paul Sartre

“Letters about Madame Bovary” by Gustave Flaubert

Essays in Criticism:

Contemporary Reactions:

By Charles Augustin Sainte-Beuve

By Charles Baudelaire

Stylistic Studies:

“Style and Morality in Madame Bovary” by Henry James

“The Craft of Fiction in Madame Bovary” by Percy Lubbock

“Flaubert’s Language” by W. Von Wartburg

Thematic Studies:

“On the ‘Inner Environment’ in the Work of Flaubert” by Charles Du Bos

Madame Bovary” by Albert Thibaudet

“The Realism of Flaubert” by Erich Auerback

“The Circle and the Center: Reality and Madame Bovary” by Georges Poulet

Madame Bovary: the Cathedral and the Hospital” by Harry Levin

“Love and Memory in Madame Bovary” by Jean Pierre Richard

Madame Bovary: Flaubert’s Anti-Novel” by Jean Rousset

Selected Bibliography

Pictures From an Institution

A Comedy

By Randall Jarrell

This book has been on my shelf for years. The paper cover is pretty battered and the colors are drab and boring. From the title and the cover, I assumed Jarrell had taken notes on various patients in a mental institution, perhaps in the 1950s or ‘60s. None of those things could be further from the hilarity that is this story. If I would have known it was about professors at a small girls college I would have read it a decade ago! The writing style is so lyrical and poetic that I had to look up Randall Jarrell. It all came to make sense when I found out he was a real-life poet! As you know, I like to share “the best bits” by transcribing the most beautiful, touching, joyous or heartbreaking lines, but the language in this book is so off-the-charts that I would have had to mark every line. I had to stop. If you are a professor, a lover of poetry, comedy or spot-on scathing character sketches, you must read this book!

Meridian Fiction  New York  1960

Randall Jarrell was born on May 6, 1914, in Nashville, Tennessee. He was educated at Vanderbilt University and has distinguished himself as poet, critic, novelist, and teacher. He has taught at various colleges, including Princeton, and has been poetry consultant to the Library of Congress. Jarrell has published five volumes of poetry; a book of criticism, and edited an anthology of short stories.

  1. The President Mrs., and Derik Robbins

It is Constance Morgan’s last day as assistant to the secretary. 

“…her features, as far as one could distinguish them, were undistinguished” (5).

Gertrude had been teaching at the college. Constance listens to Gertrude and President Robbins as they say goodbye.

“Gertrude and the President’s Friendship at First Sight had lasted only until they took a second look at each other. After this look Gertrude no longer felt as if she had just taken a drink, but felt as if she had a long time ago taken a great many: that look awoke both of them from their amicable slumbers.

“What a pity it was that that party had ever been given! –the party that brought with it their first terrible quarrel, a quarrel that ended their friendship after eleven days. Without the party, they both felt bitterly, it might have lasted for weeks. One could not help blaming Gertrude a little more than one blamed the President; the President, like most people, behaved in a different way after he had a great deal to drink, but Gertrude, knowing no other, behaved as she always behaved. But the drinks at the party, the almost unavoidable intimacies at the party, what they had said and what Mrs. Robbins had said and what people had said they all of them had said at the party–these, the memory of these, made Gertrude and the President look narrowly at each other, and their eyes widened at what they saw. George looked at the dragon and thought, Why, that woman’s a dragon; and the dragon looked at George and thought, That’s no man, that’s an institution” (7).

A very fun description of the novelist, Gertrude Johnson, who is leaving.

Who could explain President Robbin’s marriage?

“People did not like Mrs. Robbins, Mrs. Robbins did not like people; and neither was sorry.”

“Often, when you have met a true Englishwoman–the false ones are sometimes delightful–you feel that God himself could go no further, that way. Mrs. Robbins existed to show what he could do if he tried” (11).

“To hear her was to be beginning to despair” (13).

Mrs. Robbins’s horrid personality. Later in the book I began to realize that most of the text is description of character. Not much actually happens; therefore, chapter summaries became less and less frequent.

President Robbins has illusions about himself. There is the thought that only some people are very important. Derek is the president’s son and he is kind of odd.

President Benton is a slick orator, good at raising funds, and different than us.

“Not to have given him what he asked, they felt, would have been to mine the bridge that bears the train that carries the supply of this year’s Norman Rockwell Boy Scout Calendars. They felt this; it seems far-fetched to me” (27).

Did Gertrude go on to write lies about President Robbins in her next novel?

  1. The Whittakers and Gertrude

Couples attend a party at Gertrude’s house.

“People say that conversation is a lost art: how often I have wished it were” (41)!

“Gertrude didn’t want conversation, she wanted an audience” at the dinner party.

“…she was so thin you could have recognized her skeleton. Sometimes it seemed to you that she was not a person, not a thing, but an idea, and a mistaken one at that. A badly mistaken one: she always said not the wrong but the wrongest, the most wrongest thing–language won’t express it” (44).

“When well-dressed woman met Flo they looked at her as though they couldn’t believe it. She looked as if she had waked up and found herself dressed–as if her clothes had come together by chance and involved her, an innocent onlooker, in the accident. If a dress had made her look better than she really did, she would have felt guilty; but she had never had such a dress” (45).

“In the classroom, where Dr. Whittaker was almost as much at home as in his study, this would not have happened; there each sentence lived its appointed term, died mourned by its people, and was succeeded by a legitimate heir” (50).

There are hilarious descriptions of Flo and others and a dinner party at which no one ate. Gertrude disparages the South from which she still keeps an accent. How Gertrude feels about the music teacher. We meet Gertrude’s devoted husband, Sidney.

  1. Miss Batterson and Benton

Miss Batterson was an earlier creative writing teacher.

The teaching philosophy and life at Benton.

“Benton was, all in all, a surprisingly contented place. The people who weren’t contented got jobs elsewhere–as did, usually, any very exceptional people–and the others stayed. They didn’t need to be exceptional: they were at Benton. One felt that they felt that all they had to do was say, “I’m at Benton,’ and their hearer would say, raising his hand: ‘Enough!’” (105).

We learn why Benton is the subject of Gertrude’s novel. Miss Batterson got a better job but soon died. There is a funeral.

How the Rosenbaums live; very European. The narrator recalls a story told by Miss Batterson about her father.

  1. Constance and The Rosenbaums

Gertrude looks at life as fodder for her novels.

Dr. Rosenbaum’s wife and Constance’s friendship with the Rosenbaums.

“Old faces are forbidding or beautiful for what is expressed in them; in a face that is young enough almost everything but the youth is hidden, so that it is beautiful both for what is there and what cannot yet be there. Constance’s face was a question mark that you looked at and did not want to find an answer for” (146).

Constance and her music. Colleagues talking about home with the Rosenbaums. Irene singing. Constance is upset about the portrayal of the Rosenbaums in Gertrude’s story. The Rosenbaums’ personalities are described.

“…it is better to entertain an idea than to take it home to live with you for the rest of your life” (173).

How Americans are different from Europeans. Irene and her personality.

  1. Gertrude and Sidney

Gertrude was filled with anger she couldn’t understand. The narrator is dropping some work from a student at Gertrude’s. Gertrude takes care of her sick husband.

“But now that she saw she could not possibly get along without Sidney, her trust was shaken. When Sidney found out that she was in his power–if he found out, her heart substituted hastily–what would he do? How could you trust anyone with such power” (206)?

“…if Sidney had come home from work some evening and had said to her, ‘I’m not interested in you any more, Gertrude,’ she would have thought this a disastrous but perfectly reasonable, perfectly predictable thing for him to say–he would simply have come to his senses” (207).

“…she was like a magic sword that is content only as it comes shining from the scabbard” (209).

Gertrude can do without all others, except Sidney.

  1. Art Night

Gertrude is drunk as they head to Art Night.

“Mr. Daudier had a queer look on his face, as if he were a box of mixed nuts, but mostly peanuts…” (242).

  1. They All Go

If you are a teacher and/or love lines that run like crazy poetry, please read this book!