Enough Rope

O man.

Dorothy Parker in the New Yorker.

Drama in the Roaring 20’s.

What’s not to like?

 

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On This Day in History

…the witty and caustic Dorothy Parker resigns her job as drama critic for The New Yorker.  However, she continues to write book reviews until 1933.  These are published in 1971 as A Month of Saturdays.

For many readers, the funny, sophisticated Parker symbolized the Roaring Twenties in New York.  Parker was born in New Jersey and lost her mother as an infant. Shortly after she finished high school, her father died, and she struck out on her own for New York, where she took a job writing captions for fashion photos for Vogue for $10 a week.  She supplemented her income by playing piano at nights at a dance school.

In 1917 she was transferred to Vanity Fair, where she became close friends with Robert Benchley, the managing editor, and Robert Sherwood, the drama critic.  The three became the core of the famous Algonquin Round Table, an ad hoc group of newspaper and magazine writers, playwrights, and performers who lunched regularly at the Algonquin Hotel and tried to outshine each other in brilliant conversation and wisecracks.  Parker, known as the quickest tongue among them, became the frequent subject of gossip columns as a prototypical young New Yorker enjoying the freedom of the 1920s.

Parker lost her job at Vanity Fair in 1919 because her reviews were too harsh.  She began writing reviews for The New Yorker, as well as publishing her own work.  Her 1926 poetry collection, Enough Rope, became a bestseller.  Her short story collection, Big Blonde, won the prestigious O. Henry Award.

 

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Bonus Dorothy Parker content, below.

The first quote is my personal favorite.

The last is arguably her most famous.

 

 

Yer welcome.

 

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And if that’s not enough – more satire, here.

Hempel

If I could die and come back again I’d want to be reincarnated as Amy Hempel.  That’s how much I revere the experimental short story writer whose new collection, Sing to It, is reviewed by James Wood in the current New Yorker.  If you are uninterested in minimalist fiction, don’t bother.  But if you (like me) think Brevity is the Soul of Wit, then you can read the full text of Wood’s review here.  Or, read on – if you dare.

 

(Hempel and dogs go together like Flannery O’Connor and God.)

 

Any reviewer who can weave together a parenthetical reference like the one above is OK by me.  And anyone (see below) who gives pride of place to what I consider Hempel’s best story – also her first – has got my full attention.

 

“In the Cemetery Where Al Jolson Is Buried,” which appeared in Hempel’s first book, probably remains her most celebrated piece of writing.  It is a painful and acutely witty tribute to a young friend who died of leukemia. From a hospital bed in California, the friend asks the narrator to entertain her with some tales, but things she won’t mind forgetting: “Make it useless stuff or skip it.”

So the narrator delivers a mashup of absurdist nonsense.  That Tammy Wynette has changed the title of her song to “Stand by Your Friends.” Or crazy stuff from the newspaper about a man robbing a bank with a chicken.  Meanwhile, the beloved friend, who possesses all the wit of the best Hempel characters, issues quizzical and brilliant observations from her bed:  She wonders why Elisabeth Kübler-Ross’s famous stages of dying omit “Resurrection.”  She sends the narrator to the hospital shop and asks her to bring anything back — except a magazine subscription.

 

And of course let’s not omit the heart-rending coda – delivered in sign language by a bereaved chimpanzee.  But if you haven’t read it, I won’t spoil it for you:  Hempel’s classic debut 1985 collection is called  Reasons to Live.

 

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To have waited over a decade for some new output from Hempel is, strangely, not all that surprising.  She never was one to crank out the same story over and over, as is the habit of some.  Likewise, word-count is of little concern to her.   Stories in the new collection range from almost poem-like (under 100 words), to almost-novella-length (61 pages).  As the New Yorker review points out, the point for Hempel has always been about quality, not quantity:

 

In “Offertory,” … the narrator remarks despairingly, “He said he wanted to see everything, but did he, really? Does a person want to know the thing he is asking you to tell him?” These lines seem central to Amy Hempel’s work. We flinch from the truth, we take up convenient and fantastical fictive embroidery to avoid its dangers.  But we also write stories to enable us to survive the truth, to sing to it and of it. The secret is in the quality of the song.

Novel

On This Day in History, 1935, Thomas Wolfe published his second novel, “Of Time and the River.”  His debut novel, “Look Homeward Angel,” had been published six years earlier.  What traits do these two works have in common?  Well, pardon me for saying it, but despite what some folks might say, neither one was very good.  And I get to say that because… well, we’re family.

“WHAT’S THAT?” I hear you say.  Yep, read on for the full story – you can get the History.com version here if you want – but believe me, the family stuff is much juicier.

 

First, there’s the family resemblance:

 

Wolfe was 6’5” and couldn’t sit comfortably at normal desks. He did most of his writing standing up, using the top of his refrigerator as a writing surface.

 

OK, I’m 6’4″.  Check.  My son is 6’7″.  Double check.  Next?

 

But wait! I hear you say.  His name’s spelled different.  What’s with the “e”?

 

Easy.  Our common ancestors came from Germany. “Wolf” is the German spelling.  The “e” makes the name look more “English.”  It was added  after Wolfe’s stone-cutter father (inspiration for the title of “Look Homeward Angel,”  the “Angel” being one carved on a tombstone) changed it when he moved south to Asheville, NC.  The idea was to make the name more highfalutin’.  Thus the rough-hewn stone mason’s family would be more acceptable in polite society.  Whether or not the ploy worked?  Not sure.

 

 

OK, so where did Thomas Wolfe’s father live before North Carolina?

 

The Wolf family came to Pennsylvania from Germany in the early 1700’s.  At that time, land west of the Susquehanna River where they settled was considered “Indian” country.  So much so, that, when my Grandpa’s second cousin Edna Albert wrote a children’s book in 1930 called Little Pilgrim to Penn’s Woods (this was a German family’s immigrant tale based on stories she’d heard about growing up on the “frontier”) there were plenty of harrowing accounts of Redskins whooping it up outside the cabin door.

The house where I was born was one such cabin, originally built of logs in the 1860’s.  The family farm where I grew up was founded on 160 acres in Latimore Township, PA.  And that area is where, records show, Thomas Wolfe’s father lived – along with much of the rest of the extended clan – before he headed south:  First to Baltimore, then to Asheville.  That’s where his youngest son Thomas was born in 1900 – two years after the birth of my Grandpa Wolf, a farmer with no earthly use for an extra vowel on the end of his last name.

 

And we know all this HOW?

 

Glad you asked.  Somebody did a genealogy search in the wake of Wolfe’s literary fame and traced our family’s roots all the way back to the Black Forest in the 1600’s.  Lo and behold, there’s my grandfather Howard (b. 1898) and my father Harold (b. 1921) – both of them distant cousins several times removed from the great author himself.  Turns out, I was born the same year (1958) that the stage adaptation of “Look Homeward Angel” won the Pulitzer Prize.  Thomas Wolfe had been buried 20 years by then.  He died of tuberculosis in 1938.

 

OK, so what’s the story with all the negative reviews then?

 

Have you ever actually tried to read any of this stuff?  I mean, c’mon man!  REALLY?  Pulitzer or no Pulitzer…  plowing through it is like trying to wade through a vast vat of cold molasses. It’s like pulling teeth – A WHOLE LOTTA TEETH – with a rusty old pair of pliers and no anesthetic.  The literary consensus in a nutshell?  Too wordy.  Overwrought.  Don’t believe me?  Well, then believe his contemporaries Hemingway and Faulkner, both of them with axes to grind, but still…

 

Despite early admiration of Wolfe’s work, Faulkner later decided that Wolfe’s novels were “like an elephant trying to do the hoochie-coochie.” Hemingway’s verdict was that Wolfe was “the over-bloated Li’l Abner of literature.”

Comments about Wolfe are sprinkled throughout Hemingway’s letters and most of them are snide, snarky, and insulting.  In a 1951 letter (to publisher Charles Scribner III): “Tom Wolfe was a one-book boy and a glandular giant with the brains and the guts of three mice.”

 

Or, as Malcolm Cowley of The New Republic said so pithily about “Of Time and the River”:

 

“It would be twice as good if half as long.”

 

OUCH!

 

Guess I better wrap this up then. Two out of three mice surveyed say they are growing restless…  And the third?  His poor little brain has fallen asleep.  <No word on his guts.>  Blood may run thicker than water, but – to quote perhaps Wolfe’s most famous line – “You can’t go home again.”   I guess when it comes to literary pretensions I’ll stick with Papa Hemingway.  No “e” needed at the end of the last name.  At least not for THIS blue collar workingman’s offspring.

 

Tawdry

After yesterday’s indie bookstore post, today you get… a book review!  And not just any book, mind you, but a classic.  It’s from one of my favorite satirists of all time, Mark Twain.  On This Day In History, 1885, Twain published a sequel to his smash 1876 hit, The Adventures of Tom Sawyer.  His new book?

 

The Adventures of Huckleberry Finn. 

 

At the book’s heart is the journey of Huck and his friend Jim, a runaway slave, down the Mississippi River on a raft.  Jim runs away because he is about to be sold and separated from his wife and children.  Huck goes with him to help him get to Ohio and freedom.

Huck narrates the story in his distinctive voice, offering colorful descriptions of the people and places they encounter along the way.  The most striking part of the book is its satirical look at racism, religion and other social attitudes of the time.  While Jim is strong, brave, generous and wise, many of the white characters are portrayed as violent, stupid or simply selfish.  The naive Huck ends up questioning the hypocritical, unjust nature of society in general.

Even two decades after the Emancipation Proclamation and the end of the Civil War, The Adventures of Huckleberry Finn landed with a splash.  A month after its publication, a Concord, Massachusetts, library banned the book. They called its subject matter “tawdry” and its narrative voice “coarse” and “ignorant.”  Other libraries followed suit.  Thus began a controversy that continued long after Twain’s death in 1910.

In the 1950s, the book came under fire from African-American groups. They said it was racist in its portrayal of black characters – despite the fact that it was seen by many as a strong criticism of racism and slavery.  As recently as 1998, an Arizona parent sued her school district over Huck Finn.  She claimed that making Twain’s novel required reading made already existing racial tensions even worse.

 

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You just gotta love it when the critics call your work “tawdry.”  That’s almost as high praise as “coarse” and “ignorant.”  And so, with the publication of Huck Finn, Twain scores the ironic literary trifecta.  Or, as no less a judge than Ernest Hemingway famously declared:

 

“There was nothing before. There has been nothing as good since.”

 

Ummmm – OK then.  Whether you love or hate Twain, that may be overstating things a bit? But, Ernie always did tend toward purple prose….  Which brings us to today’s Word of the Day – and no, it’s not “tawdry.”  (For that one, go here and skip to the end.)  Rather it’s this:

 

purple prose

A generally pejorative term for writing or speech characterized by ornate, flowery, or hyperbolic language. The double meaning of the term “purple” is useful:  It is both imperial and regal – demanding attention – as well as overly ornate, ostentatious, and sometimes even profane.

 

Sorry, Papa.  Like Twain, I was only being ironic.  Just please don’t call me “tawdry,”  OK?

 

Bonus Mark Twain quotes: 

 

 

Funny Quotes Mark Twain. QuotesGram

Funny Quotes Mark Twain. QuotesGram

 

And of course, my all-time favorite:

 

 

Yer welcome.

Iconoclasts

Well, it had to happen eventually.  I guess it was inevitable that, smack dab in the middle of reading Eric Metaxas’ fascinating (and, at 608 pages, fat) volume on my favorite Lutheran pastor of the past – Bonhoeffer: Pastor, Martyr, Prophet, Spy – I’d come across this New Yorker profile of my favorite Lutheran pastor of the present, Nadia Bolz-Weber.  Currently Nadia’s in the middle of a nation-wide book tour promoting her recently released “Shameless: A Sexual Reformation.”  The release party was held at Tattered Cover in Denver on January 29th, and you can check here for a tour stop in a city near you.  Be advised, however:  Most are already sold out.

 

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Disclaimer:  Though I’ve been Episcopalian for a number of years now, I grew up Lutheran.  In fact, when I lived full time in Denver I considered House For All Sinners and Saints my spiritual home.  And, like both Bonhoeffer and Bolz-Weber, I’m a theological traditionalist as well as a bit of an iconoclast.  For the uninitiated, that latter term means either 1) “a person who attacks cherished beliefs or institutions” or 2) “a destroyer of idolatrous images used in religious worship.”

 

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Bonhoeffer, of course, died a martyr at the hands of the Nazis near end of WW2.  Bolz-Weber, still alive and kicking, has yet to endure that level of persecution – but give her time.  I won’t bore you with my review of either book.  I will only say this:  If you consider yourself – a) Lutheran, b) Christian, or even c) a mildly curious human being who has mastered the art of reading written English – albeit imperfectly – then you owe it to yourself to read both of these books.

 

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And once you’ve done that, of course, you’ll go on to read Bonhoeffer’s classic “Cost of Discipleship.” Or his heart-rending “Letters & Papers From Prison.” Along with any of Bolz-Weber’s hilarious and touching previous offerings such as “Pastrix” or “Accidental Saints.”

 

Lutheran Iconoclast
Go ahead – I dare ya.

 

 

Merton

Nice little profile of Thomas Merton (AKA “Brother Louis”) in the current New Yorker.  You can read it all, here.  The author of the article, Alan Jacobs, is a distinguished professor of humanities at Baylor University.  He calls Merton “the proper patron saint of our information-saturated age.”   I think that is just about right.

 

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Thomas Merton was born in 1915 in the French Pyrenees to a Quaker (American) mother and a father from New Zealand.  Both his parents were artists. Young Tom was baptized into the Church of England.  But like a lot of future monks, he spent much of his youth “drinking and bumming around the Continent” rather than studying at Cambridge where he had been admitted in 1933.  Says Jacobs:

 

“He was frequently in legal trouble, and, worst of all, fathered a child outside of marriage—a child he never met.”

 

After moving to New York and re-starting his academic career at Columbia in 1935, Merton seemingly found his calling by studying The Great Books – specifically, Medieval Philosophy.  He embraced Catholicism, but also retained an avid interest in Eastern mystical traditions along with an activist Left-leaning political bent.  By 1941 he had joined the Trappist monastery known as the Abbey of Gethsemani, in Kentucky, where he spent the rest of his life.  According to Jacobs:

 

“He entered the monastery three days after Pearl Harbor.  He died a month after Richard Nixon’s election to his first term as President.  It had been an eventful time.”

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Most famous of Merton’s literary works was his best-selling autobiography, “The Seven Storey Mountain,” written in 1948.  Of it, Jacobs has this to say:

 

(It was) a magnificent advertisement for Catholicism in general and for monastic life in particular.  Almost every monastery in America saw a massive upsurge in postulants in the years following the book’s publication, and all of the book’s considerable royalties went straight into the bank account of the abbey.

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Merton’s too-short life came to an improbable close in 1968 in a Bangkok hotel room.  He went there at the request of his superiors to meet with monastic practitioners of various Eastern religious traditions.  He was electrocuted after stepping out of the shower, slipping on a tiled floor, and grabbing onto a nearby electric fan.  But before he died – again from Jacobs – he aspired to…

 

“…a certain convergence of commitments, a potentially harmonious joining of beliefs and practices that most people thought irreconcilable or, at best, inevitably separate.  Perhaps the central question for him was: What contribution can the contemplative make to peacemaking, especially in a bellicose age?”

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Rest In Peace, Brother Louis.

 

Merton was the person in motion who seeks stillness; the monk who wants to belong to the world; the famous person who wants to be unknown.

 

 

 

Cabin porn

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Thoreau graduated from Harvard and started a school with his brother. But in 1839, he decided while on a canoe trip that he wasn’t cut out for teaching. Instead, he decided to devote himself to nature and poetry. Deeply influenced by his friend Emerson’s poetry and essays, Thoreau started a journal and began publishing essays in the Transcendentalist journal The Dial. At age 25, Thoreau left Concord for New York, but detested city life and returned after a year. Two years later, at age 27, he decided to live by Transcendentalist principles, spending time alone with nature and supporting himself with his own work. He built his home and lived off his garden for two years while reading and writing. In 1854, his collection of essays, Walden, or Life in the Woods, was published.
During his time at Walden, Thoreau spent a brief time in jail for refusing to pay taxes to support the war with Mexico. He later wrote Civil Disobedience, one of his most famous essays, based on the experience. Mohandas Gandhi would later be inspired by his writings. After Thoreau’s time at Walden, he wrote magazine articles and became an avid abolitionist, working to smuggle escaped slaves to freedom through the Underground Railroad. He died in 1862.

For a less measured account, go here to read the full text of Kathryn Schultz’s scathing critique of Thoreau that appeared in the New Yorker in 2015, under the title “Pond Scum.”

An excerpt:

“The real Thoreau was, in the fullest sense of the word, self-obsessed: narcissistic, fanatical about self-control, adamant that he required nothing beyond himself to understand and thrive in the world…  “Walden” is less a cornerstone work of environmental literature than the original cabin porn: a fantasy about rustic life divorced from the reality of living in the woods, and, especially, a fantasy about escaping the entanglements and responsibilities of living among other people.”