E Pluribus Whitewash

Ever notice how we treat history as if it is a disconnected chain of events? Sounds like a contradiction in terms, but historical novelist David Tory’s description is undeniable:

All Americans know that the English landed in Jamestown and Plymouth to form colonies, that a revolution gained American independence, that a Civil War ended in some mess called Reconstruction, and then World War I was followed by World War II. Few of us ever account for more than a century between the first two, and another three-quarters before the third. The last two items skip, respectively, just a half- and less than a quarter-century, so at least we’re getting closer.

Could probably go on, but I’d rather not think of anything that happened in my lifetime as history. No matter, as Tory sure gave us enough to make the point: Americans know what the highlights are, but have no idea how we went from one to the next.

That, folks, may sum up the core of today’s heated debates over the teaching of American history in public schools. There’s a reason that the Labor Movement is never included in history texts, and why the Great Depression and the New Deal are downplayed. And a reason why there’s not a single monument to the Mexican War in Washington DC–and why we so often hear “Remember the Alamo,” but never hear Pres. US Grant’s admission that it was a land-grab–in his phrase, “a wicked war.”

Today’s razor wire fences in the Rio Grande would be hard to justify if the full story of westward expansion were known. Better to think we were offering Christianity and a better way of life from sea to gilded sea. Sounds crazy? How much different is it from Florida schools now teaching that slavery was beneficial to kidnapped Africans forced to work on plantations because it taught them basic employment skills?

A useful example occurred during Washington’s years as president. No, I wasn’t there, but I read more than one account of how Washington and his Secretary of War (now Defense) Henry Knox sent troops to the frontier which, at that time, was Ohio and Kentucky. As we all know, white settlers fought with tribes, and as we are all led to believe, tribes were nomadic, and whites created peaceful settlements that the tribes invaded. So, of course, the US Army rode in.

In fact, the troops sent by Washington were not to protect settlers against the tribes, but to protect the tribes from the settlers–or at least to stop the settlers from encroaching on tribal land. Washington and Knox were intent on honoring treaties they themselves signed, but settlers kept wanting more. Once Washington and Knox were gone, Adams and Jefferson may not have felt the same commitment, and/or their attention was drained by the on-going intrigues of England and France on the other side of the Atlantic.

By 1803, Jefferson could buy a territory called Louisiana that extended from the Gulf of Mexico to the Canadian border between places now called Minnesota and Idaho. That, in turn, sent an avalanche of settlers southwest, and friction with Mexico was inevitable. Pres. Polk’s claim of “American blood on American soil” served as a pretext to make an invasion seem like self-protection–not to mention as a model for the Gulf of Tonkin Resolution and “weapons of mass destruction” over a century later.

To borrow Tory’s logic, this is a missing link from the well-worn narrative that happily takes American school children from Thanksgiving to Manifest Destiny, a term that implies divine approval. Take it a step further, and it reveals that the “destiny” was not at all “manifest” if the very “Father of Our Country” wanted to put the brakes on it. But the term does suit the insistence of many today who prefer to believe that taking everything save a few reservations was right and just–or, in one impossibly euphemistic word, patriotic.

As we often hear, they were nomads not using the land anyway. Turns out that statement was not entirely true, as many tribes had settlements to which “hunters and gatherers,” as we like to call them, returned for months at a time. That “nomadic” designation for Native Americans is equivalent to the claim that enslaved Africans “were very well treated by plantation owners.”

Tory noted that the first ships that landed in Jamestown and Plymouth and elsewhere in the New World returned to England with Natives whom they taught to speak English and return to serve as negotiators for their settlements with the tribes. This suggests, in Tory’s phrase, that the English–at least the landowners and merchants who remained in England–were “paving the way” for peaceful co-existence and a healthy relationship between trading partners.

This squares with the treaties signed by Washington and Knox and their futile attempts to honor them a century-and-a-half later. Just six years after Washington left office, Jefferson’s Louisiana Purchase made our destiny, divine or not, manifest.

Like so many large segments on the timeline of American history, these are the lines, curved as they may be, of connection between the highlights–highlights that, taken out of context, are easily and deliberately distorted.

Because they all involve the history of minorities, of labor, of expansion–to the Mississippi, across the Prairie, to California, and all the way to the Philippines–they are stories that many of us would rather not know.

Of course, no one can admit that, and so people hide behind a claim that it makes their children “uncomfortable.” All while they accuse those who want America’s full story taught as being “Woke.” Not to mention that they cancel history while accusing others of “Cancel Culture.” What they want is not history. It is therapy.

Now there’s your contradiction in terms. 

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Historical Cozies

By the time he was finished, novelist David Tory whet our appetites for the next installment of his Stanfield Chronicles by reading a passage that has Isaac and Abbie entering a room, sitting by a fireplace, and having “cozies…”

He looked up at us and pronounced the “dot, dot, dot,” leaving the punctuated euphemism to our imagination before crashing his own scene with a fire gone wild. Makes you wonder just what was the temperature of an early-17th Century cozy? And how long were Isaac and Abbie going at it?

Welcome to the world of historical fiction. Tory was cautious about defining the category that he represents quite well with his first two page-turners: Exploration which takes us from England in 1613 to the landing of the Mayflower, and Retribution which picks up the adventures of Isaac Stanfield in 1620. A third installment, ending in 1635, is already drafted, and for the folks in the Custom House audience who have read the first two (my ears are still ringing), it can’t come soon enough.

Tory is an unlikely writer of any fiction, let alone historical. After following his father’s advice to attend “the University of Life” rather than enrolling anywhere, he eventually took an interest in history and soon questioned why it seemed a string of “events we are supposed to know” without knowing “how we get from one to the other.” Yes, the Mayflower landed in 1620, but why did it set sail to begin with?

Such is the curiosity of an avid sailor with a long career in computer programming where he lost patience with “having everything in front” of him. Research, by his definition, is behind, and so he haunted libraries where he uncovered surprises, such as the two distinct groups of English settlers he identified as Virginians–wealthy Londoners wanting plantations–and New Englanders–merchants along England’s coast looking for trade.

Without having to say it, Tory gives us the origin of the tension between North and South. Nor does he have to remind us of his tale’s implications for efforts around the USA today to curtail connections of dots of “what we already know” in American history. In the lead up to 1620, the year 1619 is unavoidable, after all. And we know what kind of reception the New York Times‘ history of that year gained on its 400th anniversary.

And who has ever been taught that the ships to the New World returned to England with Native Americans who would be taught English and brought back to serve as negotiators between the tribes and the settlers?

This may or may not explain why he preferred not to pin down a definition of historical fiction, which very basically is the invention of characters and dialogue to dramatize actual events.* To make it vivid, Tory created a narrator who took part in the action and told the story in the present tense and first person. Call him Isaac.

Tory made us laugh when he admitted that “Isaac” at times stopped him from writing what he intended and talked him into something else. The realization, when we stopped laughing, is that we weren’t just hearing of historical fact, but of the fiction that brings it to life.

It was a moment most representative of the Custom House Maritime Museum’s “Warm Talks for Cold Winds” series initiated last winter on Sunday afternoons. This year, they appear to be scheduled like films at a cinema–not long in advance. So keep an eye on their website for more to come:

https://customhousemaritimemuseum.org

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* Not to be confused with speculative fiction (aka “alternative history”) which changes an event, as if to ask, “What if?” Many examples, but one that caused a sensation was If the South Had Won the Civil War first published as an entire issue of Look magazine, November 22, 1960. Nine-years-old at the time, I can still see the maps showing Alaska as still part of Russia, an independent Republic of Texas, and the Confederate State of Cuba.

Three years to the day later, a president from Massachusetts was assassinated. All of which has been on my mind lately as we are now just ten months of finding out that maybe the South did win the Civil War.  

David Tory
https://www.merrimackdesign.com/portfolio-item/newburyport-maritime-museum/

Rose-Colored Goggles

Boston’s mayor dubbed it “Innovation District” when he unveiled the plans 30 years ago, but Mother Nature now drowns that name with something more immediately and visually accurate.

As the title of a new documentary, Inundation District dives deep into the late Mayor Tom Menino’s vision of high-rise office buildings and condominiums with ground-level restaurants and shops, and with arts venues and commuter stops on the city’s long-unused Seaport. Oh, those Jethro Tull and Procol Harum concerts at Harborlights!

Problem wasn’t rose-colored glasses so much as the failure to wear goggles.

As the talking heads in writer/director–and Boston Globe environmental reporter–David Abel’s film make clear, the effects of global warming were already known–one of them, sea-level rise, already forecast. No doubt Menino was blinded by the Dawning of the Age of Algorithims. Hi-tech companies were suddenly very rich and looking to put their wealth on display.

Waterfront property? In Boston, “the Athens of America”? Huge checks were written and 25-floor space was claimed as soon as the shovels broke ground. Some may not have lasted long, as always happens, but at Seaport, they were soon replaced. You may recall just a few years ago when Amazon announced they had chosen Boston for a new installation, and city officials and media types went gaga over the number of jobs that would mean.

Not paying any attention to all the hoopla was–and is–the Atlantic Ocean which kept rising. Inundation District offers interviews with many hydrologists, climate researchers, biologists, city officials, and urban planners who address the problem, but the most lasting impression comes from Nathan, a homeless man who appears in need of a new bridge under which to sleep. He calls the imminent threat of frequent flooding “blatantly obvious.”

Only people involved that we do not hear from are execs or anybody from all the companies that moved in, not even Amazon with all those people in so many jobs. I asked director Abel about this during the Q&A. None of them answered his request for an interview.* 

A spokesman for the developer, however, has a lot to say in Inundation District. Quite the spinner with sincere sounding assurances that his employer has taken measures to mitigate occasional flooding. When asked about monetary accountability, he passes the buck: It’s all “a public concern.” As vague as anything Orwell ever warned against, and as euphemistic as anything Carlin ever laughed at–as many in the audience did. As the film makes clear, the developer realized that its investment in the project would be recovered in no time, doubled and tripled in a few short years.

Why give a damn, or even a flood-gate, about 2030 when 2003 puts you already in the black and you can keep cashing in?

To counter this, perhaps there will be flood-gates. They figure in one visionary proposal to keep the Atlantic from moving past the Financial District toward Fenway Park and Harvard Square. Another proposal calls for an “Emerald Tutu,” a play on Frederick Law Olsted’s “Emerald Necklace,” that would float small mounds of grass and shrubs off the coast to muffle the force of a storm surge.

Admirable plans, but doomed to be no better than rose-colored unless the larger problem of climate change is addressed, unless coastal development is stopped, and unless some of it is undone or just abandoned.

Inundation District begins and ends with scenes from a global climate summit in Glasgow, Scotland, where we see Joe Biden paying rapt attention and John Kerry offering American input, such as it is. Leaving the theater, I might have thought that the film had morphed from a documentary set in Boston into Inundation Nation.

But even that is too limited to capture the scope of sea-level rise and all other symptoms of climate change. As United Nations Secretary-General Antonio Guterres told the crowd in Glasgow: ”We either take collective action, or we commit collective suicide.”

In the spirit of “Think Globally, Act Locally,” Abel links the film to local groups wherever it plays. Here in Newburyport, they are Storm Surge and the city’s Resiliency Committee.** Elsewhere, my guess is you’ll find a hand-out in the theater’s lobby. 

You’ll be thankful for local connections once you’ve visualized the immediacy of Inundation District.

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*Quite a change from his last film, In the Whale, in which everyone was quite happy to talk. But probably very much like his first film, Entangled, about the threat to whales caused by netting used, and often left behind by the fishing industry:

For Entangled: https://www.imdb.com/title/tt14384956/

For In the Whale:

**https://www.cityofnewburyport.com/planning-development/resiliency

https://www.storm-surge.org

https://www.inundationdistrict.com/how-to-help

https://www.inundationdistrict.com/
https://www.bu.edu/articles/2024/city-leaders-need-to-protect-boston-from-sea-level-rise/

Welcome to Attention Span Pub!

On my doorstep yesterday, the 265th anniversary of the birth of Robert Burns, arrived a brand new book that ends with a quote from “Auld Lang Syne,” his best known song: “We’ll take a cup of kindness yet.”

How do I know how it ends if I just got it? Because I wrote it.

Should be available by Valentine’s Day if you want to give your significant other grounds for divorce. Till then, I’m happy to take orders with prices that cover all shipping and tax:

Once Upon an Attention Span — $20.00

Order it with either of my previous books–Pay the Piper! or Keep Newburyport Weird*–and I’ll send both for $32. Order all three, and they will be yours for $40.

If you already own both Piper and Weird, send a photo like this…

You like irony? First inquiry about a book with “United States” in the subtitle and the Statue of Liberty on the cover comes from a Canadian. Merci, Rob!

… and I’ll send Attention Span for just $12. If you own either one, send a photo like this…

Kinda wish the top half of this had been cropped, although the right side of that screen shows evidence that Rob up in Ontario was first. By pure coincidence, the book at the left of the picture is The Art of Noticing. Thanks for the pic, Bob!

… and I’ll send the other along with Attention Span, both for $25. If you have one and are ordering only Attention Span, $17.

If that’s not enough payment options, I’ll barter for dinner and drinks at any Greek, Italian, Mexican, French, Portuguese, Bavarian, Middle Eastern, Chinese, American, Irish, Welsh, English, Polish, or Seafood restaurant, grill, or pub of your choosing.

Also, if for any reason you prefer an anonymous, on-line purchase, I’ll be posting the Amazon link as soon as it is ready.

For descriptions of Piper and Weird, go to the home page of this blog and you’ll see the two titles at the top. Either puts you a click away from a whimsical if not loopy blurb penned by my publicist and friend, Helen Highwater.

Admittedly, she’s biased source, but if Clarence Thomas can sit on the Supreme Court, then conflict of interest is as obsolete in my country as attention spans, which is, after all, the point. Here’s an advance look at Helen’s appetizing blurb:

An advance copy sent out for review. The gray strip across the middle, if you can’t read it (and even if you can), says “Not for resale.” All other copies, as many as possible, will absolutely be for sale.

While others have used the term “United States of Amnesia,” Jack Garvey imagines it as an appetite to satisfy. 

His lively new collection of memoirs, vignettes, reviews, and musings, Once Upon an Attention Span, wastes no time setting the table with a first entree titled “Wake-U-Ups.”

Entrée?  Yes, Garvey has fashioned the book as “Attention Span Pub” with a “Menu” for a table of contents.  Open 24/7, reservations are not required.  They are redundant.

What better place to play host?  What else to serve but food and drink?

And what better bill of fare than something for everyone?  From cross-country “Repasts for the Road” with his daughter in the ‘80s, to commentary on current events stirred in “Teas that Tease,” and from the rock-and-roll of “Boomer Libations” to the “Dangerplay” of “Nostalgia’s Nightcaps,” the book comes as advertised in its subtitle.

An All-Purpose Pub for the United States of Amnesia addresses the book’s intended audience while hinting at its point:  It is of, by, and for America—from the heartland to the bayou, from the World Series to the National Mall, from Moby-Dick to the Electoral College, from Ellis Island to the Rio Grande, from Paul Revere to Bernie Sanders, from colonial times to Covid-19, from a sandbar on the New England coast to the skyscrapers of Los Angeles.

Just as he cast his last collection, Keep Newburyport Weird, as an atlas with chapters as maps, and his busking memoir, Pay the Piper!, as a musical score with movements, Once Upon an Attention Span offers fare in every tempo from every region of the USA.

Whether you’re in for a feast or just a quick bite, you can return as often as you want.  Go “Living in the Pasta” where Garvey connects history to the present just as a chef might season a sauce or layer a casserole.  The analysis of “Old World Breakfast” and “New World Crunch” will satisfy any appetite that craves food for thought.

Prefer nutrition if you want, but good luck resisting the rich personal accounts of Garvey’s past life as an apple-picker or the high-calorie accounts that span fifty years in “Nostalgia’s Nightcaps,” including his farewell addresses in college student newspapers.

The kitchen closes with a “Midnight Toast” set at a Renaissance faire to the tune of “Auld Lang Syne.”  Make your acquaintance with Once Upon an Attention Span, and any amnesia you may now have will be forgot and never brought to mind.

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*New Cover:

E Pluribus Fiction

When done laughing at its boffo irony and marveling at its seething satire, I wished for a moment that I was still teaching college freshman writing classes for the sake of giving a specific assignment:

In 700 words or less: Why is this film titled American Fiction?

Here’s a hint: Double-entendre. And here’s a challenge that doubles as a spoiler alert: If you’ve seen the film, answer the question yourself before reading any further. If you haven’t seen it, then log off, go out, and come back with an answer.

Now, after seeing the ads for it, were you surprised to find out that it opens in a college classroom? The only scene in which we see Monk (Jeffery Wright) as a teacher unless we count the next, equally brief scene where he’s called onto an administrative carpet for making a student “uncomfortable.”

And so it is, before the opening credits roll with the fanfare of a fittingly provocative soundtrack, American Fiction offers race relations in the USA today in a nutshell. As Monk’s literary agent will tell him in mid-film, white people don’t want truth, they want to be absolved.

Through its remaining 100 minutes, American Fiction more that earns its billing as both comedy and drama. Many scenes of characters making unwitting fools of themselves with misinterpreted dialogue punctuated by one-liners. At times, Director Cord Jefferson does it with extended sight-gags: A newscaster seriously intones “the African-American experience” to plug an upcoming report while the screen shows nothing but a gaping bullet wound on bloody body falling to the ground.

That’s but one of several moments in the film where we laugh in spite of ourselves. Yet, there are as many scenes where race recedes into the background of character study. Though we admire his integrity, Monk is flawed. His relationships with his over-stressed sister, his gay brother, and a woman he meets while attending to his mother (the years have been good to Leslie Uggams) are all strained. Comedy turns tragic when his sister dies mid-film, but quickly turns comic again when Monk reads her farewell letter to the family as they scatter the ashes.

Perhaps the film’s most representative moment: Wright plays it with such a straight face we can’t tell if he’s repressing laughter or rage. Given the fantasies she described, it could be either.

Fact or fiction? Fundamentally, this is a film about a writer of fiction who considers himself a realist and is appalled by the popular fiction based on stereotypes to feed market trends and low-brow tastes. So he writes a novel to satirize the genre only to land a multi-million dollar offer, movie rights and all. Now appalled by himself, he tries to sabotage the deal to prevent his anonymous creation from becoming public.

The publishers love his title, My Pafology, and there’s no doubt they would have preferred the misspelling over Monk’s original, “My Pathology,” as it reinforces the stereotype. And so, over the phone, Monk attempts a deal breaker, insisting on a change. Worriedly, they ask “What?”

At first they think he just dropped an F-bomb. But there is no bottom to the hole Monk has dug. Soon afterward, he finds that his new love interest, a lawyer who had read his serious books and praised them, has a copy of Fuck. It was the end of their relationship. Like the marketplace he disdained, Monk couldn’t accept an entirety, but only the part he found comfortable.

The awards scenes and the planning of a film adaptation at the end return us to the racial stereotyping. The alternative endings, much like the technique used in Little Women, may have us wondering how it ended, but the film’s point is that the fiction of race never ends–that it isn’t just fiction that is “fiction.”

Audiences–mostly white here at the Screening Room–are still laughing when they tell me, their projectionist, “great film!” in tones that clearly convey the film’s satirical weight. As we say today, they got it.

During a week when presidential candidate Nikki Haley was just a few miles across the state border telling New Hampshire voters that “America has never been a racist country,” there’s at least one reason to call the title of American Fiction a double-entendre.

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https://www.imdb.com/title/tt23561236/

https://www.newburyportmovies.com/

Rightly Or Wrongly

Saturday, Jan. 20–Honestly thought I had hunkered down beyond reach of reality. Well after dark and long logged-off of the world-wide web and all its local pages, I was watching a closely-contested football game played on the other side of the continent. Deep freeze here, downpour there.

My own split-pea soup hit the spot, and the cheese and garlic croutons just enough to go with it, along with a few Ipswich English-styyled Pale Ales to wash it down and serve as dessert. Yes, when I’m not busy fighting city hall, saving the world, or nitpicking the habits or speech of our hopelessly devolving United States of Algorithims, I’m your stereotypical American guy, never more content than when kicked back watching sports and drinking beer.

And so I was last night, reclining on my bed when the phone rang and I made the mistake of hitting the mute and picking up:

“Hey, John! It’s Chaz!”

He always intros himself as if he’s trying to get my attention from across a very wide street. If he didn’t live in New Hampshire, he might not need a phone. His use of my formal name indicates he’s known me for over 40 years, 55 in his case. Hadn’t talked to him since Christmas Day.

“Just wanted to wish you a Happy Final Year of Constitutional Democracy!”

I laugh: “May well be just that.” He can talk as loud as he wants, he speaks my language.

“If Trump wins, this will be the day a year from now that he becomes president.”

I’ve been hunkered down almost all of four days of a Dakota-like cold spell and tend to lose track of days even when I am not, so I glance at the calendar.

“Oh! Inauguration–“ Television shows a Packer defender dropping a pass right between his numbers with an open field in front of him, and I stifle a groan. ”You think Joe and Jill will attend it?”

“You mean turn themselves in?” He went on to say he knows a lot of people in and around Peterborough–a place that in past elections has been kind to Ralph Nader, Dennis Kucinich, and Bernie Sanders–planning to take Republican ballots and vote for Nikki Haley.

“May be a mistake. I think she has a better chance of beating Biden than Trump.” I then noted how Haley’s ads paint Biden and Trump as the same side of a scale that she has swapped to serve her purpose: Changing young voters’ perception of the election from Republican vs. Democrat or right vs. left to young vs. old. Pretty much a summary of my recent blog.

Chaz’ response was something I had missed: ”Have you noticed how she says that ‘chaos follows Trump rightly or wrongly wherever he goes’?”

“A lot of pundits”–those I hear when there are no football games to be seen–“have noted that phrase. It’s a mealy mouthed attempt not to offend Trump voters.”

“It’s more than that.”

“How so?”

“How can chaos follow anyone or anything rightly? It makes no sense.”

I look at the unexplained chaos on the television, feeling like a defender who dropped a pass put right between my numbers. ”Shit! How did I miss that?”

We commiserate awhile longer, and he entices me with mention of a St. Patrick’s Day gig that his trio, Grove Street, has landed, likely to be joined by a bassoonist that I’ve been craving to hear again since I last was up that way last spring. They play several tunes I know, so it’ll be a quintet for a few green and gold numbers if I make it.

Meanwhile, Green Bay’s green and gold went down the gold-rushing panhandles of the San Francisco 49ers. Had it not been for my friend’s call, this would have upset me. Instead, I’m pre-occupied. Not by the realization that I missed Haley’s double-talking finesse, but by a realization that will never allow me to get entirely beyond the reach of reality no matter how hunkered down I may think I am:

Planning for St. Patrick’s Day in the middle of January is a sign of final years. Not of Constitutional Democracy, and maybe not the final year, but for a guy who has dissed plans and improvised his entire adult life, and who will turn 73 the day after–Hangover Day, as I have long called it–old age can no longer be denied.

And why should it? I ask as I hunker down on this bone-chilling Sunday afternoon, about to inhabit my kitchen where I’ll make a shepherd’s pie before kicking back to watch the Lions host the Buccaneers followed by the Bills–if they have their stadium shoveled out–and the Chiefs.

As another New England joker once wrote, I still believe that I “have miles to go before I sleep.” But along the way, I have a mute button. And it works both ways.

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The shirt has nothing to do with the ale, obviously, but it does serve as a variation on the mute button that is central to the story. Photos by Lenovo.

Get Up, Jack! John, Sit Down!

There’s a band that roves all over New England called The Penniless Jacks, a “purveyor of pub music” according to their own description, friends of mine from the Renaissance faire circuit, and a real treat if you can catch them while sipping coffee or quaffing ale in any venue be it indoor or out.

They take their name from “Get Up, Jack! John, Sit Down,” a sea-shanty that describes the sailors who took their leaves in seaports where women awaited them on the docks and brought them to brothels for an hour or more. Sailors would be paid their wages before going to shore, and with money in their pockets they were coaxingly called “Johns”–the origin of the term used to this day. Often, they would run out of money while still at the brothel, whereupon their hosts began harshly calling them “Jacks” and ushered them out the door to make room for more Johns. The chorus is giddily philosophical about it:

Singing, Hey! laddie, Ho! laddie,
Swing the capstan 'round,'round,'round
When the money is gone it's the same old song,
Get up, Jack! John, sit down!
https://www.traditionalmusic.co.uk/folk-song-lyrics/Get_Up_Jack!_John_Sit_Down!.htm

When the Jacks belted that out, this old roustabout was instantly bound, bound, bound to his jolly roving past. Here’s a soundtrack for the trip:

https://www.thepennilessjacks.com/?

My formal name is John, but so was my father’s, and so was his uncle’s who lived just around the corner. Three Johns wouldn’t have been a problem if not for my mother having a brother named John who named his son John, as did both of my mother’s sisters.

Seven was a problem that had to be solved with variations on the theme. Since my father’s uncle and my mother’s brother were never in the same place at the same time, they both kept the given name preceded by “uncle.” My cousins, in order of birth, were Big John, Johnny, and Little John.

My father was Jack. Back then, at least in New England, Jack was always understood as a nickname for John, and we elected a president in 1960 who used both interchangeably. Since most adult names have kiddie versions, I, a “Junior,” got stuck with the horribly dreadful “Jackie,” a name made even more regrettable by my mother’s habit of accenting the second syllable: ”ja-KEE!”

Luckily, that was within the family, and by the time I was old enough to care, all my friends were in the habit of calling each other by the first syllable of our last names. There’s a woman in Florida who still calls me “Garv,” but she grew up 20 miles south of the Merrimack Valley, so I know this happened elsewhere circa 1964. By that time, I was able to turn the family from “Jackie” to Jack–except, of course, for “ja-KEE!”

When I entered Salem State College (now University) in 1968, professors calling the rolls in each first class meeting read “John” aloud, and I simply said “here,” not bothering to correct them. Classmates who became new friends heard that and called me John, and I just let it happen.* And so, at age 17, I lived with two different names, one for family up here in The Valley, the other for Salem and wherever it took me.

Graduation eventually took me to the St. John Valley at the very top of Maine, the border with New Brunswick, with many French-speaking people who called me Jean in an accent to which I’d never say no. That was short-lived. Within a year I was in South Dakota where everyone called me John either right before they asked me to say “Park the car” (gleefully expecting to hear pahk the cah) or right after I dodged the question with “Arrest the progress of the automobile.” That’s how it went for seven years as I bounced around between Oregon, Colorado, and Dakota Territory.

When I came rolling home, I landed back in the Merrimack Valley where my parents, a few aunts and uncles, and many of my numerous cousins still lived. When I started writing guest columns for the Newburyport Daily News, it occurred to me that my byline should be the name by which my family knows me. Call it deference. Or call it a case of “get up, Jack! John, sit down.” I was back in their world.

Before long, I realized that “Jack” has the advantage of a trick that makes it hard to forget. Anytime I’m introduced to anyone, I’ll add, “like in the trunk of your car.” Quite unlike the unfortunate association of “John” as sung by the Jacks and written on police blotters from coast to coast.

The move was made in 1982, and before long, “John or Jack” replaced “park the car” as the most frequent, nagging question put to me.** Just as I offered an evasive answer west of the Mississippi, I now offer one here on the New England coast:

“As long as it begins with J, any four-letter word will do.”

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The Penniless Jacks at the 2023 New Hampshire Renaissance Festival. L2R: Dori French, guitar; Amanda Neves, fiddle; Andrew Prete, guitar and harmonica; and JD Lauriat on West African djembe, a drum that offers more tones and notes than single-note conga.
 Photo by Angela Cook

*Years later, I would learn that the 18th American president did the same thing when he arrived at West Point, a very young man fresh out of rural Illinois. He was always called by his middle name. Not knowing that, his sponsor who filled out the forms put “Ulysses” as his first name and, for a middle name, guessed “Simpson”–his mother’s maiden name, a common practice at the time. Since the young cadet never bothered to correct it, “Hiram” was never heard again, and US Grant was born.

**In third place: ”Do you call yourself a flutist or a flautist?” Answer: ”Depends on how much I’m being paid.” Kidding aside, I call myself a “piper,” or “Hamm Lynn, Hyper-Piper” as in:

 Here’s a better view of the djembe, a shape easily distinguished from the long oval of a conga. The Penniless Jack drummer who joined us that day at King Richard’s Faire goes by his initials, JD, the first of which could be John and/or Jack. We already know that the wind-bag on the right goes by John and Jack interchangeably. Between the two are the Buzzards Bay Buccaneers, Bob and Kelly, neither of which name is a four-letter word or begins with the letter J.

Boomers v. Generation X

As we begin what promises to be an outright ugly, downright disgraceful, unavoidably demoralizing, and quite possibly violent election year, I find myself nostalgic for friendlier, genial times.

Remember when Ronald Reagan was asked about his age in a debate with Walter Mondale in 1984? In response, Reagan, then 73, showed no irritation, just a broad, genuine smile:

 I will not make age an issue of this campaign. I am not going to exploit, for political purposes, my opponent’s youth and inexperience.

Easily the best joke and loudest laughter in the history of presidential debates, and no one laughed harder than Mondale, then 56, a former vice-president, US senator, and Minnesota attorney general. Historians mention it as among the most “iconic” moments in presidential debates. A stand-up comic today would call it a “mic drop.”

The quip has to be my generation’s most vivid memory of the Reagan-Mondale race. Those paying attention at the time will hasten to add that the issue of age was never raised by Mondale or any leading Democrats. They–we–had enough substantive issues with the Hollywood actor-turned-corporate frontman. The issue of age began in the press, and when it gained traction with the public, the press ran with it.

Nimarata Nikki Randhawa was twelve when Reagan cracked his joke. She was called by her middle name from the cradle, and at age 24 she married a commissioned officer in the South Carolina Army National Guard to become Nikki Haley. At 39 she became that state’s governor, and at 47 she was appointed America’s ambassador to the United Nations by a man who now condemns her as “a tool of liberals” and calls her “Nimarata” with the same racist ridicule that four years ago dripped from several Republicans’ pronunciation of “Kamala.”

Tomorrow, Haley will turn 52. As a presidential candidate in this year’s Republican primaries, she hopes to beat a heavy favorite who will turn 78 in June. If she succeeds, she faces an incumbent who is 81. Listen to her ads that have been running in what TV execs call “the Boston market” in these weeks before the New Hampshire primary on Feb. 2, and you might wonder if she thinks her road to the White House is nothing more than a numbers game.

That’s a risky strategy for someone who just 18 months ago, at the chipper age of 50, complained about rising prices for holiday parties by taking the percentage increase over Biden’s first year in office of six items such as soda at 13.2% and ice cream at 9.6% and adding them to decry a whopping, though warped, 67.2% inflation.

Only a youngster could inflate inflation, and if he or she did it in school, any math teacher would quickly correct it. But it’s the younger voters who will likely outnumber those of us who remember Democrats and Republicans laughing at each other’s jokes. In Iowa and New Hamphire they have been telling reporters over and again that they will vote for Haley “because she is young” and “it’s time for a new generation.” They rarely ever cite an issue for a reason, and when asked about one–the environment, gun violence, reproductive rights, Ukraine, Gaza–they shrug and offer something along the lines of, “She’ll listen to all sides” and “she’ll have good advisors.”

In addition to age, she has yet another advantage in drawing younger voters who see and hear only the surface: As several Iowans declared, “It’s time for the first woman president.” That’s quite an accomplishment for a candidate who dog-whistles in every speech, “Let’s face it: A vote for Joe Biden is a vote for Kamala Harris.” Nothing about Harris to justify the jab, certainly no mention of Harris’ age, just the image: Harris is African-American.

Young people miss this because they stay on the surface. Ask those same young people voting for her in the early primaries where they stand on most issues–most glaringly, reproductive rights–and Haley’s appeal beyond the initial youthful attraction is impossible to figure. Until you realize that the pictures are all they see, and her folksy twang–not the evasive pretzel-logic of her double-talk–is all they hear.

Haley, who was already spending ample time in the Granite State with its “First in the Nation” primary in mind, may have gained the idea from a mayoral race here on New Hampshire’s border. Yes, right there in Newburyport, which I can see out my window, in 2021 when Haley began making the rounds, an upstart 45-year-old native son announced a campaign that pitted him against a well-seasoned 70-year-old city councillor.

The councillor, as you’d expect, knew the issues in detail and spoke with clarity and precision. The upstart, a la Haley, spoke with excitement that covered a vagueness on the issues about which he kept promising further research. The councillor won the primary by a landslide. Had the upstart taken all the 9.5% votes cast for a third-party crank, a Trumper, the councillor would have won, but there was still a run-off.

Apparently, the upstart knew he needed something new, something that would jolt. Or, perhaps it was just his supporters, or enough of them to harp on his opponent’s age. It worked, albeit just barely. The upstart won by 22 votes. Two years later, we are wondering why the city now lurches from controversy to controvery as experienced public servants are replaced, re-assigned, or pressured to quit because the mayor wants, in his own phrase, “all new people.”

Whether she paid any attention to this Massachusetts seacoast town or not, Haley has put this plan on steroids. Unlike our local upstart, she says it herself in ads that begin with her voice-over, “I’ll just say it, Joe Biden is too old…” Before long, she starts warning us of the prospect of two old men on the November ballot, and the names Biden and Trump are interchangeable, a duo not at all dynamic.

As most pundits have noted, lumping the two together is Haley’s back-door attempt to appeal to Trump’s base. She appears to be attacking Biden, and only by coincidence is Trump nearly as old. She conflates Trump’s obsession with the last election with a single clip from Biden addressing it to claim that both are living in the past–no matter how many advances Biden has made and continues to make regarding employment, wages, and even the Republican-cherished stock market. This won’t fool anyone in Trump’s cult, nor will it fool anyone who has paid attention all along, but the gambit is working with independent voters just now beginning to consider the choices.

Nikki Haley is rising in the polls because she has turned the Republican primaries into a contest of generations. Hence, she emphasizes term limits with no mention of the founders’ intention to keep that decision in the hands of the public. It’s in the Constitution, a provision called “elections.” But term limits are a way to justify paying less attention to what Congress does. Perhaps without realizing it, young voters are attracted to term limits because it would be a law that does their thinking for them. In their own word, an app.

If she wins the nomination, the race to November will not be political or ideological, but generational. Boomers vs. Generation X.

We Boomers have endured quite a lot of derision, resentment, and ridicule over the last few decades, most notably a few years back during the “OK Boomer!” fad. In November, we may be on the ballot. Will voters see and hear no more of a difference than age? Or will they look and listen long and hard enough to recognize a soulless, humorless, human algorithim programmed to say whatever the focus group in front of her at the time wants to hear?

If it’s the latter, they’ll also be looking at and listening to an old guy with a quick wit, unafraid of jokes, and able to laugh even at himself. Question is, will his–our–generation laugh along with him?

Those were the days, my friend, let’s bring them back again.

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https://www.nbcnews.com/video/meet-the-press/44892828

A Tale of Two Galleries

Here on Plum Island, we look across the marsh to the mainland, a flat sea-level view of about two miles west as the crow flies or as a car drives along our single straight-line causeway.

No buildings interrupt that view except for those few along the road on the mainland side of the modest bridge: A semi-circle of about a dozen houses on a side-street called Plumbush Downs, a few more between there and Bob’s Lobster, a couple more set behind Bob’s, and a dilapidated boat house well past it, all of them along the outbound lane, a few of them set high upon stilts.

Along the inbound lane, a modest chip shot away from the road, is a single, two-story pink house. Turning 99 this year, it looks its age for having been abandoned about half that time. Thanks to its location, location, location and to its venerable visage, The Pink House has long been a mecca for painters and photographers, rivaling a fishing shack on a dock in nearby Rockport for the title of coastal New England’s “Motif #1.”

And now the National Fish and Wildlife Service, which has jurisdiction of the land where the Pink House sits, for some reason feels obliged to tear it down. Full disclosure here: Though not a full-blown member, I’m sympathetic to the group fighting to keep the house where it is. A “Save the Pink House” decal is on the back of my Nissan, and in 2017-18 when demolition was first broached, I wrote three Daily News columns questioning, attacking, and–okay I confess–ridiculing the plans.

A most imaginative reader, Andrew Griffith of a group called “Plum Island Outdoors,” turned one of those columns, “House of the Rising Sea,” into a song set to the tune of “House of the Rising Sun.” According to the chorus:

There is a house on Great Salt Marsh

They call the House of Pink

Alone along Plum Island’s road

Its legend is distinct

https://plumislandoutdoors.org/outdoor-history-plum-island/the-pink-house/ *

To cut to the chase: Though it may contain asbestos and be irreparable, and though it may never be of use, what harm does it do just sitting there for portraits, posing for pictures, and providing a chimney that is a favored resting place for owls, hawks, falcons, and occasional eagles?

Moreover, the Pink House is an attraction listed by the Essex National Heritage Coastal Scenic Byway, a 90-mile drive connecting communities from Lynn to Salisbury with “sights of interest, culture, heritage and value” according to the brochure which adds:

The Pink House has been on this list for years and only further cements it’s meaning as a notable landmark, deeply woven into the fabric of what makes New England special.

I’m heartened that there are so many local folks in the movement we call “Save the Pink House.” But, last I heard, we are running out of time. As I understand it, the need is to find someone who can exchange a piece of unused land the same size–not much more than the Pink House’s footprint–that abuts NFWS land anywhere in the United States.

Just this week, barely 30 miles west of us, the Mass Audubon Society purchased the legendary and revered Pawtucket Farm in Lowell to preserve it as a natural setting. That move had the added intent of preventing development.

Preserving the Pink House has no such intent. Nothing will be built there other than possible renovation or re-purposing that would barely extend the footprint. None of which would be funded by tax dollars. Nor is there anything near it that its existence might depreciate, no neighbors its peeling Pepto-Bismol paint might annoy.

And if NFWS claims that a natural setting will be regained, I can tell them that after forty years of looking out my window, I have never seen a lack of room for migrating geese and duck–and I’ve seen thousands at a time. Double or triple their numbers by factors of ten or twenty, and there will still be ample room on this, the second largest saltmarsh on America’s east coast.

NFWS has claimed that the house is expensive to maintain. But if it’s abandoned, what’s to maintain? Makes one wonder if there’s an ulterior motive. Do they not want painters and photographers along the causeway?

Do they not want art?


Covid put everything, including NFWS plans, on hold. While I was on hold, I started writing memoirs, including one called “Painted on Downtown Walls” about murals found in cities west of the Mississippi that…

… often included a scene of musicians jamming in a park, at a block party, or on an outdoor stage. What made me take note was the ethnic make-up: The guitarists and fiddlers might be anyone, but–apart from Native Americans in groups of their own–the drummers were always Black and Hispanic while the wind players were always Asian and White.

And so I described my own vagabond experience as a white flautist who often busked Larimer Square in Denver with an African-American drummer. For a blog, I went looking for a similar image and found this:

Mural: Lafayette Building: Flautist and Drummers--Detroit Mi

Hoping to credit it, I spent hours running into dead-ends on several websites. I found only that it was a mural, or part of a mural, on the side of the triangular Lafayette Building in downtown Detroit. Note the past tense. Although more than one writer described the Lafayette as “historic,” preservationists unsuccessfully tried to place the 1923 structure on the National Register of Historic Places. As is true–to date–of those of us trying to save Plum Island’s Pink House, they failed to find a purchaser.

When the wrecking ball hit in 2009, not only was that mural lost, so, too, were others. Or was it one large mural, mostly of musicians with a few Detroit Lions scenes back in the glory years of Barry Sanders, that filled a wall outside the first of the building’s 13 stories?

Never in my life have I been in Detroit, but three years ago when I learned of the lost murals–when, looking for but one, I found one after another that appealed to me–I went on a mission to find the name and whatever I could learn of the artist.

How many inquiring emails did I write? Well, I admit, just one, but with versions that went to the Detroit Public Library, the Detroit Historical Commission, the Detroit Free Press, a weekly newspaper, two radio stations, three colleges, and a Detroit writer named Alvin Hill who had just published Driving the Green Book, which begins in Detroit, and which I reviewed. I asked my son-in-law’s parents, both Detroiters, and a classmate of mine back at South Dakota State, a native of Flint with academic ties throughout Michigan.

What I got were mostly referrals to places I already tried, and just two emails telling me that they had nothing on hand but would keep looking. Nothing since.

Last week, I spotted a fellow wearing a Detroit Kronk jersey at the Moby-Dick Marathon Reading in New Bedford. He took genuine interest, but emailed me three days later that he came up empty. ”Kronk,” by the way, is the name of a legendary boxing gym that opened in 1921, proving that we Melvillians, like Ishmael himself, “try all things [and] achieve what [we] can.”

But I can take consolation that last week’s shot in the dark reawakened me. While I failed to find the artist’s name, I still have the pictures, the murals (or maybe The Mural), and can offer an anonymous gallery. Like images of the Pink House, we can still appreciate art occasioned by the Lafayette Building.

Difference is that the Pink House may yet occasion so much more.

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Lafayette Building Gallery:

Mural: Harpist, Lafayette Building--Detroit MI
Metropolitan Building: Mural, Barry Sanders--Detroit MI
Detroit Lion running back from 1989 to 1998, Barry Sanders, #20
Mural: Lafayette Building, Man In Pink Jacket--Detroit MI
Mural: Violinist, Lafayette Building--Detroit MI
Mural: Lafayette Building, Two Musicians--Detroit MI
Metropolitan Building: Mural, Lions and Packers Game--Detroit MI
The artist was far more into music than football. The Lions in their blue jerseys appear to be playing against opponents in both red and white jerseys. Maybe this is a composite? Number 50 is most likely Paul Naumoff, a pro-bowl linebacker who played for the Lions, 1967-1978. No idea who 20 is or what team’s jersey that is.
Mural: Lafayette Building--Detroit MI
Mural: A Band In The Park, Lafayette Building--Detroit MI
Mural: Violinist, Lafayette Building--Detroit MI
Metropolitan Building, Mural: Lions Sack Packers Quarterback--Detroit MI
Okay, so here’s Barry running the ball, but in front of him is a Green Bay Packer who also has a ball and appears to be about to throw a pass. That’s because Packer #15 is Hall of Fame quarterback Bart Starr who retired in 1971, twenty years before Sanders joined the NFL. So, definitely a composite. About to tackle Starr is linebacker (and placekicker) Wayne Walker, a six-time pro-bowler whose 11-year career was concurrent with Starr. So the artist did have have some sports-smarts. Who number 34 is or what team he plays for is anyone’s guess.
Mural: Saxophonist, Lafayette Building--Detroit MI

* Pink House Gallery:

Photo by Jim Fenton

*For many more photos and more lyrics to what may be the only song ever adapted from a newspaper column, “House of the Rising Sea,” go to:

https://plumislandoutdoors.org/outdoor-history-plum-island/the-pink-house/

(Andy, if Adaptation of a Newspaper Column were a category, a Grammy would be yours.)

Fierce Urgency of Now

Ever notice that our most cherished documents begin with elements of time?

In the beginning …

When in the course of human events …

These are times that try men’s souls …

Fourscore and seven years ago …

One of literature’s two most quoted opening lines, “Call me Ishmael,” casts the narrator of Moby-Dick as an orphan out of Genesis musing over “a dark, drizzly November of my soul.”

The other unites even as it divides A Tale of Two Cities into “the best of times” and “the worst of times.”

Children’s stories begin with “Once upon a time,” prayers with “Now I lay me down … “

Every Saturday evening, “The News from Lake Wobegon,” that “little town that time forgot” on America’s prairie, always begins with “a quiet week.”

Time cannot forget Aug. 28, 1963, in America’s then-vibrant, now-static capital when — after citing “history” twice to thank those standing with him — Martin Luther King opened his “Dream Today” at the Lincoln Memorial with an echo, “Five score years ago.”

Earlier that year, James Baldwin invoked Noah’s Ark with a scorching look at race relations in America titled The Fire Next Time — a warning echoed with “fierce urgency” in King’s Dream.

Five years later King had seen the mountaintop, and Baldwin fled to Paris, leaving the Chambers Brothers to belt out “Time Has Come Today” with relentless tempo on, of all things, The Ed Sullivan Show.

In retrospect, the “British Invasion” was really the British Diversion: The Rolling Stones wavered between “Time is on my side” and “What a drag it is getting old,” and The Beatles’ “When I’m 64” was oblivious to The Who’s “Hope I die before I get old”–all while The Kinks grew “Tired of Waiting” for Jethro Tull’s “New Day Yesterday, Old Day Now.”

For American diversion, our parents turned their longing ears to Frank Sinatra for “A Very Good Year,” but Old Blue Eyes just up and flailed away: “Riding high in April, shot down in May.”

Trying to bridge a generation gap, the already-venerable and forever-young Pete Seeger sang from Ecclesiastes: “To everything, turn, turn, turn, there is a season … “

But the gap widened when the generation that marched to “The Times They Are A’Changin’” spawned one that partied to the tune of “Let’s Do the Time Warp Again.”

For a time warp yet again, recent tributes to King’s South African counterpart, Nelson Mandela, leave an impression that America was always united in the cause to end apartheid.

Much the way a January holiday has purged the national memory of when King was the most hated man in America — in Boston and Chicago as much as Birmingham and Selma.

History? Giving “free” enterprise priority over human rights, President Reagan vetoed the Comprehensive Anti-Apartheid Act in 1986 before the Senate overrode him 78-21.

In the House, young Wyoming Rep. Dick Cheney condemned the Mandela-led African National Congress as “terrorists.” For the sake of his vice presidential run 14 years later, Cheney could only rationalize: “The ANC was then viewed as a terrorist organization.”

Problem with the word “then” is that it betrays the word “now.”

Cheney’s neo-con Republicans won presidential elections in 2000 and 2004, and continue to obstruct popular mandates of 2008 and 2012.

Combined with Supreme Court decisions favoring corporate over civic interests, and, this summer, striking down a key provision of the Voting Rights Act, the result is an American Apartheid based on wealth — to which race is no mere coincidence.

Takes me back 50 years to the day when this Little Leaguer wondered why a man who looked like Hank Aaron talking about a dream was such a big deal — and four years later when a man who looked like Willie Mays made it all too clear.

Usually we hold a book, but Baldwin’s fists rose from The Fire Next Time, grabbing my collars and shaking me to near whiplash:

“Wake up, white boy!”

In an America not yet reduced to 140 characters or less, King and Baldwin could wake up anyone willing to pay attention.

Attention is measured not in money, but in time — time to be paid in what King called “the fierce urgency of now.”

Only by default of time does our Stand Your Ground now betray our I Have a Dream then.

But as Pete still swears, “it’s not too late.”

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Civil rights leader Martin Luther King Jr. addresses the crowd at the Lincoln Memorial in Washington, D.C., where he gave his “I Have a Dream” speech on Aug. 28, 1963, as part of the March on Washington. AFP via Getty Images