Tone Deafness

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Tone deafness isn’t just for music any more.  Perhaps because of the incessant torrent of the internet, we might think we understand something better than we do.  Or this may be what comes after years of what Linda Stone has called “continuous partial attention.”  We’re all so busy that we don’t have time to think things through.  I’ve run into several instances of tone deafness lately, where the sound comes not from music, but from a lack of considering the society.  For example, Black Lives Matter.  When I sometimes feel pressed upon by the fact that the mongrel peoples who came together to eventually deliver me benefitted from slavery I feel helpless.  I can’t understand how Black folks feel, as much as I want to help.  This can lead to tone deafness when I think I’m actually able to explain.

Photo by saeed karimi on Unsplash

This also applies to other aspects of our lives.  If someone we know is too busy, asking them to fit us into their schedule may be tone deafness.  Unless we pick up on the many hints that “not this day, but that day might work” conveys, we tend to miss the point.  I’m always amazed just how many people don’t pick up on the stress conveyed in such situations.  Even professional service folk.  You can almost hear them looking at their screens instead of the distressed look on your face.  When we’re all too busy, ironically, the way to address this is to spend a little more time listening.  Paying attention to someone else.  The world won’t end if we do.

Short emails may show tone deafness as well.  Those who send one or two word emails probably don’t realize how rude it seems on the receiving end.  Perhaps they think it’s the same as texting.  There’s a reason I don’t text.  If someone is important enough for me to contact, I feel that I need to give them the required time.  Look at them, not the screen.  Try to hear the pitch they sing in, the cadence they use.  People make beautiful music.  Lives are symphonies.  Do we really want to approach their performance preoccupied by what’s next on our agendas?  I remember getting dressed up and going to a formal concert hall to listen to live music.  I also remember sitting across a table or desk from someone with no devices, being listened to carefully.  Even if it was a viva it was a wonderful feeling that someone was actually listening.  Now what was it you were saying?

Bushkill

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Waterfalls are fairly plentiful in this part of the country.  Although they’re not the Rockies, the Appalachians are mountains, and mountains lead to waterfalls.  Niagara is an outlier, of course, where one great lake drains into another.  In the area around Ithaca and Watkins Glen, in New York, there are great falls where the water, through the eons, has eroded the softer rock to flow down to sea level.  While most of the waterfalls in Ithaca are free, you have to pay to get into Watkins Glen.  The waterfalls cascade down into Pennsylvania as well, where the geology is similar, where the bedding planes of ancient seas left layer after layer of rock washed away by yet more water millions of years later.

Bushkill Falls, like Watkins Glen, is privately owned.  Deep in the Poconos, it offers a shaded walk around what has been called “the Niagara of Pennsylvania.”  When we went, it had been mostly a dry summer.  Still, there’s a draw to all that water.  Like Watkins Glen, there are stairways to ease the access among tourists; there are those who might be inclined to sue should they lose their footing.  There were lots of others there the day we went.  Many speaking languages other than English, deep in Trumpian, xenophobic territory.  In nature we’re all just human.  Water washes and water erodes.  Water smooths out rough edges.  There are many parables in water.  It makes life as we know it possible.  It flows to the lowest point, creating incredible beauty as it tumbles over many different types of rock that make up the crust of the earth.  There’s a wisdom in water.

The red trail, around the outline of the several waterfalls, has 1276 steps to descend and climb.  Going down the stairs at the start of your journey assures that you will need to climb at the end.  The air is full of negative ions around breaking water.  Positive feelings are created.  Perhaps people should live near waterfalls.  It’s difficult to imagine hatred thriving in such a place.  I recall a family walk, back in some troubled times, when my older brother led us all to a waterfall hidden deep in the western Pennsylvania woods.  The tension and strife melted away.  We probably all knew that it wouldn’t last, but at the time the present was all that mattered.  Water is so basic, but so unbelievably wise.  Paying attention to such things is worth the price of admission.

Sacred Hudson

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As scientific as we may wish to be, there’s no denying that there is a sense of place.  We know that some animals, at least, also feel it.  Whether theirs is a more pragmatic desire to return to where conditions were favorable to be born, or whether something deeper draws them there, we have no way of knowing.  People feel it too, this sense of place.  We know where we’re from, and if we don’t we often want to find out.  The space is somehow part of us.  There’s a compelling exploration of this in Judith Richardson’s Possessions: The History and Uses of Haunting in the Hudson Valley.  While not America’s first haunted location, the Hudson Valley was singled out for this treatment by Washington Irving.  He, however, didn’t invent it.

I’m not from the Hudson Valley.  I could never afford to live there.  That doesn’t mean the area can’t speak to me.  Richardson’s approach is academic yet readable and she considers how hauntings fill needs and how they play a role in that ever-contentious enterprise of land claims.  Ranging through literary treatments, whether the fiction of Irving or tour books of the next generation, or indeed, more recent literary efforts, Richardson deftly guides the reader through American Indian and Dutch and other inhabitants’ stories of themselves.  Race inevitably plays a part, and her tracing of the origins of some traditional tales is really remarkable.  Who owns the land?  Who truly owns anything?   

Similar treatments (I can’t help but feel somehow lesser) must exist of other haunted locations.  Richardson doesn’t engage in arguments over whether ghosts are factual since ghosts serve so many other functions.  Our lives are the stories we tell about ourselves.  Many of those tales involve the place we are or places we’ve been.  In our highly mobile society, few of us, it seems, can make a living where we’re from.  Those of us born in small towns range far and wide to find employment.  In many cases we may not want to go live where the drama of our childhoods unfolded.  Yes, there are pleasant memories there, but there are also ghosts.  Richardson explores how this plays out in one small stretch of the country.  Indeed, it’s a small stretch of New York state.  Stories of hauntings continue in that particular valley.  Uncanny, perhaps, but there are places in this world like that, and this book is a sure road post on this particular overgrown trail.

First Images

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I awoke to an image from the James Webb Space Telescope.  Looking at the universe at it was 4.6 billion years ago is a humble and terrifying experience.  Our universe is so incredibly vast and we are tiny.  As we on this planet bicker and kill and destroy, out there something truly wondrous looms.  Those tiny pinpricks of galaxies.  Our own galaxy so massive that we can’t comprehend it.  Our own midsize star large enough to hold more than a million earths.  Our own planet big enough that no human being can see it all in a lifetime.  What in the world are we fighting for?  This image is just a patch of sky about the size of a grain of sand held at arm’s length.  How many grains of sand would it take to fill the visible sky?

Many people argue that such things are a waste of money.  Yes, there are very real, human-created problems right here on earth.  The siren call of space, however, has the potential to save us.  If we look into that immense universe just out there and realize that we are part of something larger than ourselves, we can stop fighting and hating and electioneering.  Keep looking up instead.  Costs, after all, are relative.  Our entire economic system is arbitrary.  We decide what’s valuable and what’s not.  We make rules that allow individual human beings to control the lives of countless others based on nothing more than agreed-upon principles.  Food could be freely distributed.  Medicine could be given to the sick.  What’s required is perspective.  If looking at the universe doesn’t provide perspective, what can?

I often wonder about life in those distant galaxies.  Given the sheer numbers it’s practically impossible that life evolved only here.  We’re told that teleological thinking is wishful and naive, but looking at the way life behaves I have to wonder if that’s true.  Life may be seeking goals.  If it is, than intelligence may be among them.  We’ve got billions of years and billions of lightyears to work with.  And when I look at the headlines I find those of the James Webb Space Telescope to be the most hopeful of all.  Galaxies are all about possibilities.  Stars being born where the outcomes may be better than one gender assuming it’s better than another.  Or that the “right to bear arms” means  stockpiling assault rifles to kill others in a fit of pique.  No, this money’s not wasted if only people might listen and pay attention to the stars.

Celebrating Folk

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The whole ox on a spit was kind of disturbing, but there’s nothing artificial about folk tradition.  We’d come to take in a bit of the Kutztown Folk Festival.  The crowds weren’t excessive, and we wore masks if the conditions warranted it.  The oldest continually operated folk festival in the country, this July event is a celebration of Pennsylvania German heritage.  In addition to the usual kinds of festival vendors were a number of specifically folk artists—quilters and hex sign painters prominent among them.  It’s difficult to find a good sarsaparilla anywhere else these days.  We wandered around, watching an old-fashioned hay bailer at work, appreciating the time various craftspeople put into their art, taking in a quilt auction.  (I can’t even imagine having a spare few thousand on hand to buy a quilt, but obviously others can.)

Although mostly white—those of us with blue eyes may have been in the majority here—there were those of various ethnic backgrounds around, enjoying the ethos.  What struck me upon hearing one of the singing, folklore groups telling about Pennsylvania German (commonly called Pennsylvania Dutch) traditions is that this may be one reason people fear the current emphasis on multiculturalism.  It’s fairly rare to hear anyone speaking proudly of being a German, even though Germany seems to be one of the least fascistly inclined countries these days.  Even a dominant culture is afraid of losing a sense of self.  It seems to be a uniquely human problem.  That ox on a spit really bothered me.

While I’m an American mutt, about half of my DNA is fairly solidly teutonic.  Although I was born in Pennsylvania and my grandmother still spoke German, we weren’t Pennsylvania Dutch.  A second-generation American, my grandmother was from Washington, DC.  My germanic grandfather was from upstate New York.  They just happened to settle in Pennsylvania late in their lives.  Still, I felt a strange kind of kinship to those explaining German food—heavily meat-based—and hex signs on barns.  I grew up seeing the latter, and it never occurred to me that while living in the Midwest they simply weren’t there.  I didn’t grow up on a farm—we lived in a cheap apartment—and we never talked of German tradition at home.  No, like the blacks, and south Asians, and those, like me, of clearly mixed descent, that I saw there, we were all simply Americans.  That’s what folk festivals are all about—celebrating who we are.

The Horseman

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Washington Irving’s tale, “The Legend of Sleepy Hollow,” perhaps due to its being the earliest literary American ghost story, has been retold time and again.  When I saw that Christina Henry had a take on it that came out last autumn, I knew I’d be reading it.  I’d read her The Girl in Red late last year, but I couldn’t wait until fall to read this one.  Henry has a way of taking traditional stories and making them relevant.  Horseman is set two generations after Ichabod Crane and Brom Bones and Katrina Van Tassel, but they all appear in it.  According to Irving’s story—and this is often changed in cinematographic treatments—Brom and Katrina wed.  The narrator of this tale is Ben, who in today’s terms would be considered transgender.  He (his preferred pronoun) is the grandchild of Brom and Katrina.

Henry is a master of magic realism.  There really is something in the woods of Sleepy Hollow and it’s taking children’s heads.  Some influence from Tim Burton’s film version is found here, but the story has its own trajectory and inner logic.  Ben actually sees the monster, but nobody will believe him.  Not until it’s too late.  The one person who does believe is Katrina, Ben’s grandmother.  She, however, wants Ben to act like a girl because he was born female.  She wants him to stay home and learn sewing and cooking.  Ben’s hero, however, is Brom.  He’s a good man, if rowdy.  He married Katrina for love, not wealth.  Ichabod Crane does appear, later in the story, but since how he appears is a spoiler I’ll need to let you read for yourself.

Americans are often raised with the wrong-headed notion of canon as the one way a story goes.  Retelling is as ancient as writing itself.  Homer, Apollodorus, and Ovid were retelling stories.  So were many Bible writers.  People tell one another tall tales.  Washington Irving didn’t invent the Headless Horseman out of whole cloth.  Neither did the people of Tarrytown.  How the story goes is a matter for discussion.  Bet yet, it’s also a matter for retelling.  Henry’s version could be made to fit with Irving’s, but with a bit of prior assumption, some posthumous collaboration.  Hers, however, is a tale for our times.  Just like in Red, the protagonist isn’t conventional, according to conservative sexual standards.  Both are, however, authentic.  And although both may be flawed in various ways, there’s no denying that they’re heroes.

The Birds and the Bees

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Our house came with a wood-plank fence surrounding the yard.  This is a dog neighborhood and just about everyone has a fenced in yard to keep their dogs in check.  It’s more the birds and bees that have me worried, though.  The fence, which is in need of some attention, is bare pine stained redwood.  As the stain fades carpenter bees find it irresistible.  These insects are great pollinators and we don’t like to gas any creatures just doing their evolutionary job.  Painting that fence will be a summer-long project and one that requires far more sunny weather than we tend to get around these parts.  So we have a fence with several carpenter bee homes.  (These are ubiquitous insects in this area, with lots of people complaining about them.  We have, however, the only wooden fence in the neighborhood.)

The other day I heard a knocking while I was working.  I looked out the window to see a downy woodpecker, well, pecking at the site of one of the carpenter bee homes.  This industrious little fellow had three holes in the post by the time I got downstairs to startle him or her away.  Now, you have to understand that this is a large fence.  We didn’t put it up but we have to keep it up.  Then I thought, “I was worried about the carpenter bees.  Why should I be worried about the woodpeckers?”  Holes can be patched, and fences can be painted.  I hope the neighbors don’t mind a white fence.  In any case, I left the woodpecker alone after that.  Besides, I can’t be outside all day long—I have a day job.

Over the next several days the pecker became a regular visitor.  I’d be working and then I’d hear a now familiar knocking.  I decided to watch once.  I keep a pair of binoculars in my office because I see lots of birds that I want to identify—there’s a park across the street.  At the risk of the neighbors thinking I was spying, I trained them on Downy.  It was amazing how effective its bill is on a four-by-four.  It quickly cleared a hole, stuck its beak in, and pulled out a fat carpenter bee grub.  Down it went.  A centimeter to the right it repeated the procedure.  Carpenter bees, which are so territorial when building their nests, seem to have forgotten their young.  Perhaps it’s for the best.  This bird was one well-fed flier.  And I’d finally learned what they mean about the birds and the bees.

Having X

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The final girl is such a classic horror trope that even horror novels can be titled after it.  You know the drill—teens hanging out, doing things that teens do, end up being killed off one-by-one by a monster or a disturbed person(s).  The one to survive is the virginal girl who doesn’t drink, use drugs, or whatever.  As a long-term horror watcher, I think the trope has been exaggerated, but it does occur enough times that there was clearly something to be noticed.  Enter X.  Released earlier this year, a slasher that rather obviously juxtaposes religion and horror, X features a “final girl” who is anything but virginal and sober.  The religion aspect is blatant from the beginning when the opening sequence involves a televangelist preaching to a viewership of the dead.

The title derives from the premise (which is a throw-back to the classic slasher era) that a would-be independent movie producer wants to shoot a pornographic movie.  Since this is strictly low-budget, he contacts an elderly gentleman on a remote Texas ranch who has a guest house.  With his one male and two female stars, a cameraman/director, and an assistant he drives to the isolated location.  They are all divided into couples, with each of the women having sex with the male star.  What makes this creepy from the beginning is that the old man, and his elderly wife, create a sinister presence.  She sneaks up on the young people, watching them through the window.  She misses her younger days when she was young and attractive.  As night falls the young people are killed off by the older couple one at a time.  What’s more, they’ve done this before.

X is a reflection on aging.  More than that, it’s a reflection on how religion leads to horror.  To say precisely how would involve giving away a spoiler, so I’ll leave the reader to watch the film to find out.  Suffice it to say, the televangelist is preaching about how sex leads to evil and the older couple kills because they’ve been listening to him preach.  X is not for the faint of heart.  I generally don’t like jump-startles and there were a couple of those that caught me off-guard.  (I try to anticipate them when watching slashers, or any horror, for that matter.)  But what of the final girl?  There is one, but it’s one who flies in the face of horror convention, if there is such a thing.  

Tree Owners

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I hated to do it.  I always feel guilty afterwards.  I’d never have made it as a lumberjack.  We had a problematic green ash tree that someone might’ve planted long ago, or which may’ve been a volunteer that nobody really paid much attention to.  Prolific, although cultivating the seeds is difficult, in nature they spread rampantly.  This particular tree was in a sheltered corner of the house, in an outdoor nook created by a neighbor’s fence adjoining the one that goes around our yard.  (Fences are a big thing in this neighborhood.)  The branches were overgrowing our neighbor’s fence, getting under the eaves spouts on our house, and providing squirrels with access to the roof, which had previously been denied them.  The roots were getting into the foundations of the house and there are at least seven smaller green ashes that require constant cutting back, in that same corner.

Cutting trees down goes against my principles.  I’ve had to do it a few times and I’ve never felt good about it.  It was yard-waste haul-away, which rarely comes, and the sun was shining like it rarely does.  It was time.  All told, it took a few hours.  The sky looks naked in that corner now.  The green ash is a beautiful, but unruly tree.  We decided to plant a scarlet oak instead.  Edge of the Woods nursery in Allentown sells only native plants.  They recommend oaks for their benefits to the ecosystem.  There’s an optimism about planting a tree that will, hopefully, long outlive you.  It can’t replace that troublesome green ash, but future owners of this house will hopefully appreciate its shade. 

Digging up the yard to transplant this tree made we want to do the same thing again.  And again.  There’s a reason the story of Eden is set in a garden.  It feels natural to be around plants, particularly those that don’t make us itch, or sneeze, and that don’t prickle us with thorns.  A place of trees and cultivated shrubs and flowers.  Yard work dominates my free time for at least half the year, so making it something worth the labor seems a reasonable thing to do.  Trees own the planet in a more righteous sense than humans do.  Many live longer than we do and give back so much to the environment.  I’ll worry about our little tree.  The woman at the nursery said that trees thrive by pushing back against the wind.  It was more than a tree we planted; it was a parable.

Dangerous Fiction

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At the suggestion of a friend, I recently watched the documentary Daphne du Maurier in Rebecca’s Footsteps.  I confess I haven’t read much of du Maurier’s work, yet.  From a family fairly well off, du Maurier, perhaps unusually for a writer, found early success and was able to make a living from writing.  Like many authors she valued her time alone, but also had basic human needs.  In keeping with her gothic sensibilities, she fell in love multiple times, both with men and women.  And she lived in that kind of fantasy world that fiction writers often inhabit.  For some reason I had it in my head that she had died young, many years ago.  It was somewhat surprising to learn that she lived until I was 26.  I can make the legitimate excuse that I didn’t grow up in a literate family, though.  I learned about du Maurier from my wife.

Copyright released photo, author unknown; via Wikimedia Commons

That doesn’t mean, however, that I didn’t know her works.  I first saw Alfred Hitchcock’s The Birds when I was in college.  In those days I hadn’t yet learned to pay attention to who the writer of a film was.  That intimate interplay between written literature and film easily ties me into celluloid knots.  My wife is a Hitchcock fan and together we watched some of his earlier du Maurier adaptations, such as Jamaica Inn.  Then she introduced me to Rebecca, du Maurier’s early and best-known novel.  We watched the Hitchcock rendition.  The documentary makes the point that du Maurier’s life, in some ways, played out that novel.  Writing can be a dangerous business, especially fiction.

My own most recent book, on The Wicker Man, which I hope will see the light of day, brought me back into du Maurier’s orbit.  The Wicker Man was, of course, nearly disowned by the studio that had sponsored it (British Lion).  Half-hearted about the effort, they made it a B movie, showing it after Don’t Look Now, a film I admit that I’ve never seen.  I learned from watching this documentary that this was yet another du Maurier story.  I’ve read one or two of her short pieces—they aren’t commonly found in American bookstores, although I see them whenever I visit England—and clearly I need to read more.  That brings up, however, the age-old dilemma: should I try to read the story before I see the movie?  I think I know what du Maurier’s answer would have been, and I think it wise to follow her advice.

Carter’s Creations

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Angela Carter was a novelist whose best known work is her short story collection, The Bloody Chamber.  Often acclaimed as both gothic and feminist, these repurposed folktales and fairytales leave the reader in a thoughtful state.  I have to admit to having not known of Carter or her work until quite recently.  I’d seen a biography about her, but there are so many writers and my time seems always so limited.  Then I saw The Bloody Chamber mentioned on a list of best gothic fiction.  I had to find out what this was all about.  The stories are indeed unlike much of the feminist literature of the seventies.  The stories are focused on women, often young, and how they deal with being treated as the property of men.

The first, and lengthiest story, “The Bloody Chamber,” is a retelling of Bluebeard from the point of view of his last wife.  It’s an extended reflection on feeling owned and boxed in—literally trapped—by men’s economic rules of property.  Carter keeps readers on edge, even if they know the base story.  This isn’t a simple retelling.  Nor is it a lament about the natural, biological unfairness of sexuality.  There’s an ambivalence here, an enjoyment tinged with melancholy that gives the story a gothic sensibility.  The women in the different stories here prefigure more recent Disney heroines that take charge of their circumstances.  And there’s also ambivalence about the setting of the stories.  There are contemporary appurtenances but still castles and baronial mansions.  You’re lost in time.

The collection has some stories, such as beauty and the beast, retold twice and ends with three versions of werewolf stories that play, to an extent, on little red riding hood.  Some were tales with which I had no familiarity.  The effect of the whole is thoughtful contemplation of the human condition.  Much of the world, it seems, has been unduly influenced by a kind of literalism—a story, whether biblical or traditional, is supposed to go like this—that has not only robbed great texts of their depth, but has entrapped human beings in a stone-chiseled certainty.  A self-righteousness, if you will.  Even writing a text in stone doesn’t prevent others from interpreting it, however.  Since none of us have all the answers, we are each interpreters.  There was no historical Bluebeard.  There have, unfortunately, been many men who embody his attitude towards women.  Carter’s genius is to remind us that every story has at least two sides.  And the woman’s side may well be the truer of the two.

Places We’re From

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The places we’re from aren’t always where we’re born.  The funny thing about reaching “middle age” is the amount of reassessment that goes on.  Where we’re from has a tremendous impact on who we become.  Not that we can’t change how we turn out, but we will always carry along with us some of where all that coming about took place.  I wasn’t born in Rouseville, but I lived there from the time I was eleven until I left for college, and then for good.  A recent creative project sent me back to the web for some information on my former home.  I’d been a (fairly local) immigrant, and I didn’t know much about this tiny town.  Although from only sixteen miles away, I’d never heard of it before moving there.  It was a small town of about 900 people.

The home of a smelly Pennzoil refinery, not everyone wanted to stop there on their way through, along route 8.  What prompted this post, however, was that web search.  According to a recent census, the population of Rouseville is now just over 500.  The Pennzoil refinery closed years ago, and my return trips to the area have always been bittersweet.  Those teenage years were tough, but formative.  Growing up in a town that small you have no connections.  You eventually learn that connections are how you get ahead in life and if you ain’t got ‘em, you ain’t got ‘em.  Even as I met other Pennsylvanians during college, none of them had heard of Rouseville.  The one exception was my advisor who’d recalled a former student from the town.

I’m not certain that it will ever become an actual ghost town—many oil boom towns did back when the petroleum industry began—but it has started on that trail.  The last time I visited, the house where I’d lived was gone.  The elementary school I’d attended had been razed.  The huge refinery was missing.  Some of the paved streets had reverted to gravel.  Part of my childhood was being erased.  Rouseville wasn’t an easy place to live.  The nearest bookstore was thirty miles away.  You couldn’t buy regular groceries, or ironically, even gas for your car in town.  Drug use was rampant and violence wasn’t unheard of.  Even so, I know the town will always be part of me.  And even if Rouseville never becomes a ghost town proper, there will always be ghosts from there living in my mind.

July Forth

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Independence Day.  What does it mean in a nation on the verge of a fascist takeover?  Supreme Court justices, themselves appointed by crooked but technically legal politics, have just struck down the independence of half the people in this country.  Independence Day for whom?  Originally a celebration of freedom from monarchy, one of our political parties has opted for authoritarianism—the objection to which was the very reason the Revolutionary War was fought.  The colonists wanted religious freedom, but now we find religiously motivated politics driving the bus off the cliff.  If you’re not a white evangelical these rulings are not for you.  Your religious freedom has been compromised by politics.  So we gather in grassy places to watch fireworks.    We celebrate the independence of the wealthy.  Those who can break the law and buy the results they want with lawyers without scruples.

I think of Independence Day from the perspective of our Black siblings.  Freedom to be shot for a traffic stop or to be publicly strangled to death for petty crime.  To be redlined and kept in poverty.  Independence from literal chains only to be shackled in bureaucratic ones.  Being sentenced to prison for things a white can easily afford to pay off.  Independence Day in a nation with over 40 million people in poverty and where just three white men own more than the bottom fifty percent of Americans.  Give them fireworks and firearms and let the bottom half work it out for themselves.  When is the last time a Supreme Court justice had to worry about having enough for both rent and food?  Freedom, those on the top tell us, is not free.  Watch the pretty lights.  Hear the loud booms.

What of American Indians, still awaiting freedom?  What is Independence Day to them?  Kept out of sight and in poverty, we don’t want to be reminded.  No, we only want freedom to get more for the white man.  As a child in the sixties I had some hope that we might be making progress.  Freedom and protest were in the air.  There was at least hope for some justice.  The privileged white leaders now give us a day off work.  The wealth can still flow upward, even if we take a brief hiatus from labor.  Women, Blacks, the poor, American Indians, and many others who make America what it is are nevertheless denied basic freedoms.  This loss of independence at least comes with a light show.  Just watch it and be grateful.

Virtual Unreality

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You walk into a bookstore and browse.  Maybe you’re looking for a specific topic, or something to fit your mood, but you don’t know exactly what.  Then a title leaps out at you.  Maybe it’s a book you’ve never heard of before, or perhaps some long forgotten suggestion, nearly extinct, comes back to you at the sight.  Whatever the reason, you know you have to read this book.  You buy it and go home happy.  This is a uniquely human experience.  Yes, it applies to the leisured class who have money for books, but it is something that makes many of us feel good.  Those enamored of the virtual world are trying hard, according to the New York Times, to develop an app to replicate the experience.  Without luck.

Perhaps while browsing you meet someone else.  If you’re not too much of an introvert you might ask if they find the book they’re holding good.  Maybe you go get a coffee to discuss books.  This is just one of the many things that could happen.  Here’s another: someone is sitting at a table with piles of books s/he has written.  If they’re well enough known they may have had a public reading from one of them earlier.  You might strike up a conversation.  You might learn something.  A bookstore, you see, isn’t only about books.  What app developers can’t replicate is the phenomenon of literate culture.  Apps want you to buy things.  So do bookstores, but they also want to cultivate community.  Sure, you could buy your virtual book and then go to Facebook to talk about it, but that’s not the same thing.

Those advocating for a virtual world seem more escapist than even your average bookworm.  It’s been observed that when George Lucas was devising Star Wars he took care that no books or paper be shown.  This was a post-print world.  Some believe this is the direction in which we should go, and certainly during a pandemic at times it seemed right.  Even so, when the miasma began to clear a bit some of us first ventured back to bookstores.  Indeed, books fared well during those long months of enforced isolation.  We seem to think that any human experience can be replicated with the aid of technology.  The thing about serendipity, however, is that it’s unexpected because it seems to speak directly to you and how you feel at that exact moment.  No amount of data mining will reveal such things.

Lost Civilizations

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At the rate rain forests are being decimated for our lust for beef, it seems amazing that there are any unexplored regions left at all.  That’s what makes Douglas Preston’s account of visiting the fabled Ciudad Blanco, a lost Honduran city, so compelling.  Like most intelligent people, Preston is ambivalent about the discovery he chronicled.  The pristine jungle he encountered had to be cleared, at least in part, to allow for exploration of a lost civilization.  But what an adventure it was!  The danger of drug lords, a volatile government, large poisonous snakes, and ruins discovered by lidar combine in a true tale of danger and fascination.  As with Rudolf Otto’s description of the holy, this is something that fascinates and terrifies simultaneously.  And it’s controversial.

The Lost City of the Monkey God crosses several boundaries.  It discusses not only “Indiana Jones”-style archaeology, it involves one of the last unexplored places on earth.  It doesn’t sugar-coat the genocide initiated by Europeans—in fact, Preston describes some of the diseases in graphic detail—and he doesn’t excuse the guilt.  The book also addresses global warming and the possibilities of a global pandemic (the book was published in 2017).  Preston contracted Leishmaniasis while in the jungle and notes that as the globe warms up, it is making its way north.  The descriptions aren’t for the faint of heart, nor are his descriptions of the politics of treatment.  The first part of the book, describing the people and the set up of the base-camp show Preston’s chops as a thriller writer.  His encounter with a fer-de-lance had me checking the floor in the dark when I got up in the morning.

The civilization of the city, now known by the more respectable title City of the Jaguar, was unknown.  It was not Mayan.  The city was likely abandoned because of disease brought to the Americas by Europeans.  Even so, his description of the society in which the ruling classes keep their power by displaying their own sanctity that the average person doesn’t question rang true.  Societies from the beginning have used that playbook.  Convince people that the gods (or God) has revealed certain things that they (the ruling class) understand, and everyone else falls in line.  We see it even now as the messianic Trump following falls for it yet again.  This is a quick read, written much alike a thriller.  A few years ago I read Preston’s engaging Dinosaurs in the Attic.  I’m thinking now that some of his thrillers should also be on my list.