Tag Archives: Christopher HItchens

Tourette’s like Outbursts Posted to that Inescapable Social Media Platform

7 Apr

 

 

 

If you grew up on the mean streets of the 50th Ward in Chicago, Tucker Carlson, the embattled Fox Network Cerebus, comes off as a preparatory school prick. Now comes an article in the hallowed’ New Yorker magazine, providing more information and coloration than I ever wanted to know about a Fox headliner. Essentially learning that Tucker is a human being.

The big surprise for me is what the late, still great Christopher Hitchens observed about Tucker Carlson ( which is a timely reminder about the distortions of Television).

2. Syria is the nation, bordering Lebanon (in which arguably the USA has been complicit in that country’s destabilization) Yet another disgrace in which the world leader’s use human beings as shuttlecocks in their game of “World Domination.” Keep in mind this has happened before. There was even a time when the USA accepted refugees from areas where “national interest ” was allegedly operative, Hungary in, Cuba,1959 onward. Apparently also, unofficially, suburbs full of Persians (aka Iranians) landed in Beverly Hills. Need convincing of the awfulness of Syria and blaring moral failure attendant?

Here, from someone who knows…

https://www.democracynow.org/2017/4/5/the_assad_regime_is_a_moral

3. Innovation without progress…Company Town tells about the bad shit that attends to the so-called sharing economy…

4.Pussy grabbing Bedlamite weighs in on one of the worst people in the world

 

 

5. Still your president

6 I expect many of us who view the Bedlamite regime as a nightmare wonder when the tipping point, the critical mass, the crossed Rubicon, the broken camel’s back, will come…

Enter Erik (the dark) Prince…(WAPOST to be commended for exposing this shadow play.

1. “…Current and former U.S. officials said that while Prince refrained from playing a direct role in the Trump transition, his name surfaced so frequently in internal discussions that he seemed to function as an outside adviser whose opinions were valued on a range of issues, including plans for overhauling the U.S. intelligence community.

He appears to have particularly close ties to Bannon, appearing multiple times on the Breitbart satellite radio program and website that Bannon ran before joining the Trump campaign.

In a July interview with Bannon, Prince said those seeking forceful U.S. leadership should “wait till January and hope Mr. Trump is elected.” And he lashed out at President Barack Obama, saying that because of his policies “the terrorists, the fascists, are winning.”

2. …War moves quickly: In less than an hour in Baghdad in the fall of 2007, American contractors working for Blackwater shot and killed 14 Iraqis, including children. Justice is slower, and it took until Monday [April 2015] for four of those contractors, who were convicted in August, to be sentenced to jail for 14 of those deaths. Three received 30-year sentences, while a fourth will spend his life in prison.

3. “Using a catchall term for the company, which keeps changing its name after successive scandals, the FBI’s Chris Briese didn’t mince worlds in court. “For an extended period of time, Academi/Blackwater operated in a manner which demonstrated systemic disregard for U.S. Government laws and regulations,”

https://www.washingtonpost.com/world/national-security/blackwater-founder-held-secret-seychelles-meeting-to-establish-trump-putin-back-channel/2017/04/03/95908a08-1648-11e7-ada0-1489b735b3a3_story.html?utm_term=.9e6af43b910a&wpisrc=nl_most&wpmm=1
.
7.

Life isn’t fair, right? And sports, well…

 

8.

 

DON’T YOU HAVE TO KNOW YOUR CONSTITUTIONAL RESPONSIBILITIES TO BE A CONGRESSMAN—REP TED YOHO SHOULD BE RECALLED…
Oliver saved his harshest critique for the defense that Nunes’ fellow House Republican Ted Yoho delivered on MSNBC, in which he tried to claim that Congress members work for the president and not their constituents.
“No! You absolutely do not! You do one of them, and explicitly not the other. That is literally the point of Congress,” Oliver exclaimed. “And that’s why this story is Stupid Watergate: It could very well take down the government, but nobody involved understands why, or how to cover it up, or what the government fucking is, or possibly how to breathe without getting regular reminders.”
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Garth Hallberg: Author on Fire

17 Feb

 

Garth Risk Hallberg’s auspicious debut novel, City on Fire in spite of its heft (or perhaps because of it) was  the  it novel, buzz tome of  the end of 2015. Its sprawling multi-character narrative set in New York City in the singular bicentennial year of 1976 elicited effusive commentary and comparisons  to major literary works from all quarters of the marginal community that attends to literary fiction. After enjoyably immersing myself in Hallberg’s story ( which very much resembled  the au currant activity of video bingeing) I arranged to meet the author for a conversation about his opus and the life he had led that brought him to the writing of it.

So, on a pleasant early Winter afternoon in Cambridge ,we sat and chatted about Hallberg’s life, his childhood in small town North Carolina, his pathway to a life of writing,the power of New York City and the herky-jerky chronology attached to completing his 900 page novel. We also talked about Oliver Nelson’s Stolen Moments, Rushdie’s fatwa, Lou Reed, casting the movie adaptation of City on Fire and his parenting of his two young children.

 

 

 

City on Fire by Garth Risk Hallberg

City on Fire by   Garth Risk Hallberg

 

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Robert Birnbaum: Okay, I’ve got to ask.

Garth Hallberg: The middle name?

Robert Birnbaum: Yes.

Garth Hallberg: I think the first short story I ever published was without the middle name, and I got an email from my sister. I think this was 2003 and she wrote, “Do you know about the other Garth Hallberg? Garth R.Hallberg.”Everyone has this doppelganger and mine also happens to also have written books and we share a middle initial. My middle name is Risk which is a division of the name Buchanan in Scotland. My grandmother was a Risk, her father was a Risk. My sister and I and my kids, we recycle the dead maiden names in the family and keep them alive as middle names.

Robert Birnbaum: What were you thinking when you published a nearly thousand-page book.

Garth Hallberg: What was I thinking when I wrote a 900-page novel? Very little thought went into publishing a 900-page novel.

Robert Birnbaum: At what length was it submitted?

Garth Hallberg: The same length it is now.

Robert Birnbaum:  What was the length of the first draft?

Garth Hallberg: The first draft—I think I cut it down. It’s hard to know because I wrote it longhand. I think that the first draft was probably—it’s easier to think about in words, the first draft was probably something like 420,000 words and now it’s 330,000 words or thereabouts.

Robert Birnbaum: It’s about 25% less.

Garth Hallberg: I think I cut 90,000 out of 400,000. One of the early things that I remember learning or adjusting to about this project in particular is I just wanted to put everything on the page and then cut back. Someone, I don’t remember who had said to me at some point, a talking shop kind of thing—” Oh it’s always better to put it on the page and throw it away than to finish a project and realize you still need to come up with the 50% of it that’s missing.”

Robert Birnbaum: Some writers also suggest that as just a more fluid way of writing.

Garth Hallberg:  I used to teach elementary school and when we did brainstorming with the kids, we did it in a technical way. We were like, you’ve got to separate out the generating and the evaluating part. That’s artificial when you’re talking about writing because you’re always evaluating and listening on some level,but I liked the idea of saying yes to things before I said no. There’s a lot of stuff in there that I care about and it’s exciting to me as a reader that, if my primary consideration in moving the pencil across the page was”Should I say no to this?, should I say no to this?  should I say no to this?”,[ some things ]never would have eventuated

Robert Birnbaum:  Is it a non-creative decision to consider the length of your narrative, considering the length of your story? Is it important to consider that as writer?

Garth Hallberg: Consideration makes it sound very deliberative. And this may be mystical of me but I tend to think the projects sort of tell you what they want. In many cases for me, they tell me  early on. I can’t say that I’m one of those people who has ever had a short story that got out of hand and turned into a novel or vice versa. It may be partly just how I think. I tend to have some …almost like a mild geometric synesthesia or something where I tend to see—even when I’m reading someone else’s work, I tend to see it as a 3D cityscape or almost like a landscape or something. I don’t know, you just kind of know. I feel like you just know the size of the map. Very much kind of baked into the initial inspiration was that this has the scope of Bleak House, has all of these characters.

Robert Birnbaum: So in  simple terms, it’s long. It’s big. It’s a big story. What did you start with, ten characters? A period in time that you thought you could embellish or explain by X number of characters?

Garth Hallberg: I started with a singularity in which: all of those things. There were eight characters (but eventually a couple of them turned out to be more than one character kind of fused together), and several of the major plot elements, and the milieu and the settings and scenes and specific images that I knew were in there and the time and the music and the imagery and the vibe and a lot of the architecture arrived fused, in the space of about 45 seconds.

Robert Birnbaum: How old were you in 1976?

Garth Hallberg: I was negative two. I was pre-human.

Robert Birnbaum: (laughs) When do you think you became conscious of things around you —when you were seven, eight, nine?

Garth Hallberg: This is interesting to me. My kids are three and five. I have carried through my entire life the assumption… I remember saying to my wife, now he’s two or three, we’re on the record now, essentially. I assume that people — it reminds of a great kids book set here in Boston, Lois Lowry’s All About Sam. It’s for kids but it shares some weird affinities with [James]Joyce. (The neighbor’s name in [the book] is Gertrude Stein}. She writes about the kids coming to consciousness just like Joyce does. It seems in her rendering to be happening when he’s two or three. I just assumed that’s how it was and maybe that is how it is but I recently read something in the newspaper—which you can’t trust but it was like—most people’s memories start closer to five or six. I do remember Live Aid. Live Aid was ’84, ’83, ’82?

Robert Birnbaum: 1985—Bob Geldoff’s charity cause. [1]

Garth Hallberg: I remember the vibe of the first Reagan administration. I have no memory, no specifically Carter -era memories.

Robert Birnbaum: How much did the Bicentennial year resonate  for people?

Garth Hallberg: I think the whole thing of the ’70s ,which it’s really impossible for me to think about the feeling of the ’70s without  attaching them to my understanding of what was going on in the ’60s. The reverberations of that, I think were very, very long. Now you look back and you can see the Reagan era as its own discrete historical thing. What I remember from my parents and people in the neighborhood, most of them were Reagan voters (though some of them were not.)

 

Garth Risk Hallberg [photo: Robert Birnbaum]

Garth Risk Hallberg [photo: Robert Birnbaum]

Robert Birnbaum: Where did you grow up?

Garth Hallberg: In a little town in eastern North Carolina called Greenville.

Robert Birnbaum: You don’t have an accent at all.

Garth Hallberg: I’ve somehow scrubbed it. My Dad is from Ohio.

Robert Birnbaum: He has a southern accent?

Garth Hallberg: No, no. He had a kind of placeless —like David Letterman is from Indiana, but that  accent they train broadcasters to have, the middle American thing which sounds like what we register as accentless. My mother is from New Orleans and she has a certain New Orleans accent. My sister has an accent.

Robert Birnbaum: Actually, my recollection of people I know from North Carolina, it’s certainly a mild drawl.

Garth Hallberg: Not where I grew up.

Robert Birnbaum: Where was Greenville, eastern or western Carolina?

Garth Hallberg: Eastern. (imitates a radio commercial in an unmild drawl)”Here at Riverside Chrysler-Plymouth Dodge, we will make buying a new or used car, truck, or van so eee-zy.”

Robert Birnbaum: Did you like living in Greenville?

Garth Hallberg: That’s an interesting question.(long pause)

Robert Birnbaum: You don’t know?

Garth Hallberg: No.  You can have a relationship and it’s a good relationship and it breaks up—some people want to be friends afterwards. I’m not one of those people ,so it may have a lot to do with me. I can say about the town that, especially in the early 80’s, that the emphasis was on traditional rhythms of life and on living by tradition. I don’t necessarily mean antebellum tradition but  like Eisenhower era tradition.

Robert Birnbaum: Family, local organization and community participation?

Garth Hallberg: Yeah, some of that. When I go around now … it’s like I was down in New Orleans and I had forgotten that everything is closed on a Sunday. Places are open for brunch but it’s like the seventh day. That has its appeal. Nothing closes in New York,ever

Robert Birnbaum: A seventh day has its appeal.

Garth Hallberg: I don’t fully understand why and I assume the blame and responsibility for myself but I felt very much like a fish out of water, starting at about five or six,  pretty early. There was something about— I stuck out in certain ways that I couldn’t control.

Robert Birnbaum: Were you physically different? Were you taller, shorter, misshappen?

Garth Hallberg: I was tall.

Robert Birnbaum: Gawky, lanky?

Garth Hallberg: I was gawky, I was expressive, which is not … I think I was expressive, I assume I was expressive.

Robert Birnbaum: Could you read by then?

Garth Hallberg: I could, I read a lot. It’s kind of a chicken and egg problem … I loved it so much that the reading really had to be the egg. I loved it.

Robert Birnbaum: How did you come to start … Five is an early age to read—not to know how but to actively read.

Garth Hallberg: I had lied to my babysitter.  She asked me if I could read yet and I said that I could. She said,”Oh yeah?” Because she had been babysitting enough to know. She was a student of my dad’s and she had graduated and she’d come back for a party in the Fall or something. She hadn’t seen me in a few months. She called my bluff and I ran upstairs and I got the Cat In The Hat which was the book that I was into at that point. My memory is that in attempting to demonstrate to her that I could read because I had essentially committed it to memory, I realized that I could. Then it was sort of off to the races at that point.

Robert Birnbaum: You haven’t said this but I’m surmising that because of your interest in reading somehow seems to translate storytelling or imagination or something and expressiveness. That was what set you apart, that you actually maybe had an active inner life for a five and six-year-old.

Garth Hallberg: I don’t know.  I think five and six-year-olds just tend to have an active inner life. One thing I can say from observing my own kids is that there are certain habits, you know rhythms that kids get into, that  encourage that or stoke it. And there are others that seem to diminish it. My five-year-old tends to be the kid who sort of … I’m trying to remember, I heard him say something amazing this morning. He turns to his mother and says,” Let’s play symphony.” And he has a kazoo. He’s sort of naming the scenario, improv all the time. We don’t have that much else for them to do. I haven’t got them signed up for a lot of other stuff, maybe they’re just bored.

Robert Birnbaum: I’m going to assume no video games?

Garth Hallberg: Yeah, there’s no video games.

Robert Birnbaum: Television?

Garth Hallberg: They might watch 45 minutes of TV while I’m cooking dinner at night. They’re two boys so they’ll destroy the house otherwise.

Robert Birnbaum: Are they physically active?

Garth Hallberg: Oh yeah.

Robert Birnbaum: Jocks?

Garth Hallberg: My younger one is potentially a jock but they’re sort of nonspecific. Wrestling, climbing, tumbling.

Robert Birnbaum: One is five and one is?

Garth Hallberg: Three.

Robert Birnbaum: Now you have  kids and  you’re, not directly comparing,  but you’re trying to match their experience with your own?

Garth Hallberg: Remember, I taught too so I’m very reluctant … I get really annoyed when I hear people get too— You know, parents get too caught up in deciding whether their kids are smart or not. If you’ve ever taught, I taught second and third grade. In second grade, especially, you see it, because the hive mind hasn’t started to beat it out of anyone—nNo one is holding back at that point, the scrum hasn’t formed itself yet. You realize they are all incredibly smart, but it will manifest itself in certain ways. They cannot all do math. They won’t all read at the same rate but they are all radiantly bright. You can see the kid’s eyes just are mirrors. I look at my son and his classmates and each of these kids has some brilliance in him or her. It’s not a line, I really got that from teaching. I’d sit there at parent/teacher conferences and I would just want to say, “Relax, listen to what your kid is interested in, that’s a signal.”

Robert Birnbaum: That’s so contrary to the current way we go about evaluating kids. The idea that you actually pay attention to the individual and allow them the room to flourish, in whatever way that they flourish. Finally, there’s seems to be a blow back against all this testing, which is what ends up forcing kids into little containers.

Garth Hallberg: I can tell you I stuck out in school in certain ways. I read a lot. Where I grew up where— I guess you would say now jargonistically— that was  not  coded as a particularly masculine thing to do. But it may in fact have been more my inner hippie that I was born as ,which I’m feeding you now, like: Follow the individual and let him or her flourish! I was just born with that. I don’t know where it comes from and that stuck out, probably.

Robert Birnbaum: What were your activities in high school? Were you in the chess club?

Garth Hallberg: I played varsity soccer.

Robert Birnbaum: Did you like it?

Garth Hallberg: Yeah, I liked it fine. It was a good outlet for aggression. I did not take coaching well and I wasn’t particularly good. I started but I wasn’t …

Robert Birnbaum: You were good enough.

Garth Hallberg: I was like the eleventh best person on the field, maybe sometimes the tenth but it wasn’t about that to me. Happily, because if it was I would have been miserable. And I played violin.

Robert Birnbaum: Were there cliques in your high school?

Garth Hallberg: In seventh grade, in sixth grade— that was the year after elementary school, the public middle school, they had re-zoned everything and the whole county as I remember was getting sucked into the middle school… The second year at this middle school there were  1800 kids, sixth and seventh grades only.

Robert Birnbaum: Pretty big.

Garth Hallberg: It was huge. It felt huge. My elementary school had been 400 kids spread over six grades. Elementary school was great. In fact, you’ll love this, I’ve never seen this anywhere else: in the elementary school, I went to— the academic enrichment program— you didn’t test into it, it was volunteer. There was a specific counselor, Ms. Kitchen and all you had to do is go to Ms. Kitchen and say, “I have this project I want to do, here are these other kids that want to do it.” You got to open it up, you could cap it and say, “We have ten spots.” You just needed to find someone, a grownup who would help you with it. It was the most amazing thing. It was not the ridiculous thing that goes on now, this inappropriate testing seven-year-olds and drawing a line saying you made it or you didn’t. It was this really cool thing. So elementary school was pretty good until the first tendrils of puberty crept in. Middle school was an insane experience. I got in a lot of fights. My mother who had been teaching English at a public high school went and got a job at private school, partly I think so we could go to the private school so I wouldn’t have to fight my way through seventh grade. The irony being that if you could make it to the high school, the high school was actually pretty good, the public high school. My graduating class was 55 kids.

Robert Birnbaum: Really? What was the total enrollment of the high school?

Garth Hallberg: Probably 4 times 55.

Robert Birnbaum: Wow and the ratio of teachers to students?

Garth Hallberg: Like 17 to 1, 18 to 1. That’s an important number.

Robert Birnbaum: I know it is. Those days are gone.

Garth Hallberg: You learn that when you teach, too.

.Robert Birnbaum: When was the turn? Where did you take that turn that you thought you wanted to be a writer.

Garth Hallberg: It was just early on, it was just the realization. My dad was a writer for one thing.

Robert Birnbaum: Fiction?

Garth Hallberg: Yeah. And that was very abstract. He taught at the local college.

Robert Birnbaum: Does that mean you never saw him actually sit at a desk? You never actually saw him do the writing.

Garth Hallberg: Right, or rarely. The thing that you see him doing —remembering the boxy Kaypro word processor that folded up to become a suitcase. It was too heavy to carry—  bore very little resemblance to  the finished books. Now with desktop publishing it would be maybe less abstract.  I knew he was a writer but then at some point I realized, Oh, he sends off a box of pages. Maybe it was abstract because he hadn’t published a book at that point but when he did .it was like, oh there is a box of  pages and then the book comes back. This is where these things are made. And they went to New York. That was important. That was big to me. New York is where the books come from.  The books that I wanted to live inside.

Robert Birnbaum: You’re living in Greenville, North Carolina so as a kid, what were your impressions of New York? You would see it on the nightly news…

 

New York Post front page ,circa 1977

New York Post front page, circa 1977

 

Garth Hallberg: That was important for that. You’ve got to remember, on TV, it would have been Ed Koch, it would have been Night Court.*

Robert Birnbaum: It would have been the latter Reagan years.

Garth Hallberg: Early Reagan years.

Robert Birnbaum: You were born in ’78?

Garth Hallberg: I guess this is what I’m saying. I have a really specific kind of … This is also very mystical and probably bullshit.

Robert Birnbaum:[laughs] One or the other.

Garth Hallberg: Or both. But I am a believer in—maybe it’s just sort of useful fiction for my job— like a port for all of the senses together. There’s a flavor of the moment and it probably varies from place to place.

Robert Birnbaum: I think it maybe varies for different people. Some people are more attuned to a grouping of elements that for them represents a particular slice of time. For me, I didn’t like the ’70s and the ’70s to me are represented by Saturday Night Fever and people doing cocaine all the time.

Garth Hallberg: But that’s the same ’70s.

Robert Birnbaum: Yes, I know.

Garth Hallberg: That’s the obverse face of the “same spirit of the age.” I’m talking about— just to pluck a couple of dates from memory—to me, the late Clinton period had this very specific flavor…   So, 1999 and then, by contrast, the mood of 1993 was such that you could not project that the mood of 1999 would ever exist…Well, obviously it’s a professional fiction. It is bullshit, it’s mystical, but this idea that what the novel does is find the place where private experience resonates against public experience has something to do with my sense of different times and different flavors. I just remember the early flavors that I remember feeling were like ’82, ’83.

Robert Birnbaum: Why pick ’76-’77 [as a time to write about]? Do you think that  between the ’60s and the end of the century that was a time that was loaded with the most interesting things for you?

Garth Hallberg: Let’s go back to your question of …

Robert Birnbaum: Stolen Moments. *Do you know this song? [comes on over restaurant speakers]

Garth Hallberg: Is this Oliver Nelson?

Robert Birnbaum: Yeah.

Garth Hallsberg: Good one

Robert Birnbaum: It is a great tune.  I was  just reminded that Mark Murphy wrote  lyrics for it.

Garth Hallberg: I’ve never heard it with lyrics.

Robert Birnbaum: I think I heard it once.  David Hadju *  writes about music and he recently wrote—Mark Murphy just died— and so Hadju  wrote a piece about Mark Murphy and mentioned the lyricization of that song.

Garth Hallberg: That’s another New York thing, right? Impulse Records. Isn’t that Englewood Cliffs, New Jersey?

Robert Birnbaum:And recording engineer Rudy van Gelder.* Was your first move from Greenville to New York?

Garth Hallberg: No, no. The question you asked was why New York?

Robert Birnbaum: Actually, it was why pick that time[’76-’77] ?

Garth Hallberg: I said on TV it would have been Night Court * but for me it was coming out of books. Harriet the Spy, Tales of a Fourth Grade Nothing, Mixed Up Files of Mrs. Basil E Frankweiler, Stuart Little.

Robert Birnbaum: Children’s books.

Garth Hallberg: The books I read when I was a child. Exactly. In elementary school just thinking about … There were these places that I wanted to spend time. There was Narnia and there was Middle Earth, but you couldn’t find those on the map.But New York actually existed and it seemed even … For one thing it was the shared property of those writers, which very interesting. It was different stories coexisting in one place and even within those books you got the sense of all of these micro climates. People moving and just this kind of openness to experience and this kind of flexibility of experience. This collision of different experiences, different stories that was sort of the opposite of what I felt like was going on where I live —  I was trapped in a story that was monolithic and that I didn’t want to have any interaction with whatever narrative contained within myself. There was that… and then compounded with the fact that you then turned to the title page (and, of course, Boston has a few good publishers, but) you turned to the title page and  you would see that the book came from New York. There was that Updike phrase about the big river print flowing to Shillington, Pennsylvania and that’s how the city seemed to me. The cinematic side of it, the Night Court side of it or the Muppets Take Manhattan or later on Mean Streets or Manhattan— (the Woody Allen movie )—as a teenager, those [movies]were merely putting images to flesh out a city that already existed for me as  the capital of possibility.

Robert Birnbaum: I was impressed with your specificity about different areas, locales in New York. Which certainly makes New York a character in the narrative. In some ways you’re more specific and descriptive about the locales than you are about some of the characters.

Garth Hallberg: You’re experiencing so many of the characters from the inside, looking out and what are they looking at?  This is, again , the personal and the public thing.

Robert Birnbaum: When you mentioned the cinematic aspect of it. I  started thinking of who I would cast. There is a vividness, vivaciousness, vibrance to the characters. I really want to try to make them concrete by thinking who would play them, who would I cast and even more so who would I ask to direct and who would be the principle photographer? Who would you cast as William?

Garth Hallberg: I don’t think of them that way. I just don’t …

Robert Birnbaum: You don’t see them as specific people?

 

 

 

Garth  Risk Hallberg [photo: Robert Birnbaum]

Garth Risk Hallberg [photo: Robert Birnbaum]

Garth Hallberg: I see them from the outside to the degree that I see myself from the outside, which is to say, I’m not sure I could draw a very accurate picture of myself from memory. I was reading a lot of Bellow ,among other things, early on in the writing, a lot of Henry James. Bellow is the secondary… He has this great,what I  call  Bellow’s New York trilogy, Herzog, Mr. Sammler’s Planet , and Seize The Day —all of which are great books of New York at mid-century. The secondary characters have this incredible  physiognomic vividness. But what does Herzog look like? He maybe described him, but I can’t. It would be much harder for me to cast Herzog.

Robert Birnbaum: My visualization of these characters is based not on whatever clues you might have given about their physical being but more about their character. I think the despicable brother is Malcolm McDowell.

Garth Hallberg: Ooh, that would be good. I’m more interested in your casting of the characters.

Robert Birnbaum: I saw Sam Shepard playing  a part.

Garth Hallberg: I love that. That’s great.

Robert Birnbaum: You want me to be the casting director when you sell the book? I couldn’t settle on who William would be played by and I just wasn’t clear on Sam at all. I could see a younger maybe Ryan Gosling or someone like that. I did see the whole story in more concrete ways. I’ve only been able so far to read 793 pages of this book, I didn’t finish it and I’m wondering in your conversations with people, with people like me, do you have any sense of how many actually read the book?

 

Garth Hallberg: I taught college, I have a pretty accurate BS meter. I think interviewers that may have had a lower rate of having completed the book…

Robert Birnbaum: It’s a lot to ask of a working journalist.

Garth Hallberg: I don’t know. I mean I’ve done journalism. Nobody’s got a gun to your head saying you’ve got to write this story. It wouldn’t occur to me to write a piece about something I haven’t read, but I think sometimes you deal with people… if somebody is writing for a newspaper and they’re not going to tell you that they haven’t read it yet or they haven’t had time or they’ve just gotten the assignment on Friday and the editor wants it the following Friday and they don’t have time to write all the stories. But it’s an understandable …that kind of piece isn’t going purport to be a deep exploration.

Robert Birnbaum: As long as someone doesn’t give you the impression that they’ll write about a book they didn’t read…

Garth Hallberg: I don’t actually care what impression they give to me. I care more about the impression they give to their readers. I’d say the good ones have this weird thing, you know you’re being made complicit in the fiction.

Robert Birnbaum: Now [as you engage in interviews and a charm initiative] you’re complicit in an extra literary activity which  about  marketing the book. Most writers I think feel that because of the commitment that a publishing company has made to them that they owe it to the publishing company to do as much they can to work with them to publicize the book. The problem I think nobody knows really how to do it. It’s like the record business.

Garth Hallberg: I think complicity is a good word to use because it’s  like, you can be complicit through—you’re complicit by having written the freakin’ book. That’s what the judge will find you an accessory before the fact for having written the book. To me— I’m trying to tell myself  that I owe it to the cause of human curiosity to kind of keep my eyes open and watch how all this works and take notes. Not that there’s probably a good novel about publishing a novel. Balzac’s Lost Illusions* pretty much covered that one.

Robert Birnbaum: I’m trying to remember if any contemporaries, have written fiction about the publishing industry—oh there’s Jonathan Galassi’s Muse .

Garth Hallberg: That’s not my book to write but it’s interesting. It’s interesting to stay in hotels. I never stayed in hotels—it’s a whole world. Somewhere it’s interesting to watch people interview you.

Robert Birnbaum Would you like to talk about the importance of writing a book? Is there an argument to be made for the  ?

Garth Hallberg: About the importance of literature.?

Robert Birnbaum:Yes, the importance of what you do. I think we take it for granted and we don’t even think it’s worth making the argument. Either you think it’s important or you don’t.

Garth Hallberg: ‘You’ meaning, you or me?

Robert Birnbaum: I would hope you and me or at least me.

Garth Hallberg: I just didn’t know this larger  cultural ‘we’.

Robert Birnbaum: I question, what am I doing? Am I promoting and ‘marketing’ literary ‘celebrities’? Or recording the footsteps of pathfinders? The issue I often think about is, is the book important or is  it the person who wrote the book? I  think they ‘re both important because part of what we take up as human beings is paying attention to how other people live and how they make their way through life and how they do things. If you admire certain ways of living, being creative, trying to be helpful to other people, then you  gravitate to trying to understand how people like writers  live their lives outside of  their calling .

Garth Hallberg: You’re starting to convince me. But I would have said coming into this that I don’t think … unlike performing artists like actors and musicians, for whom the persona that lives on the surface, on the body, is an essential part achieving the effects that performers want to achieve, in writing, obviously there’s a persona on the page but it’s very remote from this particular body. And moreover the absorption of this happens off in a room somewhere and I’m not there. The writer largely seems to be like an adjunct of the work. But there is something, I think, in what you said , in the sense of—because I’ve thought a lot about the value, what is the value of teaching writing? I’ve done that too, I’ve taught a graduate program.”Is this really any good? I don’t know what I am doing here.”Someone that I worked with said  to me— “You know, just be there. You don’t have to work as hard as you are because the main thing you’re doing is just being in the room with them.” I remember that from the occasions that I’ve had to be in the room in a student capacity with a real writer and just noticing them, observing how they move through the world, and how they  clear space to do the work. I probably did learn something from that. There is also something a little bit generic about that. Does each writer have his or her own way of clearing a place in the world to work?

Robert Birnbaum: We don’t know. I would think that one of the high values of creativity is originality—maybe there aren’t an infinite amount of ways to approach art but there certainly are a large amount of ways .

Garth Hallberg: Maybe this is wishful thinking, butI feel like I tend to detect enough overlap in the ways that the people I admire approach and think about and go about their work and clear space for their work— that observing three is as good as observing a dozen. You only need so many iterations before you go. “Okay, it’s work.” You know that Lou Reed song, Work? *Have you ever heard that?,

Robert Birnbaum: No.

Garth Hallberg: It’s amazing. It’s about when he was a young kid and he’s in Warhol’s factory and Warhol he had some sort of catechism or something. Or a Grand Inquisition. Warhol is asking him all these questions about his work and the refrain is like,”It’s work, it’s just work. You’ve got to do the work.”

Robert Birnbaum: Two recent bios are in conflict about Reed? Was Lou Reed an asshole or was he a decent guy ?

Garth Hallberg: I never met him so I wouldn’t know..

Robert Birnbaum: The biographies  take polar stances on his personality, persona, and how he treated people.

Garth Hallberg: I mean look, you can round up enough people from my life to write a biography about what a bastard I am.

Robert Birnbaum: You really would see such big extremes from people talking about your life?

Garth Hallberg: I think so. If you’re setting aside — if you’re setting aside how close, how likely those people are to actually having the inside story?

Robert Birnbaum: I wouldn’t set that aside though. If I’m looking at these two books on Lou Reed …

Garth Hallberg: Reading between the lines of the review of the Lou Reed, it seems like there are people who are like, “Oh yeah I met him this one time in the 70s and he was an …” I don’t know.

Robert Birnbaum: Ok, let me return to what you were just saying— I understand your point of view because you’re busy doing this kind of thing, writing. I’m not busy doing this thing. A part of what has always been interesting to me is talking to people. I do talk to everyone — the person at the post office, my UPS driver, or someone walking their dog. I find engaging people about  something  immediate  as being a wonderful way to learn things and learn about people. This habit of talking to writers has come about because writers have ideas and varied experiences that they usually can articulate. They have spent time doing things, they think about things. These conversations have never, the hundreds of conversations I’ve had— have never been boring. I’ve always gotten something and my obligation, I think is not to take our conversation and make it gossip. I’m not interested in whatever tawdry details there are about one’s life. I want to know how you got around to writing and I want to know if you think you can continue to do that and what that means and how you look at the world. Do you think Donald Trump is a short fingered vulgarian? Things like that, what your values are. Are you going to make the world better?

Garth Hallberg: Part of clearing the space to do the work is not spending too much time fancying myself as someone with ideas or opinions about things outside of the work. Inside the work that me has to feel comfortable, (or if not comfortable, has to be willing to say) that this idea is worth putting in play in the book. The guy at the post office probably has a more valid and interesting take on Donald Trump than I do. Which is why that wouldn’t end up in one of my books.

Robert Birnbaum: You never know. Again, I want to repeat, it’s not your job to be  self-conscious or to comment, saying, ” I have a lot of ideas and I have a program.”

Garth Hallberg: Some people do. I’ve been reading Norman Mailer’s Advertisements For Myself.

Robert Birnbaum: That was a different time and Mailer was not typical. Read Pete Dexter *on Norman Mailer. Do you know Pete Dexter’s work?

Garth Hallberg: I haven’t read it. I know of it.

Robert Birnbaum: He’s a very funny guy, Pete Dexter. I don’t know if you know his novels.

Garth Hallberg: Springsteen loves Pete Dexter. We were talking about New York, my New York and the one overlay that I would add to that— I talked about reading two or three books but then when I was a teenager and  punk music became big. I think it actually started with the Velvet Underground.

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Robert Birnbaum: The Velvet Underground was the ’60s.

Garth Hallberg: Yeah but all those people — Warhol to Max’s Kansas City to the Ramones,  you’re talking about a few hundred people. You get this out of  the Legs McNeil  book.* So, I just was really gone. I wanted to write poetry. I was going to be poet, that’s what I really wanted to do. That’s what real writing was to me and in Lou Reed and in Patti Smith, in particular, that had the soul of the poetry that I really loved. It really burned for them. It felt like light years away from where I was living but I could also hear in the music that they had at some point, in Reed’s case, Long Island, in Smith’s  South Jersey ,lived somewhere where they didn’t belong , either. My New York sort of began in like …”

.Robert Birnbaum: Your familiarity with them came when you were still living in North Carolina?

Garth Hallberg: Yeah. I think I started reading…I probably read Kerouac and then Ginsberg and then started reading Frank O’Hara.*.

Robert Birnbaum: I love some of Frank O’Hara poems [To The Harbormaster and The Lady Day Died].

Garth Hallberg: The writing of poetry stopped for me. The reading of it continues The first city I ever went to was London in ’89 which was summer of the fatwa *and the only time we ever took a trip abroad …

Robert Birnbaum: The fatwa meant something to you?

Garth Hallberg: Yeah. I was also a very precocious reader. I don’t know if it was precocious. I was reading Newsweek and People and shit , when I was eight or nine. I kept up with what was going on and it was like idea of a writer being …

Robert Birnbaum: Persecuted?

Garth Hallberg: And mattering enough. Even in my limited geopolitical cosmology, it was like the Ayatollah was a pretty bad guy and this [fatwa] seemed to really seal the deal for me. The writer was on the side of the forces of light, somehow. But London in ’89 was funky — like where we were staying.

Robert Birnbaum: You were 11 years old or something like that.

Garth Hallberg: Yeah, I would turn 11 that year, that Fall. It was like there’s just a million different people, colliding in a subway systems.

Robert Birnbaum: That would be impressive to a kid from a small town in North Carolina.

Garth Hallberg: Yeah and food from all over and traffic at all hours of the night— just the energy of it and the light and the sense of something happening

Robert Birnbaum: So you had been to London before you spent any time in New York?

Garth Hallberg: I’d been to London and my parents were like, “Let’s get the hell out of London and go to the Lake District.”  I was like. “No, can we please stay in London?”

Robert Birnbaum (laughs)

Garth Hallberg It was dirty, it was smelly, it was loud, it was awesome. And then[later] DC was five hours away [from NC]. My mother had a high school friend who lived in DC and we would drive up in the early ’90s maybe once a year to visit. And DC was like, I could live here. This is somewhere I could be. But I fell in with some kids in DC through a poetry workshop that I had done one summer and made friends, pen pals. Then I started going up to visit him and there was a girl who was from New York ,who lived on Central Park West who I had a thing for. So I’d  go to DC for the weekend. I was 16, I had a car,so I’d drive up and go to New York from there. The last couple of years of high school I would contrive fictitious college visits in the New York area just as an excuse to go. The first time —I went 19 years ago this fall, the first time I stepped out of the subway and it was like,This is it. It was just an instant collapse of the distance between my dreams of the place and the actual place.

Robert Birnbaum: There was nothing about it you found distasteful? It was all good for you? It was all exciting? It wasn’t too noisy? You commented on London being dirty but that wasn’t a bad thing for you.

Garth Hallberg: ‘Dirty’ is descriptive. I just tend to think in these ways that yoke together the obverses. I wouldn’t imagine I could ever find a kind of joyous excess without dirt and mess. That’s why I love that word ‘funky’: because it means both smelly and that you want to dance to it.

Robert Birnbaum: As Laurie Anderson said, there’s no dirt in the cyber world. The real world has that.

Garth Hallberg: That’s the very human thing.  Wanting to scuttle on the floor of the sea.

Robert Birnbaum: Was it possible for you to get overloaded?

Garth Hallberg:  I was probably arriving under loaded. It was like having all of the receptors ,meaning all the stops on your organ being full. That the organ never made that big a  sound before. It wouldn’t have occurred to me then nor would it necessarily occur to me now, as a primary response, to start sorting, like, “Oh, I like this and not that.” It’s sort of like this idea of …

Robert Birnbaum: The imminent moment, time is all in this moment. The past, the present, the future, it’s all right here. You don’t distinguish what happened five minute ago because it’s just right here. Is that kind of the way it seems?

Garth Hallberg: I just think I have a form of brain damage around certain …

Robert Birnbaum: Verbally you  do have to be specific and particular— you do it here.

Garth Hallberg: There are so many forms of verbally specifying. There’s just naming.There’s praising. There’s indicting. There’s a million different ways to be specific with words. I think what’s going on with the characters in the book [long pause]— it’s  like what I imagine is going on with people in general. They’re all flowing out to animate the world that they find themselves in. And it’s that world that takes on qualities of being bleak and stark in one moment and thrilling and inviting in the next. It’s not a property of the world absent the character that this exciting part is really nice but the bleakness we don’t want at all. You can’t shut off… I don’t know, this is getting very abstract. It was just the sense of possibility that excited me and that possibility required that there be things that you wouldn’t … The utopia of possibility required that there be elements that wouldn’t necessarily be there in some other kind of utopia where everything is perfect. I remember having extraordinary conversations with street people in my first trips to New York. I remember a woman named Debra Little who I met one morning in the middle of Harlem. I had gotten off on the wrong subway stop. The subways fork up there and I was trying to get to see some friends of mine who were a year older and at Columbia and ended up 15 blocks east, and this woman basically walked me to where I was going. I think she was schizophrenic. Like, intermingling with her interesting observations in a story about where she came from and her brother and whatever where some cosmic elements, some mythological stuff, but it was like …  to live permanently in a city there’s some kind of calluses that you develop.In a perfect world there’s no homelessness. Homelessness is horrible. It really breaks my heart to see it when I allow myself to see it. And part of the way that everyone in these cities survives without a perpetual broken heart is learning not to see it.

Robert Birnbaum: You were living in New York when you were writing City of Fire?

Garth Hallberg: Yeah.

Robert Birnbaum: Full tilt living in New York. Did you feel like as you writing you had to go retrace steps and go to historical sites and go to locations that appear in the story?

Garth Hallberg: No.

Robert Birnbaum: Once you had the book in mind, you stayed in your room and wrote it.

Garth Hallberg: The question makes it sound like awfully programmatic. We moved to New York. I’d had the idea for the book. It terrified me. I felt that it was an enormous act of presumption if you could imagine such a thing. And I was 24 and I was nobody and I didn’t have the chops to do this and nobody was writing or reading things like this anyway and I put it in a drawer for four year and didn’t touch it.  And largely didn’t think about it. In those four years, I rode my bike all around the city and I went to graduate school and I taught classes and I poured coffee and I walked endlessly and I read endlessly and I drank with my friends and whatever. An then four years later, I couldn’t stay away from the book anymore and I came back to it and all this stuff that had seemed very unpurposeful ended up having formed itself into the world of the book.

Robert Birnbaum: You wrote the book over what period of time?

Garth Hallberg: The idea I had in 2003, a month before the blackout of 2003 —which I took as some sort of synchronicity  — then I sat down to write in the fall of 2007, late fall, this time of year, in November.

Robert Birnbaum: You thought it about for three or four years.

Garth Hallberg: I didn’t think about it for three or four years. I put in a drawer.

Robert Birnbaum: In 2003.

Garth Hallberg:I had a vision. I sat down and I wrote a scene. In the space of about an hour, I went from the 45 seconds of having the vision to writing a scene to being like, “What the fuck  is that ?”and then running away from it.

Robert Birnbaum: So now it’s in a drawer.

Garth Hallberg: For four years. And I ‘m in flight from thinking about it.

Robert Birnbaum: In flight? You’re saying you never thought about it?  Or did you occasionally think about it?

Garth Hallberg: I must of have thought about it. Maybe it permanently existed for me — I was like Jonah trying to get lost in the whale. It’s not like Jonah didn’t know that there’s a world outside the whale.

Robert Birnbaum: Then you came back to book and you were energized.

Garth Hallberg: Well, I came back to it.*

Robert Birnbaum: It’s hard to imagine writing this detailed a book, a book of this length,  a book this complex without being programmatic. I don’t think programmatic is necessarily a bad thing. It suggests a plan,  a structure, it’s an organization, it’s an outline.

Garth Hallberg: I just don’t experience  things that way. I came back to it. I told you I had a singularity, right? I came back to it. The universe is born out of a singularity. In the singularity, time and space and matter and energy are not distinct. Everything is all kind of fused. As the universe expands— this is a gloss and the math is all fucked -up, as is the vocabulary but —within .0003 microseconds the universe goes from being a singularity to being 10,000 miles across and all of a sudden you have light and heat and matter. All starting to distinguish themselves. And you go out another .0007 microseconds and it’s 100,000 miles across. I turned away from it thinking it would stay still. I turned away from the singularity. I turned back to it and all of sudden it was a universe, and that universe was populated with shit that I had absorbed from … I had a professor who wrote me a letter, a professor in college at [Washington University] She wrote me a letter about the book— one of the very first people to read the manuscript. And amazing woman. And she says things about the book and then “You’ve got some good Yiddish in there.” For her, that’s maybe the highest compliment. I thought: Well, shit where did that come from?

[Recording ends abruptly…]

 

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ENDNOTES

1 Live Aid website  is here

2 Oliver Nelson’s Stolen Moments from The Blues and the Abstract Truth here and

Mark Murphy’s vocal version of Stolen Moments is here

3 My second interview with David Hadju here.

4 The life and work of the  great recording engineer Rudy Van Gelder is found here

5  Information about  the popular television  comedy  from the ’80’s —Night Court  is here

6 Balzac’s novel Lost Illusions is explicated here

7 Pete Dexter on Norman Mailer is found here

9 Please Kill Me: The Uncensored Oral History of Punk  by Legs McNeil 

10 Frank O’Hara is remembered in the New Yorker here

11  Christopher Hitchens recalls the fatwa placed on his friend Salman Rushdie here

12 Garth reads from City of Fire here

13 Editor Alex Bowler talks about City of Fire  here

 

Howard Zinn with Robert Birnbaum Dialogue #2

13 Jan
Howard Zinn circa 2000 [photo: Robert Birnbaum copyright 2016]

Howard Zinn circa 2000 [photo: Robert Birnbaum copyright 2016]

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Howard ZinnHoward Zinn grew up in a working-class family in Brooklyn where he became a shipyard laborer and later, in World War Two, an Air Force bombardier. After the war, he attended Columbia University under the GI Bill and earned his Ph.D. in history. He has taught at Spelman College in Atlanta and later at Boston University. He has also been a history fellow at Harvard University and a visiting professor at the University of Paris and the University of Bolgna. Professor Zinn has won numerous awards and honors including The Thomas Merton Award, The Eugene V. Debs Award, The Upton Sinclair Award and The Lannan Literary Award. In a career that has spanned over forty years, Howard Zinn, as a professor, radical historian, progressive political theorist, social activist, playwright and author, has brought a fresh, thoughtful, humane and common-sensical approach to the study and teaching of history. Among his twenty books and plays are La Guardia in Congress, Disobedience and Democracy, The Politics of History, The Pentagon Papers: Critical Essays, Declarations of Independence: Cross Examining American Ideology, You Can’t Be Neutral On A Moving Train (his autobiography), The Zinn Reader, Marx in Soho and, of course, the seminal, highly celebrated A People’s History of the United States: 1492 to the Present. Howard passed away in January 2010

 

As you should note, this conversation with Howard Zinn ,which took place in 2000, was my second with him. I subsequently had three more chats with him almost up until the time of his death. You can find  invaluable information about Howard Zinn and his vast and significant legacy at The Zinn Project here.

 

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Robert Birnbaum: After years of teaching at Spelman College in Atlanta, you came to Boston University?

Howard Zinn: Hmmm…

RB: That’s a yes?

HZ: It’s a yes. [laughs] I had a year in between. [1960-61]

RB: A significant year?

HZ: Significant because I was fired from Spelman College. [laughs] And to make up for the fact that they were firing a person with tenure, who was chair of the department and who was a full professor, they gave me a check for a year’s salary. $7000. Which was the largest amount of money I had ever held in my hand. We thought, “What will we do, I have a year and seven thousand dollars. We’ll go to Boston.” We had spent a year, I had been a fellow at Harvard for a year. We loved Boston. So we decided to come here. And during that year I wrote two books on the South: My book on SNCC (Student Non Violent Coordinating Committee) and in that year I kept going back and forth to the South. The other book was called The Southern Mystique. During that year, Boston University offered me this job at the political science department, although I was a historian — but I never paid much attention to what is called “discipline” in the academic world — so it was a good year. We lived on Newbury Street, by the way, right above the Winston Flower shop.

RB: Back then, did people talk about Boston as the ‘Athens of America’?

HZ: [chuckles] Bostonians did. Boston was considered an intellectual hub — Harvard, MIT…they didn’t talk about Boston University or Northeastern or any other place. In the year that I spent here in Boston, it certainly was that for me. There I was at Harvard, and I could have lunch with Stuart Hughes and be impressed by the way he talked French to the waiters. [both laugh] He took me to Henri Quaitre. It was on Winthrop Street. The waiters all spoke French — at least when they got someone like Stuart Hughes speaking French with them. I was, you might say — a hick up from the South — he wanted to talk to me about the civil rights movement — so he bought me lunch. We loved Boston. We grow up in New York and in Atlanta we felt landlocked. In Boston we found a city with a river flowing through it. We almost thought it was Paris and the Seine…and it’s close to the sea and close to New Hampshire…we loved the city.

RB: You have said that one of the books you greatly admire is Upton Sinclair’s novel Boston?

HZ: It was novel based on the Sacco and Vanzetti case. It’s not even fair to say it was based on it because that suggests a novel loosely based on fact. Actually, the novel Boston, though it has a couple of fictional characters, is really a journalistic account of the Sacco-Vanzetti case. And maybe one of the best non-fiction accounts — even though it is a work of fiction — of the case that I have seen. I grew up loving Upton Sinclair, grew up influenced so much by his work. Not just The Jungle, but The Brass Check, Oil, King Coal. He wrote so many. Then a publisher in Boston decided to bring out Boston, which had been long out of print. And asked me to write an introduction to it, which I did. The Sacco and Vanzetti Case remains important in my thinking and it’s one of those things that happen in history which you can’t forget. I try to imagine how many people in America have been affected by that case, by the powerful emotions generated by that case. There are certain moments in American history that had that effect on people. Sacco-Vanzetti was one. The Rosenberg case was another. The Haymarket Affair for an earlier generation…Emma Goldman, when she was a kid, was influenced by the Haymarket Affair.

RB: How much does the history of Boston — Sacco & Vanzetti, Salem Witch Trial, Boston Police Riot, Blues Laws — affect people today? How aware are they?

HZ: Not very much. It’s always amazing to me how people live in a city and don’t know the history of that city. I’ve been to Lawrence, Massachusetts, and I would bring up the textile strike of 1912 and nobody would know about it. In Boston, aside from the Freedom Trail…

RB: Soon to be the Hood Freedom Trail or the Raytheon Freedom Trail…

HZ: The Revolutionary War and Paul Revere and the cemeteries, yeah. But other than that, things like the Boston Police Strike of 1919, people don’t know about that.

RB: Were there book burnings or just book banning here in Boston?

HZ: I don’t know if they actually burned books, but they certainly banned a lot of books. Sometimes it’s a short step from banning to burning. Boston still has that reputation. Outside of Boston, what Boston is known for is being ‘blue’, being sensitive to anything connected with the church, especially Catholicism. I don’t think it deserves that reputation anymore.

RB: What reputation does it deserve? Is it a distinct place or a generic modern American metropolis?

HZ: For people living in it, yeah. Boston is distinguishable from other cities, which begin to resemble one another very much. It does have special character. I talk to people who come here from other places, and they feel that Boston has a special character. They connect it with history. They do connect it with age. Of course, to a European, it’s not very old. But still, for Americans, they connect it with the American Revolution.

RB: Does it seem like tourists are more conscious of Boston’s place in history than its residents?

HZ: I think that’s almost always true, that tourists read the tourist guide. And they learn things about a city and the people in the city are not paying any attention to that. I think that’s generally true…

RB: But tourists won’t find out about Sacco and Vanzetti, The Police Strike, etc., in tour literature.

HZ: There is no radical walking tour in Boston like there is in New York. There is a guy in New York who takes people to where Emma Goldman lived on 13th Street and this Union Square where…

RB: What would that feature?

HZ: They could say, “This is the spot on the Charles River where a copy of the Pentagon Papers went from hand to hand and ended up with the Boston Globe.” Think of all those things that happened during the Vietnam War in Boston. One thing Boston is known for, in the 60’s, Boston became known as a hub of anti-war resistance. The meetings on the Common, I don’t know if anyone has written a history of the Boston Common as protest place. Or Fanueil Hall. The Boston Common was a mirror of the growth of the anti-war movement. I spoke at the first anti-war meeting on the Common in the Spring of 1965. There were a hundred people there. Then I spoke there again in the 1969 Mobilization and there were 100,000 people there. So, many things have happened there. Yeah, Boston is a special place.

RB: Speaking of anti-war protest, Barry Crimmins [1]— as is his wont — is outraged at Bush’s court-appointed presidency. George Bush seems to be bringing back the good old days: a new cold war, an economic downturn and a return to Eisenhower-era morality. What do you think?

HZ: It’s really interesting. Here the guy wins the presidency by the most nefarious of methods and without a popular mandate. Losing a popular vote by a larger margin than Hayes lost the popular vote in 1876, but then moves ahead with aplomb, with total arrogance as if the country is his. My feeling is that we are living in an occupied country. Really, that we’ve been taken over, a junta has taken power and now the problem for the American people is to do what people do in an occupied country…

RB: Hunker down? Create a black market? Some resist, many collaborate…In the Spy Plane Incident, commentators were heartened to see Bush “rise above the politics” and call in ‘experts’ like his father and Henry Kissinger. Recently Christopher Hitchens wrote an essay in Harper’s about Henry Kissinger’s culpability as a war criminal[2]. Is Henry Kissinger a war criminal?

HZ: It’s certainly true that he is a war criminal. In the sense that he was part of the apparatus and an a intellectual leader and adviser of that bureaucracy which carried on the Vietnam War, which carried on the secret illegal bombing of Cambodia, which helped engineer the coup in Chile in 1973. And so Kissinger is responsible for much of the atrocious conduct of American foreign policy. The idea that he received the Nobel Peace Prize made a number people dismiss that award after that. Christopher Hitchens’ piece was well deserved and it’s good to call attention. I saw a satiric piece in the Washington Post about the Hitchens essay by a former student of mine, Peter Carlson. He asked, “Why are they getting excited about Kissinger as a war criminal? He’s a wonderful dinner guest.”

RB: The response to the charges against Kissinger are curious. Some say, “Well, other administrations did comparable acts.” As if that relieved Kissinger of any blame. But whatever the truth or falsity of the charges isn’t there a prima facie case and therefore a trial would be in order to determine the ‘truth.’

HZ: Sure. Let’s have a trial. The advantage of a trial is it brings everything out into the open. It’s an educational opportunity. The South African trials didn’t result in people going to prison. I’m not interested in putting Henry Kissinger in prison, you see. I mean if we are going to put people in prison, we’d have to put the whole American establishment in prison for the things that have been done to people all over the world. But certainly for calling attention to what’s been done, it would be a very useful thing to do. I didn’t want to see Pinochet — for all his barbaric deeds — put in prison. But to call attention to what he did. Yes, a very useful thing.

RB: You feel the same way about recently discovered French collaborators from World War II?

HZ: Yeah. The whole concept of punishment is foreign to me. And revenge. To me the only useful thing about bringing these people before the bar of justice is as an education. In a way, by doing that, we are going back to a very primitive approach to punishment…some of the Indian tribes and other indigenous peoples where their idea of punishment is to shame people before the tribe. They’d exile them or send them out in the forest with a glass of water.[laughs] But they’d shame them and that’s a useful thing to do…more serious than putting them behind bars. So, Kissinger deserves to be shamed and the people who have had him as dinner guest deserve to be shamed. Although we should stop short of putting on trial anyone who made a dinner for him.

RB: Besides writing plays, what are some of the other things you are doing?

HZ: I’m doing an awful lot of speaking, going around the country speaking. That’s why I’m not missing my teaching.

RB: Does it seem like people are paying more attention to you now than when you were actively teaching and publishing?

HZ: No doubt. No question. Almost entirely because of A People’s History of the United States. The reasons I get these invitations to talk is because of A People’s History, which has now sold 800,000 copies. And it sells more each year than the year before, which is a very rare thing in publishing.

RB: A popular groundswell…

HZ: Yeah…and so I get all these invitations to speak because my book is being used by high school and college classes, community groups, book clubs and discussion groups in communities here and there. So as a result, I’m very busy. I have to say no to an awful lot of things now, that I would have been glad to do years ago when I was hungry for invitations.

RB: What does it suggest to you that your book, originally published in 1980, grows more and more popular?

HZ: What it means, I think, is that there is a very large number of people who are receptive, even hungry for new ways at looking at American History and new ways at looking at American society. I think we are deceived by the attention that media gives to our political leaders. By that I mean that, because all we see on television are congressional leaders and the President and the members of the cabinet and so on, we begin to think that they do represent the thinking of the country. If you consider that half of the voting population did not vote and that of that half only half voted for whoever is president — and this is true in almost every election, not just in this recent election — there is a huge number of people who did not vote for the existing president, and many who did vote voted without enthusiasm only because they didn’t have much of a choice.

RB: You no doubt have heard Michael Moore’s characterization of the Bush-Gore election as one of “The Evil of Two Lessers”…

HZ: [Laughs] Leave it to Michael Moore. I love the last line in his last movie, “One evil empire down, one to go.” To me this means…let me put it this way, I think there is a very large number of people in this country — this even borne out by public opinion polls which over the last ten or fifteen years have shown that on issues — the public is ahead of both major parties. That the public has been consistently willing to take more money out of the military budget and spend it for education and housing and human needs. I believe there are huge numbers of people in this country who would be willing to have radical changes in our economic and social system in order to make it a more egalitarian society and do away with homelessness and hunger and clean up the environment. But these people have no voice. They have no way of expressing themselves. Elections give them no way of expressing themselves. I go around the country and I speak and not to audiences of radicals.

RB: Given your busy schedule, one can assume that your audience is much larger than the core progressive community…there aren’t that many radicals.

HZ: [laughs] No, there aren’t. I go to speak to California Polytechnic Institute in San Luis Obispo. How many radicals can there be there? How many liberals can there be there? Fifteen hundred students show up. And they listen to me and I’m talking about the economic system and the profit system as being wrong and inhuman and I talk about the necessity to abolish war as a means of solving problems and to not have any more military interventions and to seriously cut down the military budget. I talk about these things and they…agree. I found this, I talk to audiences in Oklahoma and Texas and here and there and mostly to audiences of people who don’t really know my work. I certainly don’t expect them to be sympathetic to my ideas. When I express my ideas — and they are radical ideas — except that I don’t start off by saying, “I’m now going to tell you radical ideas.” Or, “I’m now going to expound ideas of socialism or attack capitalism.” Or, “This is going to be a hate imperialism talk.” None of that. People respond to commonsense ideas about foreign policy and domestic policy. It encourages me about the potential in this country, despite who is running it.

RB: Joe Conason in a recent New York Observer column characterized Trent Lott as running the Senate like it was a jukebox. To coin a phrase, “Where’s the outrage?” Does this get people thinking?

HZ: I think people are thinking, but they have no way of expressing their thoughts, no ongoing movement to connect it with, no movement close to them that they can see. But if a movement got started in this country — and after all, that’s how movements grow, from small to large. People in the 1950’s didn’t talk about racial segregation in the South as something to do anything about. When the first steps were taken, the first pictures appeared on television of people resisting and people thought about it — it was an obvious wrong. And there are so many obvious wrongs going on today.

RB: Can we talk about the irony of the Republicans accusing their opponents of inciting class warfare?

HZ: [laughs heartily] It’s very interesting to me. When the Democrats are attacked for that they shrink back. They don’t say what obviously should be said, “Yes, there is class warfare. There has always been class warfare in this country.” The reason the Democrats shrink back is because the Democrats and the Republicans are on the same side of the class war. They have slightly different takes. The Democrats are part of the upper class that is more willing to make concessions to the lower class in order to maintain their power.

RB: Blacks and minorities can get into Democratic country clubs.

HZ: Yes. Exactly. Republicans have fund-raisers where you need $400,000. Democrats only require $300,000. This country began on the basis of class conflict. The Constitution was set up to control people like Shay’s rebels of Western Massachusetts.

RB: Wouldn’t it be easier to “sell” the notion of class conflict if it wasn’t an a priori element of radical analysis?

HZ: Americans are brought up to believe that we are one country and we are united and we have language to justify that approach. We have phrases like ‘national security,’ ‘national interest.’ ‘National defense.’ The implication being that anything that’s done for the ‘national interest’ is done for everybody. The ‘national defense’ defends everybody. ‘National security’ is for everybody, it’s not for somebody’s securities. And so there’s been a hesitation — really a fear of allowing the notion of class to enter into the popular consciousness. And yet when they ask people — this is shown again and again in public opinion polls — “Do you believe a small group of powerful people run the country?” Eighty-five per cent said, “Yes.” People know this.

RB: If you polled the small group of people who do run the country, what do you think they would say?

HZ: [laughs] It would depend if it was off the record or not. Maybe some would admit it. Some would be afraid to admit it.

RB: I would think no one would be afraid to admit to such glaringly obvious realities. What would the reaction be? Are people going to resurrect the Wobblies (Industrial Workers of The World)?

HZ: You mean they really have no need to be afraid. Although they have no need to be afraid, they are still very fearful that something small might become something big, you see. That’s why a picket line with three people will suddenly attract twelve policemen. That’s why Nixon went hysterical when one person was picketing the White House. That’s the whole idea of repression. That’s the idea of putting a few people in jail in order to scare the rest. Even though there is a kind of general recognition that this true, they would rather not emphasize it by talking about ‘class.’

RB: That does point big arrows at the concept of Hope? The power of a small idea to mushroom into something grand.

HZ: Yeah. You might say that the people who run the country have more of a sense of history than the masses of people. And because they have that sense, they keep that history of struggle and victory over the powerful out of the history books.

 

A People's History of The United States by Howard Zinn

A People’s History of The United States by Howard Zinn

 

RB: I take it you are heartened and hopeful about the forthcoming film version of A People’s History?[3]

HZ: Well, I’m half-hopeful [both laugh]. Anybody that deals with Hollywood, anybody who deals with the film industry has to be very cautious. I’m not at all sure that the book will be turned into film although HBO has signed contracts with three writers. Each of whom will write a two-hour script. Howard Fast to do the revolutionary War, John Sayles [4] to do something on the Lowell Mill girls, and a Scottish writer, Paul Laverty, to do something on Columbus and Las Casas. So HBO has agreed to finance the scripts, and after the scripts are done they will decide whether they will make a film. That’s standard procedure in Hollywood. They are very often are willing to spend hundreds of thousands of dollars for the writing of scripts and then not make a film because the film will cost 5 or 10 million dollars. So, that’s why I say it’s still up in the air. Yes, I’m half-hopeful, especially because we have good writers.

RB: I’ve been collecting stories about how long some projects take. Ed Harris’ Pollack took 8 years…

HZ: Oh yeah. The bureaucracy in both film and television is amazing. The films take years to do and in the meantime the bureaucracy changes hands. All sorts of things happen…

RB: You are listed as an executive producer. Is that a titular position or are you actively involved?

HZ: No, it’s real. There are four executive producers. They call us the Gang of Four. Matt Damon, Ben Affleck, me and Chris Moore. Yeah, we will supervise and, of course, HBO will have final say over things. We have been involved in choosing the writers, going over the scripts and be involved at every stage of the process. The idea of us being executive producers is really to stand guard over the sanctity of the point of view of People’s History so that Howard Fast’s story of the mutinies in the Revolutionary Army doesn’t become Mel Gibson’s The Patriot.

RB: You are still writing plays?

 

"Marx in Soho" by Howard Zinn poster

“Marx in Soho” by Howard Zinn poster

 

HZ: Well, yeah. My most recent play, Marx in Soho, has been done all over the country, San Francisco, Chicago, here. It’s still being done. More recently, I wrote something, a one-person play. And I don’t know if you want to call it a play, Boston Playwright’s Theater insists on calling them Ten-minute plays. I’ve never done it before, and this coming Sunday there will be a whole bunch of them including mine being shown at the Boston Playwright’s Theater.

RB: What’s the subject or story?

HZ: Well unlike Marx in Soho, which is a fun play about Karl Marx as well as having serious things to say, this a serious play about a hospital situation, a family situation involving a dying mother…

RB: In ten minutes? When asked to identify yourself what do you say?

HZ: I call myself a writer. I like it. It’s a more lofty designation than professor. Do you know what I mean?

RB: In Europe anyway. How is it here when you tell people you are a writer?

 

Three Plays by Howard Zinn

Three Plays by Howard Zinn

HZ: I would rather think of myself as a writer than as a professor. I refer to think of myself as a historian, as a writer. I am also working on a screenplay with poet and playwright Naomi Wallace.

RB: Who is doing good history today?

 

The People’s History of the American Revolution by Ray Raphael

The People’s History of the American Revolution by Ray Raphael

HZ: Well, there are bunch of relatively young historians who are doing a new kind of history. Eric Foner wrote a wonderful book on the Reconstruction period replacing some very bad books on the Reconstruction. A lot of really good Black history is being written…Vincent Harding, who was involved in the Civil Rights movement and is a historian, he’s been writing good stuff. There is a new book out on the American Revolution which is excellent. It’s called The People’s History of the American Revolution by Ray Raphael. And there’s a wonderful, funny novel written about the American Revolution by Paul Lussier [5] called Last Refuge of Scoundrels (from Samuel Johnson’s “Patriotism is the last refuge of scoundrels.”) It’ll be interesting to see whether the way he treats the revolution gets him into trouble. Trouble in the sense of will they make a film out of this. It’s a very funny book.

RB: It’s a Warner Book.

HZ: And Warner has an option. Will they do it? He told me that some people who were going to interview him on radio programs canceled because thought it would be troublesome. To answer your question, yes there is some very good history being done. And Ray Raphael, a writer on the West Coast, has written on other subjects and interestingly enough is not a professional expert but has written a better book than any I’ve seen on the American Revolution. You don’t have to be an academically trained Ph.D historian to write a very good book on history.

RB: That seems almost to go without saying. There seem to be a strong self-interest in the mandarin class to protect the myth of intellectual expertise…

HZ: Of course, of course. There’s always a little resentment at someone who writes a history book that everybody reads.

RB: Some people must be very angry at you.

HZ: Some of them are.

RB: You are about as non-dogmatic and ideological a thinker as I’m familiar with, but are there any Zinnists? Any disciples?

HZ: Zinnism? There are just people who read my books, that’s all. A lot of people show up at my talks. Big crowds. Yeah, people who read my books…

RB: Lest you think my question totally absurd, it has been my experience that when I post my conversations with writers I invariably am contacted by their official website — the keepers of the flame…

HZ: There is a website that somebody did for me which I didn’t know about until somebody told me about it.

RB: Do you think about your legacy?

HZ: We all think about our mortality.

RB: Yes, they go hand in hand…

HZ: Yes that’s right. Legacy, mortality…I suppose in preparing myself psychologically for the end I ask, “Do I feel okay?” “Yeah.” There are huge numbers of letters that have been written to me by people who say, “Your book changed my life.” They say extravagant things. Things I would never say. So I feel I made a difference in the lives and thinking of a lot of people. So that’s good.

RB: You feel like you’ve done good work?

HZ: [Chuckles] Yeah, sure.

RB: You laugh as if there is some thing qualifying that?

HZ: Well, I could have done more. Everybody probably says they could have done more. But yeah I think I’ve done…I feel good about the things I’ve done. I feel good that I’ve been able to do that work and have a family, children and grandchildren and to wrestle with the tension between the two. Which is always difficult.

RB: Do you think maybe the real problem facing advanced societies is the decline in opportunity to do “good work”?

HZ: Well, for instance, the profit motive in publishing has kept out of bookstores lots of wonderful writing and lots of wonderful poetry. Poets have such a hard time getting published.

RB: I was thinking in a broader way. How it is that economic fluctuations might restrain initiative and adventure and experimentation…

HZ: I think that pressure exists on young people who want to be poets, actors and musicians. Both because their parents are looking in on them and wondering how their kids will survive and paying huge tuition for them and also thinking themselves of their own future and decide, “No, I can’t be a poet. I can’t be a musician because I won’t be able to survive.” So yes, it’s a culture so dominated by the need to make money and be successful in the orthodox sense that it cripples creativity…

############

images-3

 

1.)   My 2001 conversation with Barry Crimmins

2.)  Conversation with Christopher Hitchens  and I  about Henry Kissinger as a war criminal

3.)  The HBO film project for A People’s History transmogrified into the THE PEOPLE SPEAK. which  brings to the USA’s rich history of dissent and shows its importance for todays movements. The trailer is here.

4.) My second conversation  with John Sayles is here.

5.) My Identitytheory conversation with Paul Lussier is here.

######

Copyright 2001, 2016 by Robert Birnbaum
All photos by Red Diaz/Duende Publishing

Thomas Mallon: Watergate, the Novel

12 Jan

 

 

 

 

Thomas Mallon [photo: Robert Birnbaum copyright 2016]

Thomas Mallon [photo: Robert Birnbaum copyright 2016]

Given the deplorable state of historical literacy in the greatest country in the world, I have long held that if I were allowed to teach history there are a number of novels I would include in my lesson plans—in addition to the eye-opening, ground-breaking People’s History by Howard Zinn. Thomas Mallon has written a number of those novels—Henry and Clara, Two Moons, Dewey Defeats Truman, Bandbox, Fellow Travelers, and now Watergate.

This is the fifth or sixth conversation I have had with Mallon since the mid-’90s. Needless to say, he is a delightful and erudite conversationalist. Watergate, the historical event, which we both remember vividly, occupies much of what follows, including postmortems on Nixon, Kissinger, the Mitchells, John and Martha, and some others. Additionally, Mallon dedicated Watergate (the novel) to his good friend, the late Christopher Hitchens,[1] which, of course, sparks an enlightening tangent on Hitch.

By the way, it should be useful to keep in mind that what follows is a chat about both a nexus of historical events and a novel of the same name.

######

Robert Birnbaum: I keep reading that it’s the 40th anniversary of Watergate. So what? Why should anyone care?

 

 

Watergate by Thomas Mallon

Watergate by Thomas Mallon

Thomas Mallon: The [book’s] publication was not timed for the anniversary. In fact the book was ready to come out in the fall. I would have been happier if it had—it would have been an easier semester for me, traveling around. And I don’t think Watergate anniversaries have been big, generally. The problem is there is no one thing to peg the anniversary to. You could do an anniversary for when Nixon resigned, the anniversary of the break-in—so I think it’s just a journalistic convenience to mention it.

RB: Did I miss John Dean’s review of your book?

TM: Just this morning I saw—I was sent something.

RB: He mentioned the book in the context of a review of Max Holland’s book about Mark Felt [Deep Throat].

TM: That’s right.

RB: Dean suggested he wasn’t going to read your novel.

TM: He said his friends were reading it. They were asking him, “Did Mrs. Nixon really have an affair?” And he said, “No, not to my knowledge.” And he didn’t think she could have had an affair in the way she does in the book. That I didn’t quite understand. The affair she has in the book predates her husband’s presidency. It’s an affair she has in New York in the ’60s.

RB: Doesn’t she meet her lover in South America?

TM: In Brazil. He does meet her there, but while she’s First Lady they have only two fleeting and chaste encounters in the context of big public events. So I wasn’t quite sure what he [Dean] meant by that.

RB: This is historical fiction, which readers ought to be reminded of. But why create a love affair for the character, Pat Nixon?

TM: I think in some ways it’s the emotional heart of the book—Mrs. Nixon and this affair. Frank Gannon [in the Wall Street Journal] was quite nice to the book but he did not like that.

RB: Many reviewers have lauded the book.

TM: People have been very kind—I’ve been delighted. But he was left queasy by the affair. He said, “Imagine the Nixon daughters reading this.”

RB: He quoted you saying you can’t libel the dead.

TM: It’s very interesting what he tried to do. But finally, I had to disagree with him. I had once written in an essay that there are things you shouldn’t do to the dead even though they are dead and can’t be litigious. This was in reference to a movie that had been made implying that Thomas E. Dewey, who was once a character in one of my books [Dewey Defeats Truman], had actually been corrupt. To me, to say that Mrs. Nixon might have had this tender, brief affair is not an iniquitous thing. I fictionalized her life more than some of the others, but in a way this falsity or invention somehow allowed me to get inside her head in a way I don’t think I could have otherwise. In a peculiar way, I got to some aspects of the truth about her via invention.

RB: Again, the critical chorus was adulatory. One critic called the Watergate episode “vaudevillian.”

TM: It may be my own fault because I wrote the flap copy myself.

 

Thomas Mallon [photo: Robert Birnbaum copyright 2016]

Thomas Mallon [photo: Robert Birnbaum copyright 2016]

RB: That’s one part of the book I didn’t read.

TM: And I did write in the flap copy (picks up book), “It conveys the comedy and the high drama of the Nixon presidency.” And there definitely are comic moments in it. But I have been somewhat surprised by the reviews that have emphasized the comedic aspects of the book. More than I expected; more than I thought they existed.

RB: There are a lot of characters, but Fred LaRue becomes central to the story. He has this personal tragedy and an odd relationship. Why focus on LaRue?

TM: He appealed to me for a couple of reasons. I remember seeing a documentary that was made about 20 years ago and featured him. His soft-spokenness, his shyness, the fact that he choked up at one point. He just began to intrigue me. There are about three invented characters in the book. The tip-off in the dramatis personae is the three names in quotation marks. The woman he is involved with, Clarine Lander, is also a fiction. But the great calamity of his life, prior to Watergate, involved him killing his father in a hunting accident in Canada and inheriting a lot of money. Naturally, a certain amount of suspicion or whatever you want to call it is going to cling to a person in those circumstances. That intrigued me. He is very shadowy.I am not very good with villains generally. I think the closest I come to villainy in my books is the shadowy presence of John Wilkes Booth.

RB: Did he never find out if it was an accident?

TM: In my story he never really knows. And that gets all wrapped up with what happened in Watergate years later. He’s very shadowy. He had no title, no salary. He did a lot of things for John Mitchell, whom he really loved. And he lived in the Watergate.  There was one newspaper profile of him in September of ’72, prior to Watergate really exploding. It suggested something like, “He seems to be out of one of [Faulkner’s] Snopes novels.” And that appealed to me. I had a list at the beginning—I still have it in my files somewhere—with dozens and dozens of names that were potential point-of-view characters. And it finally came down to seven. There’s a huge cast, but only seven—

RB: And you cast Alice Longworth prominently. I lived through Watergate I don’t remember her presence. Was she interviewed a lot?

TM: A little bit. She turned 90 at the time. Nixon went to her birthday party at her house in Dupont Circle. She wrote somewhere, when time was running out for him, “Oh I think the clock is dick, dick, dicking.” She had known him from the time he had come to town in the ’40s. She had marked him as a comer. She was very fond of him and Pat, and at least one of the daughters. She said to an interviewer, one time, “Tricia:  what’s wrong with her?” She was in the Nixon White House more than I thought when I began looking at the schedules. So I made her into my one-woman witches’ chorus. People have wondered why I didn’t use Martha Mitchell, who was so flamboyant—

RB: She was a drunk.

TM: (laughs) That’s the problem. She was really too far gone for most of Watergate. And she is really absent from the scene—the Mitchells decamped for New York pretty early on. She just wouldn’t have worked.

RB: From the outside, John Mitchell struck me as a gruff and unattractive person. He does come off as a more sympathetic character in your narrative—as do most of the people.

 

Henry and Clara by Thomas Mallon

Henry and Clara by Thomas Mallon

TM: I am not very good with villains generally. I think the closest I come to villainy in my books is the shadowy presence of John Wilkes Booth [in Henry and Clara] (laughs).

RB: Haldeman? You seemed to get Nixon dead on—a misanthrope in a flesh presser’s profession.

TM: Yeah. There are people who claim that he actually liked politics and liked campaigning. I find that kind of hard to believe. But where Nixon is concerned:  what would be the point of writing a novel about someone who’s just a mustache-twirling villain? I just wanted to see all this with a certain intimacy. You are right; Haldemnn seems sort of nasty in the book, though you tend to see him through Rose Mary Woods—he’s the man who displaced her in a way.  It’s generally that old Graham Greene term—the human factor—that interests me.

RB: George Will’s review

TM: It was actually his syndicated column.

RB: I thought he got it exactly right—that you learn so much from novels by Gore Vidal, Max Byrd, and Robert Penn Warren [“bring… men alive in ways that only a literary imagination can”]. Here’s the thing, it seems that no one knew who ordered the break-in, but what does beg for emphasis is that the real crime was the cover-up. That’s what brought Nixon down. One wonders what might have happened if he had cut his losses? Was he incapable of admitting he was wrong or mistaken?

TM: A lot of it involves Mitchell. It’s true that nobody knows for sure, to this day, who told them to go into the Democratic National Committee at that point. There is a whole kind of grassy-knoll theory of Watergate that posits something very different, which I don’t buy into.

RB: What, Castro funding the Democrats?

TM: Yeah, and then there is the whole theory that John Dean was the evil mastermind. But it’s fairly easily established that Gordon Liddy presented this plan for massive surveillance and—this crazy—you know, the Gemstone plan—in John Mitchell’s office in the Justice Department early in 1972. If only Nixon had said at the beginning, “all those people are now fired from the committee” and gotten Mitchell to take the fall!  Whether Mitchell signed off on it or not, this was not a meeting that should have ever taken place in the offices of the Justice department.  If Nixon had sacrificed Mitchell—To me the real Rosetta Stone of Watergate is the spring of 1970. It’s when Nixon goes into Cambodia and Kent State follows. There were massive demonstrations in Washington and a ring of buses around the White House. He makes that crazy middle-of-the-night visit to the Lincoln Memorial. The super-charged atmosphere of that—I remember this as a very young man. It was so intense.

RB: Which he had to do anyway.

TM: Eventually. If he had done it at the beginning, he might have survived. But he didn’t want to do it. Mitchell had had so much to do with making him president.

RB: How was it that CREEP was being run out of a government office?

TM: They knew Mitchell was going to run the campaign but he was still attorney general. There is a very large sympathetic biography of Mitchell called The Strong Man by James Rosen, which is very interesting. It won’t convince everybody, but it’s a full-bodied picture of Mitchell. Nixon ultimately blamed Martha Mitchell [for his downfall]. One of the things that was clear to me—the Mitchells were a love match. It was a second marriage for both of them. And Mitchell, I think, really loved Martha. But Martha was tremendously out of control.

RB: Was she always a drunk?

TM: I think so, but her problems at that point were really severe. She really needed to be in a sanitarium. Nixon used to say that it was because of Martha—John’s preoccupation with her troubles —that [Mitchell] wasn’t minding the store. That’s as far as he would go in blaming him. But he was not going to cut him loose in ’72.

RB: They ultimately divorced, right?

TM: Yes, and she ultimately became quite ill and died in ’76.

RB: The break-in wasn’t the only illegality in that nexus of events—the plumbers and the burglarizing of [Daniel]Ellsberg’s shrink’s office, Donald Segretti’s dirty tricks—

TM: He was pretty low-rent. But even Mitchell referred to the “White House horrors”—they knew they had these secrets that were really—

RB: And lots of undocumented cash.

TM: Right. Well, as he famously says to Dean on that tape, “We could get a million dollars. It’d be wrong but we could do it.” People often date the point at which Nixon goes off the deep end to Ellsberg’s publication of The Pentagon Papers. [2]So Nixon, like many presidents, became obsessed with leaks. And he forms this squad, “the plumbers,” to deal with them. And to some extent, yes, that is the crucial turning point:  thats what brings Howard Hunt into the White House. But to me the real Rosetta Stone of Watergate can be found a year before that—to me it’s the spring of 1970. It’s when Nixon goes into Cambodia and Kent State follows. There were massive demonstrations in Washington and a ring of buses around the White House. He makes that crazy middle-of-the-night visit to the Lincoln Memorial. The super-charged atmosphere of that—I remember this as a very young man, it was so intense—that was what gave Nixon a Manichean view of the world, this us-against-them view. In some ways, that set in motion everything that followed.

RB: There’s not a lot of Kissinger’s presence, but [the book] does say a lot about him (laughs).

TM: Well. It’s all there on the tape.  I refer to something like “guttural rumbling gravitas.”  I wish I could quote myself better. Any time these tapes are released, anyone who has the slightest regard for Richard Nixon has to crawl into a hole for days. You hear these awful things, these slurs and all his prejudices. Many of which to Nixon were a species of tough-guy locker room talk—he worshipped toughness. This last batch, oh my god. Kissinger comes off worse than Nixon. They are talking about the plight of Soviet Jewry. And Kissinger says something like, “If a million Jews were to perish, it is not a national security issue. It is perhaps a human tragedy.” My friend Hitchens said, when those were released, “You’ve got to love that ‘perhaps.’”

RB: You dedicated this book to Christopher Hitchens.

 

Christopher Hitchens circa 2001[photo Robert Birnbaum copyright 2016]

Christopher Hitchens circa 2001[photo Robert Birnbaum copyright 2016]

TM: Yes, I loved him to pieces. And admired him.

RB: I think many people did, even through the twists and turns of his politics. He was brilliant.

TM: Yes, very brave. Lived between two fires.

RB: What other journalist had himself water-boarded to ascertain whether it was torture?

 

Fellow Travelers by Thomas Mallon

Fellow Travelers by Thomas Mallon

 

TM: He was a very gentle person too. The tributes to him have been enormous and well deserved but that was the one side that they didn’t quite catch. In my novel Fellow Travelers there is a left-wing journalist for The Nation called Kenneth Woodford who is very kind to the hapless little gay guy, the protagonist Laughlin. And that was Hitchens, and he never recognized himself in it. I know he read the book—we talked about it. He even wrote something about it.

RB: Is there anyone that is like him?

TM: No, there is nobody. I remember he was debating a rabbi when the atheism book came out. And the rabbi said, “Now, Mr. Hitchens, I didn’t interrupt you.” And Hitchens said very softly, “You’re not quick enough.” (both laugh) I don’t think there was anybody who was as fast on his feet—he could debate anyone. And he was a literary man as well as a political man. I just think he was—I mean the grace with which he handled the last 18 months!  He put up a brutal fight against cancer. The pieces he wrote for Vanity Fair about that received a lot of well-deserved acclaim—a lot of people who read those pieces, what they didn’t realize was that all the time he was writing them he was still writing his pieces for Slate about Gadhafi, the election, and whatever was going on. Still doing his real work.  That was really quite heroic.

They are reissuing three of his books in the next couple of months—the book about the Clintons, Kissinger, and the book about Mother Teresa. They have new introductions; I did one for Mother Teresa. Which means another few years in Purgatory, I’m sure. He had this very eclectic mix of people around him because he was on so many political sides. You could go to dinner there and Grover Norquist would be across the table, [Salman] Rushdie would be next to you. And he had a lot of younger conservative journalists around during the Iraq War—also political operatives, people in the administration—they were thrilled to have this blue-chip intellectual backing Bush’s Iraq position, and I always used to sit there waiting for what I called “the Mother Teresa moment.”  I would think, just wait, the conversation is going to take another turn. They are going to have to deal with the fact that Hitchens is an unreconstructed socialist—he called himself a socialist until the day he died. And they were going to have to realize that he was all of a piece.I don’t intend to go on forever. People do. But not everyone has these bursts like [Philip] Roth in their 70s.

RB: So, did you have fun writing Watergate?

TM: I did. Much more than many other books (chuckles). One of the things I was amazed at was, once I really dug into it, it came back to me so quickly. Details, quotes, minor players.

RB: Meaning you didn’t have to do much research?

TM: I did, but it was all sort of there. Like dragging a file out from some drawer. It stuck with me because A) it was so vivid and B) I was so young—you absorb and retain at that age. The amount of stuff available—[the players in the Watergate drama] almost all wrote memoirs, if only to pay their legal bills. There are all the committee transcripts; there are the tapes. It’s that rare subject where I wished there was less.

RB: E.L. Doctorow says he does as little research as he can get away with.

TM: I do think that anybody writing this kind of fiction has to start writing before he completes his research–or else he falls into dissertation syndrome—“I can’t start writing until I have read everything.” And that’s a prescription for never starting.

RB: You had an opportunity to lionize Senator Sam Ervin but you ended up giving attention to Mississippi Senator  James Eastland.

TM: Well, Ervin is so familiar. Eastland was crucial to developing [Fred] LaRue.  LaRue was the one who would bring to Eastland, who was head of the Judiciary Committee, Nixon’s conservative judicial nominations.  And he was another Mississippian. So I had a few Jubilation T Cornpone scenes.

RB: In writing a book like this is there a beginning and an end? What’s next?

TM: I’m going to write about Reagan next.

RB: What happened to the murder book?

TM: It’s been bumped again. If I ever do that one, it would be my tenth novel and that might be it. I don’t intend to go on forever. People do. But not everyone has these bursts like [Phillip] Roth in their 70s. I am going to try to write about Reagan’s Washington, set around the time of the Reykjavik summit, which was a thrilling, bizarre episode. I still write a lot of nonfiction and I am kind of grateful—I’m now 60, which is pretty young—

RB: It’s the new 40.

TM: It’s still young in absolute terms, but I can see reaching a point—I hope I am a few books away from it—when it comes time to bring the plane in for a gentle landing. I still love writing essays and reviews and all the rest. Maybe I can content myself with that?

RB: Well, the conventional wisdom for maintaining mental acuity is “Use it or lose it.”

TM: I do think the real challenge in writing novels and particularly a book like this is organization and structure. There is this massive amount of material to corral into some sort of discernible shape.

RB: So many choices.

TM: That’s the thing. I had lists of dozens of characters—do I go with that person or that person? Eventually you have to make a decision and narrow it down and eliminate people.    You have that nice little magazine up here called Ploughshares, and they are doing an essay issue that’s being edited by my friend Patricia Hampl, a wonderful memoirist. So she’s been putting the touch on all of her writer pals for essays. And I’m doing a little nonfiction thing about Nixon, trying to figure out my preoccupation with him.

RB: Perhaps the greatest indictment of Nixon was in Charles Baxter’s essay “Burning Down the House,” where he faults Nixon for introducing the dysfunctional narrative by employing “mistakes were made…”

TM: The irony is we will never have a president who is more real to us than Nixon–for all his unreality.  You have some tapes that Kennedy made, Johnson made, whatever. But to have all those tapes—Nixon unbound, sometimes unglued—to be able to hold those against all of his recorded public utterances:  that’s an extraordinary thing.

RB: He taped everything.

TM: But he didn’t do it for the first two years. He got rid of Johnson’s taping system at the beginning. And then they decided that the quality of memoranda they were getting from the people who were supposed to record meetings (the low man on the totem pole would be the note taker) was just too low.  Haldeman, in his efficient way, so disliked the quality of what they were getting that he said, “Let’s just tape everything. These things aren’t worth a damn when you try to refer to them.” Once he did it, he went into it in such an enormous way. There must be at least one tape of Nixon listening to the tapes too.

RB: (laughs)

TM: Before the tapes were made public, and the system was then instantly dismantled, in the Spring of ’73, Nixon wants to listen to a tape of that March 21 meeting with John Dean (“we could get a million dollars”). He has one of his aides rig up the tapes so he can listen in hi Executive Office Building hideaway—that had a taping system, too. So there has to be a tape of Nixon listening to himself.  The tapes do put you there in a way that they will never put you in there again.

RB: Do Americans want their president to be human, to be real? Mitt Romney is ridiculed for trying to be a man of the people

TM: Yeah, well, this crew that’s out there now—what he [Nixon] would make of them!  The idea that an election would be hinging on these “social” issues would just bore him. He even said to Mitchell at one point—supposedly said,  just when the presidency was beginning—“You be President, and I’ll be Secretary of State.” To him it was essentially the office from which the foreign affairs of the country were conducted. One of the reasons his domestic programs by and large were so liberal—guaranteed national income, health care, big funding for the arts, all the rest—I don’t think all that engaged him very much. He wanted to be free of that.  Ehrlichman, who was in charge of domestic affairs, felt they didn’t get enough of Nixon’s attention. Nixon said at one point—and I have him speak this line to Rose Mary Woods—“The country can basically run itself domestically.” A sort of Coolidge notion,  in a way. Even though he went in for lots of government intervention and programs.

RB: Later there were efforts to rehabilitate him based on his foreign policy expertise.

TM: He wrote serious books and he never took a fee for a speech.

RB: Was he broke when he resigned?

TM: Yes. He needed to write his memoirs to make money. But they lived modestly at the end. He still did a lot of foreign travel and he gave his advice freely to every American president that followed him. Nixon’s epilogue scene here is his last trip to Russia, just before he dies. And he reports on that to Clinton. And Clinton even says to his advisors, “Why don’t I get memos this good from my ambassadors and staff?” He was a much better ex-president than president.

RB: Clinton was particularly laudatory when Nixon died.

TM: He said something like, “The time has long passed when we should judge Richard Nixon on anything but the totality of his life.” In other words there was more to him than Watergate. I used to wonder how Robert Caro, year after year, book after book, stuck with Johnson (laughs). I still wonder—

RB: Malone wrote six volumes on Jefferson.

TM: —but I could sort of see it after just a couple of years with Nixon.  I didn’t feel as if I’d exhausted anything.

RB: I don’t know who wants to read those door- stop biographies. I like the 200-page biographical essays by someone who is simpatico—Larry McMurtry on Crazy Horse, or Cabrera Infante on José Martí. But I see that  biographers like Caro are good about clarifying the social/historical milieu surrounding their subjects.

TM: Yes, yes. His books are these big history paintings, these murals. But biography—I’m not tempted. It’s too onerous, too difficult.  It’s one thing to go from fiction to criticism, reviewing. But to go from fiction to narrative non-fiction… I’ve been amused by this John D’Agata book, The Lifespan of a Fact. Not my idea of nonfiction. I worked on that little book of mine, Mrs. Paine’s Garage, after a real spate of fiction—Dewey Defeats Truman, Two Moons, and I found it so difficult not to be able to fall back on saying, “Well, it’s a novel,  I can change this.” It had to go through the strainer of the New Yorker fact-checking department. And I just can’t imagine that burden in writing biography, let alone the burden of assembling all the material. I just can’t see it.Aside all the campaigning he did for people, [Nixon] was preparing himself for the presidency. [Palin] couldn’t care less. With her it’s become president or get a better deal with a reality TV show.

RB: Have you seen Game Change?[3]

TM: No.

Thomas Mallon [photo: Robert Birnbaum copyright 2016]

Thomas Mallon [photo: Robert Birnbaum copyright 2016]

RB: Do you read those kinds of books? Read that book?

TM: Not many. I read him, John Heilemann—I read him in New York magazine and I hope I will see the movie with Julianne Moore.

RB: She’s incredibly convincing as Palin. But everybody involved as a player claims it’s fiction. The end the movie has McCain telling Palin she is now a kingmaker in the Republican Party. Is she a leader of the GOP?

TM: No, no. No. No. Look, I argued in 2008 with my friends that nobody who was in the United States Senate for three years was ready to be president.  So nobody who was the Governor of Alaska for two years is ready to be president.

RB: John McCain was prepared to be president?

TM: Well, all those years in Congress.

RB: George Bush was ready to be president?

TM: Six years as governor of Texas—that’s a weak office. Probably not, ideally.  But I think Palin had been to Mexico:  that was her international travel. She may have stopped in Germany on her way to make a lightning visit to Iraq. She had never seen any of the countries we’re allied with. That strikes me as incredible.

RB: But that’s what politics has degenerated to since Nixon—commercials and advertising. Eagles and flags and all the rest of the beer commercial imagery.

TM: Look at those years Nixon was out of office.  He was an enormous foreign traveler. He would meet with whoever was in power and with the leader of the opposition too. As a former vice-president—anybody was going to see him.  Aside from all the campaigning he did for people, he was preparing himself for the presidency. [Palin] couldn’t care less. With her it’s become president or get a better deal with a reality TV show.

RB: Quitting the governorship was a telling move.

TM: Also, how hard could it have been (laughs)?

RB: Who do you think could be president? Who could do the job?

TM: Umm. Well, uh, I was alone in my peer group who thought McCain could.

RB: Not based on his values but because he knows how things work?

TM: His experience, yeah.   Even though he has been wrong on just about everything through the years, in terms of experience, Biden would be creditable. John Kerry was a creditable candidate. There are other reasons why I might not want them, but I do think people should know something. One result of 2008, and it’s a combination of Obama and Palin—in most respects there is no comparison (intelligence, curiosity, etc.)—but having both of them on the ticket, it has definitely driven down the expectation of experience. People with such thin resumes running for the top offices.

RB: That strikes me as basis for Biden’s place on the ticket.

TM: Oh sure. Once McCain put Palin on the ticket he lost the opportunity to say to Obama, “You’re not prepared to be president. You need more seasoning in the Senate.” Their obvious rebuttal would be the choice he made to be a heartbeat away. His campaign threw away a pretty compelling argument. I think a lot of people would have looked at Obama and said—here’s a very bright guy, come back in four years.

RB: Well, come back in four years with your Ronald Reagan book. Thanks again.

TM: I will. [And he did] see here

########

1. Identitytheory —(my first)conversation with Christopher Hitchens

2. The Pentagon Papers

3. HBO’s Game Change 

Finale: A Novel of the Reagan Years by Thomas Mallon

8 Jan
Thomas Mallon [photo:Robert Birnbaum copyright 2016]

Thomas Mallon [photo:Robert Birnbaum copyright 2016]

 My acquaintance with Thomas Mallon began about twenty years ago when I discovered his novel Henry and Clara, his riveting novel about the couple seated next to Abraham Lincoln when he was assassinated at the Ford Theater. And so began our small literary friendship that has resulted in my continued interest and appreciation of his novels and thus  a number of interview/ conversations. This latest  chat was occasioned by his newest novel, Finale. Suffice it to say , that as usual, he and I digress from fiction to films to politics to the aging process. No doubt (given the obvious proviso for two geezers) we will be conversating again in a few years.

Allow me to quote from my previous talk with Thomas:

Given the deplorable state of historical literacy in the greatest country in the world, I have long held that if I were allowed to teach history, there are a number of novels I would include in my lesson plans—in addition to the eye-opening, ground-breaking People’s History by Howard Zinn. Thomas Mallon has written a number of those novels—

######

Robert Birnbaum: Onward and upward (as he readies the recording device).

Thomas Mallon: I’m just very aware of how in the midst of all of the changes in the industry that the essentials for me have stayed very old-fashioned.

Robert Birnbaum: Your publisher is remarkably stable. They have editors that have been there for years at all the various  imprints. The publicity  people have been there years and years. They’re  slick—slick in a good way. They’re decent, they’re efficient, sweet; they know the stuff. It’s a pretty well-oiled machine.

Thomas Mallon: A lot the processes of my writing life have changed dramatically, but the personnel of it have really been stable: Dan[Frank]; the people I write for at the New Yorker, for instance. I have been writing for Dan [at Pantheon] for nearly 20 years now. The Times Book Review, whatever. I’ve moved around a little bit with agents but I’ve been with [Andrew] Wiley now for the last 8 years, so it’s been very happy for me. I’ve been sheltered from the storm.

Robert Birnbaum:  Which may or may not be responsible for the fact that you’ve written some pretty creditable books, on a regular basis.

Thomas Mallon: I’m hoping to retire from teaching next year. I will be 65. Nobody in my-

Robert Birnbaum: No! No, you’re lying.

Thomas Mallon: Next year, sure. Can’t tell, right? As I creep along. I’ll keep writing… I don’t know how many of these [novels] I have left in me.” I think I have a couple more; in fact, I’m signed up to do a couple more and I think I can bring everything in for a soft landing.  If novel-writing seems to become too much, I’d like to think I could have a dignified closing act with essays and reviews and things like that.

Robert Birnbaum: You’re not going to do something as ostentatious as announce your retirement —like some other authors.

Thomas Mallon: Oh, I know who you’re thinking of[Philip Roth], but he was 80; for God sakes.

Robert Birnbaum: Do you believe him, is he absolutely … Are we sure there won’t be another novel.

Thomas Mallon: I don’t know. My God, if I could go to 80, I’d be thrilled. I’m hoping to get past 70 doing it.

Robert Birnbaum: Joseph Epstein  wrote a very funny piece when he turned 70— a spoof on  producer Robert Evans’s memoir. Epstein’s was called The Kid Turned 70.[1] The brilliant thing I thought was that he announces  “You know what, I have a birthday, I just want 10 more years. I don’t want to live forever I just another 10 years,” “A happy amount of time to aspire to wherever you are.”

Thomas Mallon: He says that whenever he has a birthday.

Robert Birnbaum: Yeah, 10 more, 10 more, 10 more.

Thomas Mallon: He’s really been asking for 20, right?

Robert Birnbaum: When did you start feeling you were aging? And that you had to think about  an end-game, a last quarter?

Thomas Mallon: I think earlier than most people in the same game as I am. I think that may be temperamental, that may be  dark Irish stuff, I don’t know. I did have a sense of being off to a late start as a fiction writer. Not as a non-fiction writer, but I published my first novel when I was 36. It seemed very late at the time. It doesn’t seem so right now, but it did in the ’80s. I think I had a sense early on that I needed to work hard and move quickly where fiction was concerned, once I found my feet. I have seen writers, often writers that I admire extravagantly, who went on too long. It’s very difficult to tell somebody to stop.  I knew Gore Vidal a little bit, I edited him sometimes at GQ. A couple times I even wrote about him.  I remember being on the phone with him one time, and he had written what was his last novel.  I can’t even remember the title, but I think it’s set at the Smithsonian or something. He said to me in that patrician voice, “Well, you know, this will be the last one.” I said something like, “Oh, surely not.” “No,” he replied.  “Well, why?” I asked.  He said, “Well, you know, I get to the end of a chapter now, I have trouble remembering how it began.” I do think that the engineering feats of novel-writing are something to keep in mind. I’ve seen this, again, mostly in writers that I admired a lot. Somebody like Elizabeth Hardwick who went on very, very late. Lizzie was still publishing, I don’t know, well into her 80s or whatever. From anybody else it would have been pretty damn good. But if you had been reading her for years you noticed a falling off. How could you not? Once in a blue moon there are these people like V.S. Pritchett who seem undiminished. Updike seemed quite undiminished, too. He wasn’t of a very great age but well into his 70s. Then that burst of … I think, honestly, at the end, his poetry was fabulous. I think his criticism was still sharp, very sharp as he went along.

Robert Birnbaum:  Updike is one of the writers I just never got around to [reading]. First of all I want to … not first of all but I want to thank you on behalf of ordinary Americans for adding to our knowledge of Iceland’s literacy and food culture, so thank you.

Thomas Mallon: Yes, highest per capita book consumption or something like that.  I’ll tell you one last thing before we leave that topic concerning the writer I most admire.  My mentor, my muse, was Mary McCarthy. Mary died at 77 which seems young, but it wasn’t so young for her generation—hard-living writers. I do remember my sense of Mary in her ’60s and ’70s. She was operating in some ways as if she had all the time in the world. I remember thinking this at the time, also because she wrote a memoir called How I Grew. It’s not my favorite among her books; again, for almost anybody else it would be top drawer. She was going over ground that she had already covered in probably her very best work, Memories of Catholic Girlhood. She was going over it in a way that was certainly interesting to anybody who cared about her work. But it was more literal than Memories of a Catholic Girlhood, and I kept thinking, “Why are you giving this 3 years, or whatever it is, of your life? Get on to the 1930s which is what everybody wants to read.” One thing about Mary–and I think that some of her biographers notice this:  she never really thought in career terms. She didn’t have a plan, and there’s something about that that I actually admire.

 

 

 

Thomas Mallon [photo:Robert Birnbaum copyright 2016]

Thomas Mallon [photo:Robert Birnbaum copyright 2016]

 

Robert Birnbaum: [across from the patio at which we are seated a wild turkey crosses the street The return of the species here…

Thomas Mallon: Unbelievable.

Robert Birnbaum: They are all over the place.

Thomas Mallon: I feel like I’m back in Westport.

Robert Birnbaum: Wildlife is  everywhere now—returning to urban populated areas.

Thomas Mallon: I’ll be damned.

Robert Birnbaum: There are a couple of recent portrayals of McCarthy . One in particular  impressed me —Janet McTeer played her  in that Hannah Arendt film.[2]

Thomas Mallon: Which I haven’t seen; which I will see.

 

(the beginning  scene has Arendt and Mary McCarthy in conversation)

 

Robert Birnbaum: McTeer’s a wonderful actress and I hope her portrayal did her justice. So, the occasion for our conversation here is that you just published a book which is a historical fiction. I have to ask, how much of it is fiction?

 

Watergate by Thomas Mallon

Watergate by Thomas Mallon

 

 

Thomas Mallon: I would say probably about the same quotient, maybe a little higher quotient of fiction than in some of the previous ones. It’s a book that’s on roughly the same scale as Watergate  and it operates in largely the same way with about a half dozen point-of-view characters.

Robert Birnbaum: Right, but to me they were 3 really substantial characters’ points of view.

 

Finale by Thomas Mallon

Finale by Thomas Mallon

Thomas Mallon:Yeah, there are 2 important characters who are purely fictional characters. Anne Macmurray, who’s revived from my old novel Dewey Defeats Truman—she was the ingenue of that—and this fellow Anders Little on the National Security Council. In Watergate there were only a handful of very minor characters who were fictional. Watergate was different, with this juggernaut plot. You had to go from the break-in to the pardon. This book is somewhat more diffuse. It’s more a portrait of an era than it is a single narrative. The subtitle was somewhat carefully chosen: A Novel of the Reagan Years. It’s not trying to unlock the mystery of Reagan or anything-

Robert Birnbaum: I have to backtrack …there are 4 major characters; I forgot about Nixon.
Thomas Mallon: Yeah, Nixon in some ways; he’s my Alice Roosevelt Longworth in this book. He’s become the kind of aged one who’s seen it all. I guess I couldn’t let go of him.

Robert Birnbaum: In so many ways, he was fascinating.

Thomas Mallon: Yeah. I was surprised by a lot of things … Nixon and Reagan were in touch more often than I expected in the ’80s and the-

Robert Birnbaum: On whose initiative?

Thomas Mallon: Both, and that surprised me too. Nixon did not want to wear out his welcome but he would send memoranda to [Reagan’s] chief of staff, things like that. Reagan would call him up and they talked during Iran-Contra and Nixon makes no bones about it. “Apologize for the son-of-a-bitch and put it behind you. Learn the lesson I failed to.” I think Nixon had a … He knew Reagan had something and he had a certain respect for what Reagan was doing. I think he, at times, shook his head thinking that, from his point of view, things had come awfully easy to Reagan.

Robert Birnbaum: Yeah, right.  My impression, you don’t treat Reagan negatively, but  you cast this notion of him as being a cipher to so many people that they felt they sort of knew him and  also didn’t know him.

Thomas Mallon:Right, and I think you phrase it exactly. “Cipher” to so many people. I don’t consider him a cipher. I do think he was a formidable figure, but I do think there was a great deal of mystery to him. One of the things I decided almost immediately upon beginning this book was that I was not going to try to turn Reagan into a point-of-view character. I was not going to see anything from inside of him. I had no trouble doing that, or I felt I had no trouble doing that, with Nixon. I felt comfortable writing from Nixon’s point of view, but-

Robert Birnbaum: You didn’t feel comfortable doing it because-

Thomas Mallon: I didn’t feel comfortable at all because I think Reagan has defeated any number of biographers. Which is  not to say that they’ve necessarily been defeated by making an historical assessment of his presidency. Not that, but in terms of his personality they’ve been defeated. When I tried to see things from his point of view I never felt that I had put the skin on. There were times when he seemed very big to me; other times he seemed comically small. I was acutely aware of Edmund Morris’ s frustration with him. I even give Morris a scene with him in the book. I decided I would, to go back to Vidal, I would adopt his approach in Lincoln. He never gets inside Lincoln, it’s all from several different vantage points. I would do that, but I was not trying to render Reagan; I was trying to render the Reagan years. A time about which, politically, I was wildly ambivalent.

 

Robert Birnbaum: Good for you, good.  As opposed to being so proud of our Exceptionalism.

Thomas Mallon: That part I liked. I do think that Reagan had a lot to do with winning the Cold War. To me it was thrilling when his own national security adviser asked him, “What’s your view of the Cold War?” He said, “We win, they lose.” I thought, “Clarity, at last; as opposed to detail.” It was also, it was a time when I was burying my friends and would have liked to have heard a kind word from him about AIDS, you know?

Robert Birnbaum: Yeah, well. there were any number of those glaring disjunctions. I never worried about Russian tanks showing up on the Rio Grande.

Thomas Mallon: Oh, I did. The Soviets were truly on the march in the ’70s. Whether it was Angola or and then Afghanistan in 1980. The Soviets were extremely expansionist. Now, of course, it’s easy to say, “Oh, well-

Robert Birnbaum: It ruined them.

Thomas Mallon: It wouldn’t have ruined them if there hadn’t been some push-back. This book doesn’t offer any brief for Iran-Contra but I wouldn’t argue with every tactic and every bit of strategy. People said to me, “Why does Reagan come out … Why does he get off so easily with something like Iran-Contra?” I think it’s because of the Contra part of the scandal, whether you agreed with this tactic of fighting this proxy war or not. People view the scandal, a lot of them, as a blunder or even something pernicious but it was part of a much bigger thing. It was a part of the U.S.-Soviet opposition and, ultimately, he won that.

Robert Birnbaum: If you turn around the telescope, then, yeah, great. The Berlin Wall came down, peace dividends were being declared but I’m not that much interested in the fixing blame on historical personalities. I think the process … Some of the things that started to happen under, or suddenly become more visible, under that administrations really were toxic to the democratic process. I don’t care, having someone like Ollie North running around, having ambassadors who really were cowboys and had no … hey weren’t really answering to anyone. Therefore, you could have things like nuns being murdered in El Salvador. Did the United States really say that was okay? Did we really want that to happen?

Thomas Mallon: Now we have government by executive order.

Robert Birnbaum: Yeah, so-

Thomas Mallon: I don’t think the democratic process is in terrific shape under this chief executive.

Robert Birnbaum: Certainly the promised transparency is not there. You know what’s interesting to me on Reagan is that Richard Reeves*, for instance, who is not particularly sympathetic to Republicans, wrote not a sympathetic, but an understanding biography of Reagan-

Thomas Mallon: Reeves’s book is quite good, I think. As I said, Reagan himself is at the center but he’s the missing center of this book in a way.  It all swirls around him. I do think that in any administration, in any organization, people spend a lot of time trying to figure out the boss. They want to please the boss, they want to get ahead, etc. In his administration I think people spent an inordinate amount of time doing that. It may have lent it some odd kind of creative energy, along with some overreaching, because I think he baffled some of the people that he worked with. I’ve talked to other people who say, “No,” people who knew him.I had a brief phone conversation a couple weeks ago with George Will. He goes, “This remote stuff is very overrated. He was genial and what you saw was what you got,” and he said, “He had one friend and he married her.” My reaction to that was, “How ordinary is that? Who has one friend and marries the person?” Even Nixon had Bebe Robozo. I do think there was some mystery about Reagan, but I wanted, as always, I wanted to show him operating, the president operating, amidst a lot of accident, chance, fatefulness, opposition. We have Pamela Harriman as my sort of my comic…

Robert Birnbaum: I suspect she was a fun character to play with —a wild card.

Thomas Mallon:One of the reasons I think that Anne Macmurray came back laughs) was I realized I had Nancy Reagan and Pamela Harriman and I have to have a nice woman character among the main ones. The women characters have often run off with my books; I’ve noticed that. People talked a lot about that with Watergate. I didn’t set out to do that, but the women were very crucial in Watergate. I thought that they were, on the surface, they had some similarities, Nancy and Pamela. Nancy is this sort of-

Robert Birnbaum:Pamela, the way you presented her, was much smarter than Nancy. Nancy was shrewd but the scope of her general knowledge was limited

Thomas Mallon: Nancy, to me … I think the picture of her is sympathetic; she’s a raw nerve. I don’t think she enjoyed 10 minutes of the White House. Pamela is one of the least self-curious people ever. She’s just a predator, you know? She goes after one life after another. She’s kind of astonishing and is having this quite late third act.

Robert Birnbaum: Am I correct in assuming she wrote a memoir or autobiography or something?

Thomas Mallon: No.

Robert Birnbaum: No?

 

Thomas Mallon [photo:Robert Birnbaum copyright 2016]

Thomas Mallon [photo:Robert Birnbaum copyright 2016]

Thomas Mallon: There are 2 substantial biographies of her. She would have written a fabulous memoir. I think by the time she was ready to write it, she had inherited hundred million dollars and really didn’t need to.

Robert Birnbaum: Since she was not self-curious and had no financial need.

Thomas Mallon: It would not have been an introspective book. She had a tremendous desire for dignity. The really funny thing about her was she was an aristocrat. She was a Digby . Yet, throughout her life her reputation was for being a courtesan. Somebody who was trying to push her way into the respectable world,when in fact, it was the world she was born to.

Robert Birnbaum: In America, was she referred to as a courtesan?

Thomas Mallon: Oh, yeah; routinely.

Robert Birnbaum: I wasn’t aware that Americans recognized that position.

Thomas Mallon: When you say-

Robert Birnbaum: Do you know what I mean?

Thomas Mallon: Yeah. When you say, “in America,” certainly while she was operating in America she was still referred to as that. Maybe she was more often referred to that way by people who had known her in her European days. It’s an astonishing life but the funny thing, at the end, is that she really craves respectability. She really wanted her reward for everything she did for the Democrats. She has to wait until Bill Clinton to get it and then she gets the ambassadorship to Paris. She felt this kind of strange hunger for respectability even though she had been born into hyper-respectability. She had this kind of raffish early and middle life that she had to overcome.

 

Christopher Hitchens [photo;copyright 2016 Robert Birnbaum]

Christopher Hitchens [photo;copyright 2016 Robert Birnbaum]

Robert Birnbaum: As you began this book, how much was [Christopher] Hitchens [ 4]going to be a part of it?

Thomas Mallon: At the very beginning I didn’t have him in mind at all. Obviously, he occurred to me in fairly short order because he’s there throughout the whole book. I didn’t know Christopher in the time-

Robert Birnbaum: In that period.

Thomas Mallon: Of the book. I got to know Christopher—I didn’t meet him until well into the ’90s. I got to know him pretty well in the early 2000’s. At the time the novel is set, 1986, he’s always betwixt and between. Should he stay in the States, go back to England? Is he going to make his was through publications like Vanity Fair or The Nation? Is he going to stay in his first marriage or leave it, whatever? I thought I could plausibly deploy him into the narrative in a lot of ways, though he never did a  profile of Pamela Harriman [as the book purports].

Robert Birnbaum: Is that how you got information about Harriman —through him?

Thomas Mallon: No. I think to go back to what you were first asking about—how much is fiction, how much isn’t—I think that’s a good example of how I feel I can operate. I don’t operate at the extremes of historical fiction, which is alternate history fiction. Those books where the south wins the Civil War, things like that.

Robert Birnbaum: Bill O’Reilly’s-

Thomas Mallon: I think-

Robert Birnbaum: If one  could call them books.

Thomas Mallon: That doesn’t interest me. It has to be what are  Vidal’s   “agreed-upon facts”  that are adhered to. Then people say, “Why write fiction at all, why not write well-done biographies, things like that?” Obviously, there are ways it has an intimacy to it, historical fiction. There are ways to speculate about people…

Robert Birnbaum: Have you read any biographies of George Washington?

Thomas Mallon: No.

Robert Birnbaum: I haven’t either but I’m wondering how many of them refer to the fact that Washington was a real hound and would send his junior officers out so he could liaison with their wives. Is that something you think is … I think that’s the kind of thing, whether it’s true or not, that’s the kind of thing you can put in… that Vidal would put in a  story. I’m glad you brought him up because I think those American civilization novels, I think they’re 5?

Thomas Mallon: Yes.

Robert Birnbaum: They are better American history than many scholarly texts of the time.

Thomas Mallon: One big … Let me to try to organize my thoughts on this and I will return to him in one minute. In my own books I’m not going to change something like the chronology of the Reykjavik summit. Those negotiating sessions operate almost exactly…

Robert Birnbaum: I assume that.

Thomas Mallon: The stuff I will change is the smaller stuff that you can plausibly change. For instance, something like, was Hitchens at Reykjavik? No. But is it plausible for him to have been there? Yes.

Robert Birnbaum: Does it make a difference?

Thomas Mallon: Right, and it’s the sort of thing where the only way the reader is going to know that it’s fiction is if the reader looks it up and discovers, “No, there’s no record of him having been there,” things like that. That’s a rule of thumb.  It’s not what happened instead of the big things but what might have happened in addition to the big things. What might have happened behind the scenes, whatever. One difference I would say between me and Vidal, aside from the fact that he remains the maestro, is a … His works have a higher thematic content than mine do. He’s hugely working the thesis, the thesis of American empire, whatever. I’m more interested in serendipity, accident, quirks, telling a story. I think in that sense I’m operating more as a novelist than he is because there’s always a … He goes about more of the business of a historian than I do.

Fellow Travelers by Thomas Mallon

Fellow Travelers by Thomas Mallon

 

Robert Birnbaum: Nonetheless you have Truman that’s 1948, and Fellow Travelers covers the early ’50s, and Watergate, the late 60’s , early 70’s. I don’t remember was there a novel that’s set in the ’60s?

Thomas Mallon: Aurora 7, an early book but it’s not really political. Kennedy has a couple of scenes in it but it’s mostly my bildungsroman. It’s all set on the day  of Scott Carpenter’s space flight … Finale is dedicated to Scott, who died a couple of years ago.

Robert Birnbaum: Then Watergate and now this. One could say that’s sort of a kind of American history. Do you want to fill in anything?

Henry and Clara by Thomas Mallon

Henry and Clara by Thomas Mallon

 

Thomas Mallon: It is kind of a Republican saga. If you go back to Henry and Clara, you’ve got Lincoln-

Robert Birnbaum: My favorite of your books.

Thomas Mallon: Thank you.

Robert Birnbaum: It’s such a novel  perspective to look at Lincoln’s assassination from.

Thomas Mallon: Also, now that I think of it, the Hayes administration in Two Moons—another Republican administration. I am now writing —and it’s so close that I don’t know that you’d be able to call it historical fiction—about the George W. Bush years.

Robert Birnbaum: Is it fiction?

Thomas Mallon:It’s fiction, yeah. A novel called Landfall. I always seem to throw these presidents into the soup. I have them at their lowest points. Reagan here; Nixon during Watergate; and the Bush book is mostly set in ’05, ’06—Katrina, the Iraq insurgency, everything.  I also want to go back to the Civil War one more time. I’ve sold these next two books as proposals and the one thing they said was … I was going to do the Civil War book first. They said, “No, we want you to flip them, and we want you to do the Bush book first and complete the trilogy.” I didn’t know I was writing one. They see Watergate, Finale and the Bush book. To use the phrase that DH Lawrence used dismissively about Ulysses—he said, “It’s so on purpose”—I think my books, in some intellectual, thematic way,  are less “on purpose” than Vidal’s were. I don’t have a point to prove about the country.

Robert Birnbaum: They’re not quite Teddy White’s Making of the President.

Robert Birnbaum: As they say, Vidal had cojones. He believed in himself, yes, and-

Thomas Mallon: He was unfailingly nice to me, too. Jay Parini’s biography of him is about to come out.

Robert Birnbaum: Parini is executor of his estate, I think.

Thomas Mallon: Yes, Jay knew him very, very well. I didn’t know him nearly as well. I have to say I was always—in some ways I was scared of getting to know him any better because, I thought, if I do, at some point I’m going to feel the lash. There’ll be the falling out, there’ll be-

Robert Birnbaum: I hear you.  How are you feeling about the city on the hill these days?

Thomas Mallon: Somebody asked, “You going to do a novel about Trump if he goes all the way?” I said, “It’s already a novel.” I wish he would recede quickly. I’m not sure it’s going to happen now. I still think … I do not think he’s going to go the distance. I don’t think he’s going to go the distance to the nomination. On the other hand, I am a terrible prognosticator.

Robert Birnbaum: What is the possibility that the American public becomes disenchanted with him?

 

Thomas Mallon: Yeah, they become disenchanted with a lot of people, so why not with him?  It would be really different if he were 1 of 4, you know? The fact that he’s 1 of 16 or whatever it is, and that a dozen of them are almost completely unknown to the public, is what’s made the race more ridiculous than it would have been otherwise. I think the best thing that could happen to the Republican party right now would be for half of these people running to get out immediately.

Robert Birnbaum: This interesting thing about the status of Ronald Reagan within the Republican party, for me, is that these aspiring politicians really don’t have a grasp of who he was . But he’s given them the confidence to think that they could be president of the United States. Honestly, I look at that group and I would like them to explain, what makes them think they are qualified to be president?

Thomas Mallon:Certainly, Reagan had business running for president; a 2-term governor of California has the chops for it. He did raise the appropriate age so that if Biden gets in we’re going to have the altacocker  primary in the Democratic party, I mean between Bernie and Hillary and Biden. Reagan did that. I’m sure I would get different opinions, but I would argue that nobody did more to lower the credentials factor for the presidency than Barack Obama.  I’m not wild about the idea of electing people who have been in the Senate for a couple years—3 years, whatever it was—as president. I’ve often said this to people:  “I hold Barack Obama responsible for Sarah Palin.”

Robert Birnbaum: (laughs)

Thomas Mallon:I was not a fan of Governor Palin, but do you remember much talk when she was picked by John McCain?  Do you remember much talk of, “God, McCain’s going to put somebody a heartbeat away from the presidency who’s been governor of Alaska for a year and a half?”  They couldn’t do it, the Democrats couldn’t make that point because of Obama.

Robert Birnbaum: Why would they need to?  She was self-discrediting.

Thomas Mallon: You have all of these first-term Senators running. I rather like Rubio, I will say that. But I think something’s wrong.

Robert Birnbaum: Except these  guys are talking  pie-in-the-sky economics and that they— are going make the American worker ,who’s being screwed by the Democrats, they’re going to make their lives better for them. Really, with their voodoo economics? Their  supply side economics and deficit austerity?

Thomas Mallon: You see, Robert, now you’re getting into issues, and I hate that part of politics.

Robert Birnbaum (laughs)

Thomas Mallon: I would much rather … If I were truly interested in issues I’d be a historian, but it’s personalities …

Robert Birnbaum: Its no longer  about experience  in governance as much … I don’t think you can argue that he’s not a very smart man.

Thomas Mallon: Who?

Robert Birnbaum: Obama.

Thomas Mallon: Yes.

Robert Birnbaum: That he’s a quick read and that he does have respect for history. In fact , look at the disenchantment by left Democrats. Obama’s a centrist all the way. Bringing Goldman Sachs people into the economic advisory mix, what makes him radical? The right  calls him a socialist …

Thomas Mallon: I can’t see him as a centrist but I know the point you’re making.

Robert Birnbaum:  What operating room do you have if the opposition says, from day one,”We’re gong to do everything we can to make sure he’s a 1-term president.” How do you negotiate? Govern?

Thomas Mallon: As opposed to the gigantic elbow room the Democrats gave Reagan throughout the ’80s? Come on. The Republicans gave Obama the stimulus he asked for.

Robert Birnbaum: The Tip O’Neill-Ron Reagan ‘friendship  was just a myth?

Thomas Mallon: I think it’s overblown, I do. Others will argue differently. There’s that Chris Matthews book about the whole thing. I don’t think either one liked the other.

Robert Birnbaum: Chris Matthews?

Thomas Mallon: Yeah.

Robert Birnbaum: My, my.

Thomas Mallon: You know, Jesse Jackson used to say, “I would rather have Roosevelt in a wheelchair than Reagan on a horse.” I would have to say that, because of the basic sense he had of what he wanted to do with the presidency, I would rather have Ronald Reagan at the beginning of geriatric exhaustion—I’m not saying senility—

Robert Birnbaum: Right, got you.

Thomas Mallon: At the beginning of his geriatric exhaustion, than Obama at the head of the Law Review.

Robert Birnbaum: That does point to the fact that there’s this whole bouillabaisse of credentials and characteristics that one would think make a good president but you really don’t know what the mixture is. It’s a mystery, right?

Thomas Mallon: Right, and you really don’t know what opportunities they’re going to have to use the better parts of themselves, you know? I think it’s … It won’t be me but Obama would certainly be interesting for a novelist. Much more interesting than Clinton.

Robert Birnbaum: What about someone like Ulysses S. Grant for whom, I think, his historical stature is being revised . He’s been rehabilitated. I don’t think Americans know his story, they think he was a drunk and a crook, you know? How many people do you think have read his memoirs which I am  told are quite good?

Memoirs by U.S. Grant

Memoirs by U.S. Grant

 

Thomas Mallon: Very few.

Robert Birnbaum: …and were published by Mark Twain, right?

Thomas Mallon: Mm-hmm (affirmative).

Robert Birnbaum: And then Eisenhower, I don’t think … He turned out to be, looked like a much better president today than he was when people were laughing at his golfing and his lack of polish as a public speaker.

Thomas Mallon:  It’s amazing that the United States has this 10-year stretch with two of the most baroque personalities ever as president— Johnson and Nixon, with their incredible complexities. And then it goes Main Street with Jerry Ford.

Robert Birnbaum: That was sort of accidental. He would have never been elected.

Thomas Mallon: He came close. Clinton would not interest me as a novelist because while Clinton is complicated, yes; everybody’s always talking about Clinton as being compartmentalized, whatever. I don’t think he’s the least bit mysterious.  Can see the different compartments, you know? Obama, is  a much more opaque figure. Much harder to read, harder to get at.

Robert Birnbaum: There’s a duo, a comedy due called Key & Peele. They have a  routine where they have an anger  translator for Obama.And Obama brought him to the last White House Correspondent’s dinner

Thomas Mallon: Suppressed anger, I think, is fascinating. I always thought and continue to think, even as I wish him well in his current state of ill health, that Jimmy Carter was a very angry man beneath the surface. Very angry and resentful.

Robert Birnbaum: Is he a Baptist or Methodist ?

Thomas Mallon: Baptist, I think.

Robert Birnbaum:A  more  austere form of Protestantism?

Robert Birnbaum: Well he did  a good job of anger management didn’t he?

Thomas Mallon:That’s the thing, though.  Anger management is not the same thing as anger suppression, because anger management entails letting it out as appropriate, you know? I would be interested to know just how cool Barack Obama really is or how much anger he suppresses. What he’s angry about? I think that it might be something entirely different from what we think. It’s not for me, but I think there’s good material for a novelist there and-

Robert Birnbaum: In all these cases you have a very volatile world setting. There’s lots of stuff going on that you can pull out to deal with. Has anyone talked about making a movie out of any of the books? You optioned?

Thomas Mallon: Say that louder. The options come and go. They don’t buy up properties with the alacrity they used to. Hollywood has the same kind of cautionary chill about it that publishing has now. Henry and Clara options have come and gone. Dewey Defeats Truman was not only optioned, it was bought. I paid for half of my house in Connecticut with it and then they never made it. They could still make it. It was a period piece to begin with.

Robert Birnbaum: What I notice is this expansion of the scope of what the so called cable industry and HBO, Showcase, A & E. They’re making things they’re … The HBO special that David Simon just did [Show Me A Hero]. Can you imagine somebody actually making a movie about the housing crisis in Yonkers?

Thomas Mallon: Yeah. I would much prefer if somebody were going to film this. My strong preference would be to have it done for television in 8 parts or something. I think that would be a much closer match to the construction of the novel. Television is doing such interesting things with narrative right now. Much more so, I think, than film.

Robert Birnbaum: I think I find myself reading somewhat less and watching more of these extended series. When it comes down to it, my interest in stories, good stories.

Thomas Mallon: Yeah, right.

Robert Birnbaum: The streaming services are  a great reservoir of  wonderful movies but, again, in terms of commercial interest, starting with the Sopranos and the Wire , producers  are buying into getting writers writing good stories; investing —like Nick Pizolatto, His True Detective [at least season one][5]was genius.

Thomas Mallon: In terms of adaptation, something like Wolf Hall. If you were going to do Wolf Hall, to me the proper way to do it was the way it was done on television.

Robert Birnbaum: Right,  I don’t know about you but I couldn’t read the book but I thought the dramatization was fabulous. The lead actor Mark Rylance, just perfect.

Thomas Mallon: I like the book, I’ve never read the second one, the one that came after. Maybe I will at some point

Robert Birnbaum: Also the  BBC  did a splendid job on William Boyd’s [novel ]Any Given Heart.[6]  It’s about a writer’s life, from about 1910 I think up until the ’60s or ’70s. 3 It’s just a wonderful story and again, ist based on a worthy text

Thomas Mallon: The single, greatest television experience I have ever had—and I remember the first run of the Honeymooners as a rug rat in the mid-’50s—the greatest television experience I ever had was Deadwood. If you have not seen Deadwood…

Robert Birnbaum:  I have seen Deadwood and I read Pete Dexter’s novel of the same name. There was a piece on the HBO series producer David Milch in the New Yorker. I don’t remember if they referenced Dexter’s skepticism about Milch’s claim  saying he never read Dexter’s book.

Thomas Mallon: Oh, really?  It was one of those things where after a couple of episodes I still wasn’t in the groove with it. I’m thinking, “Am I going to commit to this?” or whatever. Then I got past that crucial point very much as you often have to do with a novel. “Now, I’m in; I’m investing,” whatever. After that, I just felt the whole thing was so audacious, so atmospheric. It just, it didn’t build and build in a narrative way, it didn’t build and build to the climax of the story, but it deepened and deepened and deepened.

Robert Birnbaum: I always loved John Hawkes[plays Sol Star in Deadwood]. Do you know his work? He does  a lot of comedy but in Winter’s Bone he’s resoundingly sinister.

Thomas Mallon: A little bit, yeah. The main character, Al Swearengen, there was a part of him that reminded me of my old boss Art Cooper.

Robert Birnbaum: I think the next time I saw Swearingen was in some odd NBC special about some futuristic kingdom where he’s the king.  Have you seen Winter’s Bone?

Thomas Mallon: No, I know what it is, though.

Robert Birnbaum: It takes place in a hard scrabble Ozarks, really tough people with their own code, insular; 2 really interesting characters. Based on a novel written by a wonderful writer,  Daniel Woodrell credited with creating “redneck noir”.   Are you engaged in this book tour for some period of time? Is it a distraction? Is it hard for you?

Thomas Mallon: No, it’s not steady…

Robert Birnbaum: You’re going to tell me you’re glad they asked you because…

Thomas Mallon: Actually, yes. It would be wrong to say anything else. It’s a little bit different; it’s more broken up than it used to be. In the old days they put you out on the road for a long time. I go home tomorrow and then I’m at home for 10 days; then I go to St. Louis. Then I’m at home for a week and I go to New York.

Robert Birnbaum: That’s good. There will have been time for people to actually read the book?

Thomas Mallon: Yeah, over a couple of months it adds up to a lot.

Robert Birnbaum: That’s smart.

Thomas Mallon: Then there’ll be a California leg of it, whatever. I still, I’m always keeping my journalistic life afloat. The truly hair-raising aspect of this week was not just the traveling, not just waiting on reviews. I had to close a piece for the New Yorker this week. From the hotel room in Texas and then at my apartment in New York, I was on the phone with the fact-checkers and getting proof after proof after proof. I’m a nervous closer even during a slow week at home, so my hands have been shaky.

Robert Birnbaum: That’s the state of writing, too.  Writers used to say, “I never write on the road.” Now people are forced to  write on the road.

Thomas Mallon: Yeah, I couldn’t actually write on the road but I have to do other stuff on the road. One of the things that I’ve also noticed is a bit of a change in my non-fiction life. I think I’m writing … I’m still writing literary criticism, but I’m writing more about politics and political books that I’m used to. This piece I just closed was about The Drew Pearson Diaries from the 1960s

Robert Birnbaum: He was an influential columnist-

Thomas Mallon: Incredibly so, yeah.

Robert Birnbaum: In the  Washington Post, right?  There were a handful of those guys, also Lippmann, Drew Pearson, Jack Anderson?

Thomas Mallon: Anderson was Pearson’s assistant. Until he took over the column. Lippmann and people like Joe Alsop—they were sort of these mandarins of commentary. Although Anderson also had some reporting in his column. Lippmann was very much speaking ex cathedra but Pearson was the Washington equivalent of the Hollywood gossip columnist. A lot of digging, and the diaries are really fascinating. It’s odd, a volume of them covering the ’50s was edited 40 years ago. This volume covering the ’60s is only coming out now. What they really show is the degree to which he operated as somebody seeking political influence behind the scenes. He was often rounding up Senate votes on something. You would think he was the majority whip rather than a columnist; a very interesting dynamic compared to what we have today. And so, in a sense, maybe there’s more overlap between the 2 kinds of writing I am doing, fiction and non-fiction, than there used to be.

Robert Birnbaum: Wow, time flies, as usual it’s been a pleasure.

Thomas Mallon: Same here.

Robert Birnbaum: I’m glad we’re both still walking and talking.

Thomas Mallon: Yeah, a little more stiffly but still doing it.

 

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1 The Kid Turns Seventy:And  No one Cares —The Weekly Standard

2 Trailer for Hannah Arendt

3 Conversation with Richard Reeves

4  Identitytheory conversation with Christopher Hitchens

5 True Detective / Season 1 trailer

6 Any Human Heart Episode 1

#174 517 * Part II

4 Jan
THE COMPLETE works of Primo LEvi

THE COMPLETE works of Primo Levi

Ok, so I was able impose on some friends to do some heavy lifting…see previous post. However I could not leave this dustbin of history without a few digressive remarks, putatively about words and literature and my current existential crisis.

The Noam Chomsky Collection (Haymarket Books)

The Noam Chomsky Collection (Haymarket Books)

But before I get to my own favorites of the past year, I want to give notice and recognition  to The Complete Works of Primo Levi, Haymarket Books’s Chomsky Collection, Greg Grandin’s In the Shadow of Kissinger and Red Rosa: A Graphic Biography of Rosa Luxemburg by Kate Evans, edited by Paul Buhle. While I have long held that using the superlative ‘best’ as well as a number of other puerile superlatives (hottest, must read, coolest.most excellent), I have no problem assigning the rubric ‘important’ to a book. And the four titles mentioned above are prime examples of the tomes that must be considered important books among those that were published last year.

Primo Levi in the house of the maternal family( Luzzati family), photo by Giorgio Miserendino

Primo Levi in the house of the maternal family( Luzzati family), photo by Giorgio Miserendino

Better minds and more rigorous writers (like James Wood) have exposited on Levi:

Primo Levi did not consider it heroic to have survived eleven months in Auschwitz. Like other witnesses of the concentration camps, he lamented that the best had perished and the worst had survived. But we who have survived relatively little find it hard to believe him. How could it be anything but heroic to have entered Hell and not been swallowed up? To have witnessed it with such delicate lucidity, such reserves of irony and even equanimity? Our incomprehension and our admiration combine to simplify the writer into a needily sincere amalgam: hero, saint, witness, redeemer. Thus his account of life in Auschwitz, “If This Is a Man” (1947), whose title is deliberately tentative and tremulous, was rewrapped, by his American publisher, in the heartier, how-to-ish banner “Survival in Auschwitz: The Nazi Assault on Humanity.” That edition praises the text as “a lasting testament to the indestructibility of the human spirit,” though Levi often emphasized how quickly and efficiently the camps could destroy the human spirit. Another survivor, the writer Jean Améry, mistaking comprehension for concession, disapprovingly called Levi “the pardoner,” though Levi repeatedly argued that he was interested in justice, not in indiscriminate forgiveness. A German official who had encountered Levi in the camp laboratory found in “If This Is a Man” an “overcoming of Judaism, a fulfillment of the Christian precept to love one’s enemies, and a testimony of faith in Man.” And when Levi committed suicide, on April 11, 1987, many seemed to feel that the writer had somehow reneged on his own heroism.

If only the lamentations of the left leaning and socially progressive spent more (some) time paying to the crystalline observations of Noam Chomsky.

tumblr_n2o9ziymhB1qjjg0to1_1280

 

 

images

From Red Rosa

Red Rosa by Kate Evans, edited by Paul Buhle

Red Rosa by Kate Evans, edited by Paul Buhle

If I recall correctly German socialist thought dancing was as important as revolution. Kudos to Verso,Evans and Buhle for recognizing that attention must be paid…

 In the Shadow of Kissinger by Greg Grandin

In the Shadow of Kissinger by Greg Grandin

There has never been a time when so many publicly(indicted and) recognized war criminals have pranced around the United States with impunity. The most evil of these criminals is Henry (“Dr. Strangelove”)Kissinger. The late lamented Christopher Hitchens amused with his rhetorical flourish The Trial of Henry Kissinger:

His own lonely impunity is rank: it smells to heaven. If it is allowed to persist then we shall shamefully vindicate the ancient philosopher Anacharsis, who maintained that laws were like cobwebs: strong enough to detain only the weak, and too weak to hold the strong. In the name of innumerable victims, known and unknown, it is time for justice to take a hand. (p. XI)

My 2001 conversation with Hitchens here yielded this

Robert Birnbaum: The Trial of Henry Kissinger originated with two serialized articles that appeared in Harper’s Magazine. Did your writing the pieces on Kissinger originate with you looking for a place to publish them or with Lewis Lapham [Harper’s editor] encouraging you to write them?

Christopher Hitchens: Well, I have been, for more than two decades, determined to write a book about Henry Kissinger, and I chose to start doing it properly last year…to collect all the material I already had, in one place and work it up. Because of the Pinochet trial and because of the Milosevic warrant, I thought that this changed the context. The first person to whom I mentioned this project was Lewis Lapham at Harper’s Magazine, who said, “Do it now. We’ll print it.” I barely had time to say, “Are you serious?” He said, “Get on with, too. It’s high time.” So, I knew I had a receptive editor, and I suspected I could probably expand it into a book as well. I wrote it for Harper’s, and then I updated it a bit, added a certain amount, and then it was published by Verso. I’m very much in Lewis Lapham’s debt because it’s the first time Harper’s has ever, he tells me, run two successive issues.

RB: Barbara Ehrenreich says when she had a discussion with Lapham about the article(s) that led to Nickel and Dimed, “an insane little smile” came across his face when the question of who would do them [came up] and he said, “You.” When you were having the conversation, did something like that happen?

CH: No, it was more like a peremptory gesture saying, “Why haven’t you done it already? Do it now, we’ll print it.” Then it was followed by a number of nudging calls to say, “Have you done it yet?” keeping me up to the mark. It’s nice to know that you have demand in that way. I’ll tell you something interesting. Neither he nor Rick MacArthur, the publisher, who jointly took the decision to put it two months running on the front page and promote it and so on, imagined that it would sell at all. They thought they ought to do it. They thought it was high time someone did do it. But they didn’t think of it as a commercial proposition. As it happens, the magazine almost sold out of the newsstands both times. Which is quite rare for a monthly.

Greg Grandin’s indictment of Herr Professor Kissinger has the force of rigorous attention to the documentary record (some of you will recognize this as what used to be called ‘history’)

From The People’s Obituary of Henry Kissinger—Before His Death (catchy headline, no?)

Far from the calculating practitioner of Realpolitik that even his most ardent detractors tend to imagine, the Kissinger that emerges from Grandin’s book is compulsively drawn towards action for its own sake. Over the course of his career as national security advisor, secretary of state, and, later, elite global consultant, Kissinger “institutionalized a self-fulfilling logic of intervention” and established a working “template for how to justify tomorrow’s action while ignoring yesterday’s catastrophe.”

“At every single one of America’s postwar turning points,” writes Grandin, “moments of crisis when men of goodwill began to express doubts about American power, Kissinger broke in the opposite direction.” America almost invariably broke with him.

So here are my favorite real paper and ink books of the last 300 or so days…

 House of the Rising Sun: A Novel by James Lee Burke

House of the Rising Sun: A Novel by James Lee Burke

House of the Rising Sun: A Novel by James Lee Burke

Crow Fair: Stories by  Thomas McGuane

Crow Fair: Stories by Thomas McGuane

Crow Fair: Stories by Thomas McGuane

Sweet Caress  by William Boyd

Sweet Caress by William Boyd

Sweet Caress by William Boyd

City on Fire: A novel  by Garth Risk Hallberg

City on Fire: A novel by Garth Risk Hallberg

City on Fire: A novel by Garth Risk Hallberg

A Hand Reached Down to Guide Me: Stories and a novella   by David Gates

A Hand Reached Down to Guide Me: Stories and a novella by David Gates

A Hand Reached Down to Guide Me: Stories and a novella by David Gates

Finale: A Novel of the Reagan Years   by Thomas Mallon

Finale: A Novel of the Reagan Years by Thomas Mallon

Finale: A Novel of the Reagan Years– by Thomas Mallon

The Lower Quarter: A Novel  by Elise Blackwell

The Lower Quarter: A Novel by Elise Blackwell

 

The Lower Quarter: A Novel by Elise Blackwell

 

 No God But Gain: The Untold Story of Cuban Slavery, the Monroe Doctrine, and the Making of the United States   by Stephen Chambers

No God But Gain: The Untold Story of Cuban Slavery, the Monroe Doctrine, and the Making of the United States
by Stephen Chambers

No God But Gain: The Untold Story of Cuban Slavery, the Monroe Doctrine, and the Making of the United States
by Stephen Chambers

 Disposable Futures: Violence in the Age of the Spectacle HENRY GIROUX (Co-authored with Brad Evans).

Disposable Futures: Violence in the Age of the Spectacle HENRY GIROUX (Co-authored with Brad Evans).

Disposable Futures: Violence in the Age of the Spectacle HENRY GIROUX (Co-authored with Brad Evans).

Above the Water fall: A Novel  by Ron Rash

Above the Water fall: A Novel by Ron Rash

Above the Water fall: A Novel by Ron Rash

 A Free State: A Novel  by Tom Piazza

A Free State: A Novel by Tom Piazza

A Free State: A Novel by Tom Piazza

 American Meteor  by Norman Lock

American Meteor by Norman Lock

American Meteor by Norman Lock

The Cartel by Don WInslow

The Cartel by Don WInslow

The Cartel: A novel by Don Winslow

 Gutshot: Stories by Amelia Gray

Gutshot: Stories by Amelia Gray

Gutshot by Amelia Gray

 The Kind Worth Killing: A Novel  by Peter Swanson

The Kind Worth Killing: A Novel by Peter Swanson

The Kind Worth Killing: A Novel by Peter Swanson

 The Whites: A Novel by Richard Price , Harry Brandt

The Whites: A Novel by Richard Price , Harry Brandt

The Whites: A Novel by Richard Price , Harry Brandt

 The Small Backs of Children: A Novel  by Lidia Yuknavitch

The Small Backs of Children: A Novel by Lidia Yuknavitch

The Small Backs of Children: A Novel by Lidia Yuknavitch

  A Spool of Blue Thread: A novel  by Anne Tyler

A Spool of Blue Thread: A novel by Anne Tyler

A Spool of Blue Thread: A novel by Anne Tyler

  The Lady from Zagreb   by Philip Kerr


The Lady from Zagreb by Philip Kerr

The Lady from Zagreb (A Bernie Gunther Novel) by Philip Kerr

 Ghettoside: A True Story of Murder in America by  Jill Leovy

Ghettoside: A True Story of Murder in America by Jill Leovy

Ghettoside: A True Story of Murder in America by Jill Leovy

 In the Shadow of Kissinger by Greg Grandin

In the Shadow of Kissinger by Greg Grandin

Kissinger’s Shadow: The Long Reach of America’s Most Controversial Statesman by Greg Grandin

 Mislaid  by Nell Zink

Mislaid by Nell Zink

Mislaid by Nell Zink

*Of course this number has deep significance…

Why Do I Still Have a Paper Shredder?

5 Oct
Paper Shredder- Michael Graves Design

Paper Shredder- Michael Graves Design

The other day I took note of the fact that I still have a paper shredder( a Michael Graves design). And for the first time I questioned my need for this appliance. I assume that any paper I might consider shred worthy is in a file somewhere accessible to at least the thousands of employees and contractors of United States security agencies and major technological and financial corporations.So why bother?

I doubt anyone will be writing songs about secrets as the disappearance of privacy seems to be coextensive with the loss of personal secrecy—what music will be played while the Global Security State’s lust for secrecy runs rampant and roughshod—I’m thinking the second movement of Shostakovich’s “Leningrad” 7th Symphony would be fitting? Need I expand on the idea that current notions of secrecy dwell in the far simpler past, when one’s privacy was not being actively shredded by the government and technologically savvy enterprises whose methods ranged from aggressive data mining to poaching. Of course there is also rendition and drone bombing but the US government wouldn’t do such to its own citizens. How would we know?

We know because under relentless persecution and ceaseless duress, a number of people have stepped forward to wake the USA’s slumbering citizens to what should alarm many sentient rational beings. You may have heard of US Army intel analyst PFCChelsea Manning* (known as Bradley Manning)or National Security Agency contractor Edward Snowden**. Were it not for this pair of loyal Americans, among others, we would still be staring at the cave wall(note my clever reference to Socrates Allegory of the Cave).

Tom Englehardt who publishes Tomdispatch(“A Regular Antidote to the Mainstream Media”), one of a handful of web journals that view US culture and governance with righteously critical eye (with contributions from Rebecca Solnit, Bill McKibben, Mike Davis, Chalmers Johnson, Michael Klare, Adam Hochschild, Robert Lipsyte, Glenn Greenwald Elizabeth de la Vega and Nick Turse), has just published Shadow Government: Surveillance, Secret Wars, and a Global Security State in a Single-Superpower World (Haymarket Books) which scrutinizes what he terms a burgeoning “Global Security State”:

… You put about $68 billion annually into a maze of 17 major intelligence outfits. You build them glorious headquarters. You create a global surveillance state for the ages. You listen in on your citizenry and gather their communications in staggering quantities. Your employees even morph into avatars and enter video-game landscapes, lest any Americans betray a penchant for evil deeds while in entertainment mode. You collect information on visits to porn sites just in case, one day, blackmail might be useful. You pass around naked photos of them just for… well, the salacious hell of it. Your employees even use aspects of the system you’ve created to stalk former lovers and, within your arcane world, that act of “spycraft” gains its own name: LOVEINT.

…no one considered it a problem that the country lacked 17 overlapping outfits bent on preventing approximately 400,000 deaths by firearms in the same years; nor 17 interlocked agencies dedicated to safety on our roads, where more than 450,000 Americans have died since 9/11. (An American, it has been calculated, is 1,904 times more likely to die in a car accident than in a terrorist attack.) Almost all the money and effort have instead been focused on the microscopic number of terrorist plots — some spurred on by FBI plants.

Shadow Government by Tom Englehardt

Shadow Government by Tom Englehardt


http://www.tomdispatch.com/post/175901/tomgram%3A_engelhardt%2C_entering_the_intelligence_labyrinth/

Unknown knowns or Known unknowns?

World Order by Henry Kissinger

World Order by Henry Kissinger

Ninety one year old Herr Professor Kissinger is still at it. The former Nixon henchman, who at the least has shown an indifference to the human carnage wrought by his diplomatic endeavors and at the most may by international law standards be a war criminal, has a new tome, World Order (Penguin Press). Hilary Clinton observes:

When Americans look around the world today, we see one crisis after another….the liberal international order that the United States has worked for generations to build and defend seems to be under pressure from every quarter.

…Henry Kissinger explains the historic scope of this challenge. His analysis, despite some differences over specific policies, largely fits with the broad strategy behind the Obama administration’s effort over the past six years to build a global architecture of security and cooperation for the 21st century.

And concludes:

…We need to have an honest conversation together — all of us — about the costs and imperatives of global leadership, and what it really takes to keep our country safe and strong.

We have a lot to talk about. Sometimes we’ll disagree. But that’s what democracy is all about. A real national dialogue is the only way we’re going to rebuild a political consensus to take on the perils and the promise of the 21st century. Henry Kissinger’s book makes a compelling case for why we have to do it and how we can succeed.

Setting aside the question of whether one buys into Kissinger’s realpolitik view of the “liberal international order”, one gasps at the fantasy of “rebuilding a political consensus” through “a real national dialogue.”If somebody could point out to me what political consensus is being rebuilt and when the last “real national dialogue” occurred I can begin to breathe again.

Now though it ought not go unsaid that Henry Kissinger is a competent student of history who echoes centuries (think Count Metternich)of realpolitikspeak the uber-ubiquitous mandarin Walter Issakson bloviates:

…Because he and Nixon failed to weave in the idealism that is ingrained in the American DNA, popular support for their realist edifice was precarious, as if built of bricks without straw. Kissinger was attacked by moral idealists of the left and, more notably, by the nascent neoconservatives and ardent anticommunists on the right.

Kissinger ends his latest book on a different note, one of humility—a trait that for most of his career he was better at humorously feigning than at actually possessing. “Long ago, in youth, I was brash enough to think myself able to pronounce on ‘The Meaning of History,’” he writes. “I now know that history’s meaning is a matter to be discovered, not declared.”

The key to Kissinger’s foreign policy realism, and the theme at the heart of his magisterial new book, is that such humility is important not just for people but also for nations, even the U.S. Making progress toward a world order based on “individual dignity and participatory governance” is a lofty ideal, he notes. “But progress toward it will need to be sustained through a series of intermediate stages.”

“Magisterial” new book? Oh my. Isaakson would be more creditable if he thought to acknowledge that Nobel Peace Prize Winner Kissinger’s*** approaches to Vietnam, Iran & Iraq, Chile, East Timor etc. assured the “failure of weaving in the idealism that is ingrained in the American DNA.” One can’t help but wonder what the late, lamented Christopher Hitchens would have made of Kissinger’s latest humble foreign policy decrees.

* The Passion of Bradley Manning: The Story of the Suspect Behind the Largest Security Breach in U.S. History by Chase Madar (OR Books)

** No Place to Hide: Edward Snowden, the NSA, and the U.S. Surveillance State by Glenn Greenwald (Metropolitan Books)

*** The Trial of Henry Kissinger by Christopher Hitchens (Verso)

Currently reading Scribe by Bob Ryan (Bloomsbury)

What’s the Hitch?

17 Jan

Unhitched by Richard seymour

Unhitched by Richard seymour


One delight that Christopher Hitchens death has precluded is the intellectual mayhem that would have been loosed by the publication of Richard Seymour’s Unhitched: The Trial of Christopher Hitchens (Verso).In a recent interview, Seymour suggests as much,”…

Seymour is hopeful that if he was alive today, Hitchens “might have had a bit of a laugh” about Unhitched. “One thing in his favour is that he was narcissistic but not prickly or vain,” he said. “I think he would have thrown an insult or two at me. He described Max Blumenthal as ‘a young skunk who hasn’t learned to piss yet’ and I think I could expect something along those lines.”

“It is written in the spirit of a trial, I do attempt to get a sense of the complexity and gifts of the man, but it is very clearly a prosecution, and you can guess my conclusion.” asserts Seymour. Though this indictment of Hitchens is more rigorous and detailed, Seymour has had at Hitchens previously— upon Hitchens being awarded the Orwell Prize; Seymour opined :

In a sense, it seems odd to think of Christopher Hitchens as an Orwellian. Here was a writer who, at his best, wrote with panache, lapidary refinement and a wide tonal range. One of his most damning adjectives was “atonal”. It’s hard to see much of Hitchens in the spare, terse prose of George Orwell. Nor is there much of Orwell in the Hitchens who became a Beltway gossip columnist, and later an amanuensis of the Bush administration. Yet, as someone for whom political writing was a literary effort, Orwell loomed large as a paragon of committed writing.

If nothing else,Hitch would certainly been flattered by the serious attention Seymour’s brief represents. Again, Seymour observes,

One chapter deals with the trajectory of his political shift, from the time he was a young socialist who joined Labour,” said Seymour. “I’ve interviewed a lot of his former comrades. If you read [Hitchens’ memoir] Hitch 22, it’s not an entirely reliable account – what he remembers and what others remember are different. He’s subtly, and sometimes not so subtly, revised things.

Christopher Hitchens by Robert Birnbaum

Christopher Hitchens by Robert Birnbaum

I was granted the amusement of conversing with Christopher Hitchens twice—conversations that can be found on the Internet as well as rich cache of Hitchens’ literary memorabilia. He was quite entertaining and vividly present. RIP

Currently reading The River Swimmer by Jim HArrison (Grove Atlantic)

The Voice of Reason is Small But Persistent

31 Oct

Waltzing at the Doomsday Ball by Joe Bageant


With the exception of Matt Taibbi, Barbara Ehrenreich, Belen Fernandez and the Baffler cadre (Thomas Frank, John Summers, Rick Perlstein) and Tom’s Dispatch, the voices of dissent and defiance are drowned out by a mainstream noise machine and dwindling population (RIP Howard Zinn, Christopher Hitchens, Gore Vidal, Joe Bageant) WHat you say, who is Joe Bageant?

Joe Bageant (Rainbow Pie and Dear Hunting With Jesus), who passed away last year, was one of the few American writers who wrote about the White underclass with out stereotype and condescension (see also Frank Bill, Donald Ray Pollack, Daniel Woodrell and Bonnie Jo Campbell). There is a newly published anthology of 25 of his essays Waltzing at the Doomsday Ball: The Best of Joe Bageant edited by Kevin Smith that is rich with insight and humor, from a vantage point rarely voiced in our helter skelter culture. One of Joe Bageant’s last tracts, “AMERICA: Y UR PEEPS B SO DUM? Ignorance and courage in the age of Lady Gaga” begins:

If you hang out much with thinking people, conversation eventually turns to the serious political and cultural questions of our times. Such as: How can the Americans remain so consistently brain-fucked? Much of the world, including plenty of Americans, asks that question as they watch U.S. culture go down like a thrashing mastodon giving itself up to some Pleistocene tar pit.

One explanation might be the effect of 40 years of deep fried industrial chicken pulp, and 44 ounce Big Gulp soft drinks. Another might be pop culture, which is not culture at all of course, but marketing. Or we could blame it on digital autism: Ever watch commuter monkeys on the subway poking at digital devices, stroking the touch screen for hours on end? That wrinkled Neolithic brows above the squinting red eyes?

But a more reasonable explanation is that, (A) we don’t even know we are doing it, and (B) we cling to institutions dedicated to making sure we never find out.

And this gem of analysis:

Cultural ignorance of one sort or another is sustained and nurtured in all societies to some degree, because the majority gains material benefit from maintaining it. Americans, for example, reap huge on-the-ground benefits from cultural ignorance — especially the middle class Babbitry — from cultural ignorance generated by American hyper-capitalism in the form of junk affluence.

And then a somber, resonant conclusion

Still, the void, the meaninglessness of ordinary work and the emptiness of daily life scares thinking citizens shitless, with its many unspeakables, spy cams, security state pronouncements, citizens being economically disappeared, and general back-of-the-mind unease. Capitalism’s faceless machinery has colonized our very souls. If the political was not personal to begin with, it’s personal now.

Some Americans believe we can collectively triumph over the monolith we presently fear and worship. Others believe the best we can do is to find the personal strength to endure and go forward on lonely inner plains of the self.

Doing either will take inner moral, spiritual and intellectual liberation. It all depends on where you choose to fight your battle. Or if you even choose to fight it. But one thing is certain. The only way out is in.

Currently reading Wilderness by Lance Wheeler (Bloomsbury)

Which Hitch?

29 Oct


I was speaking with a young woman —she is probably a generation behind me — and I realized she didn’t know who Alfred Hitchcock was and was not familiar with even his most famous films. This one pause to consider the size of the pop cultural window for subsequent generations Their accuracy notwithstanding ,biopics like Kinsey,Bird, Cadillac Records,Ray ,I Walk the Line, Bound for Glory, Malcolm X that ease access to cultural history.

Christopher Hitchens seems more likely to be recognized when the name “Hitch”is bandied about than the late 20th century British film director responsible for such classics as Vertigo, North By Northwest and, of course, Psycho and more. Alfred Hitchcock, “Hitch” as he was known to his wife and his staff, comes to mind via the HBO film, The Girl,which focuses on the singular relationship the aging and rotund auteur had with starlet/model Tippi Hedron. Toby Jones and Sienna Miller are convincing as the main characters.

As a counterpoint The Girl /Ms Hedron talks about her relationship with Hitch

Currently reading Ike’s Bluff by Evan Thomas (Little Brown)