Are we ‘Slouching toward Mar-a-Lago’?

Trump voters have spawned a number of comparisons and considerations to Rabbit and the real rural Pennsylvanians that helped put Trump in the White House. The latest comes from Andrew J. Bacevich, whose “Slouching Toward Mar-a-Lago: The Post-Cold-War Consensus Collapses” was recently published by The Unz Review: An Alternative Media Selection.

“Emotion-laden upheavals producing behavior that is not entirely rational are hardly unknown in the American experience,” Bacevich writes. “Indeed, they recur with some frequency. The Great Awakenings of the eighteenth and early nineteenth centuries are examples of the phenomenon. So also are the two Red Scares of the twentieth century, the first in the early 1920s and the second, commonly known as ‘McCarthyism,’ coinciding with the onset of the Cold War.

“Yet the response to Donald Trump’s election, combining as it has fear, anger, bewilderment, disgust, and something akin to despair, qualifies as an upheaval without precedent. History itself had seemingly gone off the rails. The crude Andrew Jackson’s 1828 ousting of an impeccably pedigreed president, John Quincy Adams, was nothing compared to the vulgar Donald Trump’s defeat of an impeccably credentialed graduate of Wellesley and Yale who had served as first lady, United States senator, and secretary of state. . . . A vulgar, bombastic, thrice-married real-estate tycoon and reality TV host as prophet, moral philosopher, style-setter, interpreter of the prevailing zeitgeist, and chief celebrity? The very idea seemed both absurd and intolerable. . . .

“Not all, but many of Trump’s supporters voted for him for the same reason that people buy lottery tickets: Why not? In their estimation, they had little to lose. Their loathing of the status quo is such that they may well stick with Trump even as it becomes increasingly obvious that his promise of salvation—an America made ‘great again’—is not going to materialize.

“Yet those who imagine that Trump’s removal will put things right are likewise deluding themselves. To persist in thinking that he defines the problem is to commit an error of the first order. Trump is not cause, but consequence. . . .

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Blogger writes about Shaw, Updike, and Trump

Under the header “Statistical Modeling, Causal Inference, and Social Science” blogger Andrew Gelman (andrewgelman.com) posted a think piece on “Irwin Shaw, John Updike, and Donald Trump” that begins with the writer’s admission that he read both the Shaw and Updike biographies (by Michael Shnyayerson and Adam Begley, respectively) and a lamentation that “very few people actually read” the latter.

“John Updike was a master of the slice of life and also created one very memorable character in Rabbit. . . . One thing Shaw did have was a combination of emotional sympathy, real-world grit, and social observation. . . .

“Updike and Shaw had different career trajectories. Updike started at the top and stayed here. Shaw started at the top and worked his way down. . . . From my perspective, Updike redeemed himself by writing a lot of excellent literary journalism. As they got older, both Updike and Shaw reduced their output of short stories, maintaining the high quality in both cases.

“Speaking of John Updike, if he were around today I expect he’d’ve had something to say about those rural Pennsylvanians who voted for Donald Trump. Being a rural Pennsylvanian. And John O’Hara, as a Pennsylvanian, and Roman Catholic, and an all-around resentful person: he wouldn’t had something to say about Trump voters from all those groups. . . .”

 

Orioles announcer considers Updike’s Maples Stories

John Updike was a writer who enjoyed both critical and popular success, and the range of people his writing “spoke to” is great.

Witness the latest ruminations on on Updike’s The Maples Stories, a fictional account of his first marriage, which come from Gary Thorne, the play-by-play announcer for baseball’s Baltimore Orioles.

His takeaway? “So the end does not define the marriage, the millions of moments do. Those moments are what Updike brings to life in each of these stories.

“Since they are in sequence, we see the lives of the Maples as it happened—all those mundane moments that perhaps were not so mundane after all.

“Updike, like the moments, writes in a reality we easily understand and feel. The exceptional growth of his writing abilities is seen since the sequence of stories is not only true for the marriage years, but for his writing as well.”

“Hitting the Books with Gary Thorne: The Maples Stories

 

Actress names Updike a style icon

So what does John Updike have in common with Lee Miller, Slim Keith, Amelia Earhart, Buster Keaton, James Baldwin, Greta Garbo, Ian Curtis, Bill Cunningham, Lee Radizwill, Lauren Hutton, Humphrey Bogart, and Tony Leung (In the Mood for Love)?

Actress Katherine Waterston (Fantastic Beasts and Where to Find Them) considers them all “style icons.” At least that’s what she told Vanity Fair‘s Krista Smith when asked to pose while channeling “the spirit of 70s cinema while talking about style icons she admires.

“See Issa Rae, Olivia Munn, and More of the Season’s Brightest Stars Channeling 70s-Cinema Style”

Updike included in Henry Green tribute

In a tribute to British author Henry Green (1905-73) titled “A reintroduction to the poet of modern fiction,” Danny Heitman begins with an observation and a quote from John Updike:

“Green’s books haven’t remained reliably in print, evidence of his limited popular appeal. But those who like Green’s novels really like them, and his following, though small, has been distinguished. John Updike, not prone to jacket-blurb hyperbole, celebrated Green’s novels with almost religious zeal.

“‘For Green, to me, is so good a writer, such a revealer of what English prose fiction can do . . . that I can launch myself upon this piece of homage and introduction only by falling into some sort of imitation of that liberatingly ingenuous voice, that voice so full of other voices, its own interpolations amid the matchless dialogue twisted and tremulous with a precision that kept the softness of groping, of sensation, of living.”

Amazon link to Loving

Alt-Media cites Updike’s The Coup

An “Alternative Media” site recently ran an opinion piece masquerading as news (“The Coming White Flight in Europe”) that quotes a big chunk of John Updike’s satirical 1978 novel, The Coup.

“Since the future of the world will be heavily influenced by the huge number of Sahelians headed our way, here’s the opening of John Updike’s 1978 novel The Coup, in which he describes a fictionalized Sahelian country much like Niger. Keep in mind, however, that the population of Niger in 1978 was 5.7 million. Today it is 21.5 million. In another 39 years, the span of time since Updike’s novel, it is expected to grow to 81.4 million. The Coup begins with the Col. Gadaffi-like Col. Ellellou writing his memoirs in a Nabokovian-Updikean prose style:

“‘My country of Kush, landlocked between the mongrelized, neo-capitalist puppet states of Zanj and Sahel, is small for Africa, though larger than any two nations of Europe. Its northern half is Saharan; in the south, forming the one boundary not drawn by a Frenchman’s ruler, a single river flows, the Grionde, making possible a meagre settled agriculture. Peanuts constitute the principal export crop: the doughty legumes are shelled by the ton and crushed by village women in immemorial mortars or else by antiquated presses manufactured in Lyons; then the barrelled oil is caravanned by camelback and treacherous truck to Dakar, where it is shipped to Marseilles to become the basis of heavily perfumed and erotically contoured soaps designed not for my naturally fragrant and affectionate countrymen but for the antiseptic lavatories of America — America, that fountainhead of obscenity and glut. Our peanut oil travels westward the same distance as eastward our ancestors plodded, their neck-shackles chafing down to the jugular, in the care of Arab traders, to find from the flesh-markets of Zanzibar eventual lodging in the harems and palace guards of Persia and Chinese Turkestan. Thus Kush spreads its transparent wings across the world. The ocean of desert between the northern border and the Mediterranean littoral once knew a trickling traffic in salt for gold, weight for weight; now this void is disturbed only by Swedish playboys fleeing cold boredom in Volvos that soon forfeit their seven coats of paint to the rasp of sand and the roar of their engines to the omnivorous howl of the harmattan. They are skeletons before their batteries die. Would that Allah had so disposed of all infidel intruders!’

“‘To the south, beyond the Grionde, there is forest, nakedness, animals, fever, chaos. It bears no looking into. Whenever a Kushite ventures into this region, he is stricken with mal à l’estomac.’

“‘Kush is a land of delicate, delectable emptiness, …’

“‘In area Kush measures 126,912,180 hectares. The population density comes to .03 per hectare. In the vast north it is virtually immeasurable. The distant glimpsed figure blends with the land as the blue hawk blends with the sky. There are twenty-two miles of railroad and one hundred seven of paved highway. Our national airline, Air Kush, consists of two Boeing 727′s, stunning as they glitter above the also glittering tin shacks by the airfield. … The natives extract ingenious benefits from the baobab tree, weaving mats from its fibrous heart, ropes from its inner bark, brewing porridge and glue and a diaphoretic for dysentery from the pulp of its fruit, turning the elongated shells into water scoops, sucking the acidic and refreshing seeds, and even boiling the leaves, in desperate times, into a kind of spinach. When are times not desperate? Goats eat the little baobab trees, so there are only old giants. The herds of livestock maintained by the tribes of pastoral nomads have been dreadfully depleted by the drought. The last elephant north of the Grionde gave up its life and its ivory in 1959, with a bellow that still reverberates. “The toubabs took the big ears with them,” is the popular saying. Both Sahel and Zanj possess quantities of bauxite, manganese, and other exploitable minerals, but aside from a streak of sulphur high in the Bulub Mountains the only known mineral deposit in Kush is the laterite that renders great tracts of earth unarable, (I am copying these facts from an old Statesman’s Year-Book, freely, here where I sit in sight of the sea, so some of them may be obsolete.) In the north there were once cities of salt populated by slaves, who bred and worshipped and died amid the incessant cruel glisten; these mining settlements, supervised by the blue-clad Tuareg, are mere memories now.’

“‘But even memory thins in this land, which suggests, on the map, an angular skull whose cranium is the empty desert. Along the lower irregular line of the jaw, carved by the wandering brown river, there was a king, the Lord of Wanjiji, whose physical body was a facet of God so radiant that a curtain of gold flakes protected the eyes of those entertained in audience from his glory; and this king, restored to the throne as a constitutional monarch in the wake of the loi-cadre of 1956 and compelled to abdicate after the revolution of 1968, has been all but forgotten. Conquerors and governments pass before the people as dim rumors, as entertainment in a hospital ward. Truly, mercy is interwoven with misery in the world wherever we glance.’

“‘Among the natural resources of Kush perhaps should be listed our diseases-an ample treasury which includes, besides famine and its edema and kwashiorkor, malaria, typhus, yellow fever, sleeping sickness, leprosy, bilharziasis, onchocerciasis, measles, and yaws. As these are combatted by the genius of science, human life itself becomes a disease of the overworked, eroded earth. The average life expectancy in Kush is thirty-seven years, the per capita gross national product $79, the literacy rate 6%.’

“‘The official currency is the lu. The flag is a plain green field. The form of government is a constitutional monarchy with the constitution suspended and the monarch deposed. An eleven-man Supreme Counseil Revolutionnaire et Militaire pour l’Emergence serves as the executive arm of the government and also functions as its legislature. The pure and final socialism envisioned by Marx, the theocratic populism of Islam’s periodic reform movements: these transcendent models guide the council in all decisions. SCRME’S chairman, and the Commander-in-Chief of the Armed Forces, Minister of National Defense, and President of Kush was (is, the Statesman’s Year-Book has it) Colonel Hakim Felix Ellellou–that is to say, myself.'”

Writers pass along Updike advice

Caleb and Linda Pirtle are writers, and in a recent blogpost they quoted advice from “John Updike: A giant of American literature” that begins with the title: “John Updike: Five pages a day every day of your life.”

Writers write. It can be that simple.

“John Updike, he of the bushy eyebrows and hawkish nose, had a distinct style of prose that was described as baroque, exquisite, and prolifically poetic. He did win a couple of Pulitzer Prizes, a pair of National Book Awards, and the Pen/Faulkner Award. And such novels as Couples and Witches of Eastwick, not to mention his quartet of Rabbit Angstrom novels, have a definite place on the top shelf of American literature.

“His name is widely known.

“His work is widely praised.

“Yet, John Updike, the man, was very private. Not a recluse, perhaps, but, it’s said, he cultivated his embowered solitude and would rather sit amidst isolation in his home on the Massachusetts shore and write.

“No one wrote more.

“He left an unending trail of fiction, poetry, essays, and criticism, most of which appeared rather regularly in The New Yorker. In addition, he published almost one book a year for more than a half century.”

Read the advice that Updike gave writers, which Caleb Pirtle passes along.

What’s singer Tom Odell reading? Updike!

Vogue magazine interviewed British singer-songwriter Tom Odell before he embarked on a two-month European tour, and one of the questions was What book are you currently reading?

Rabbit, Run by John Updike. I read it once before when I was a lot younger; it’s about a very brilliant sports star who just sort of gets up and leaves his family. It’s very gritty, it’s somewhere between John Steinbeck and Charles Bukowski,” the 26 year old said. That, by the way, was Rabbit’s age in the first book.

Odell’s debut studio album, Long Way Downwas released in June 2013 and his second album, Wrong Crowd, was released in December 2016, along with the Christmas EP Spending All My Christmas with You.

“Five Minutes With . . . Tom Odell”

Blogger says Hollywood’s Rabbit is a ‘dumb lug’


Updike’s most famous character, Harry “Rabbit” Angstrom, appears in Insomnia File #26—or at least the Hollywood version of him does.

Blogger Lisa Marie Bowman writes about her late-night viewing—”You know how sometimes you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable? This feature is all about those insomnia-inspired discoveries!”—and this time her wheel of fortune stopped on the 1970 film version of Rabbit, Run, which aired on TCM.

Her rather hilarious and insightful 3 a.m. reaction?

Rabbit, Run is the epitome of a dumb lug film. In a dumb lug film, a male character finds himself living an unfulfilling life but he can’t figure out the reason. Why can’t he figure it out? Because he’s a dumb lug, with an emphasis on dumb. Usually the viewer is supposed to sympathize with the dumb lug because he doesn’t mean to hurt anyone and everyone else in his world is somehow even more annoying than he is. Typically, the dumb lug will have an emotionally distant wife who refuses to have sex with him and who is usually portrayed as being somehow at fault for everything bad that has happened in the dumb lug’s face. (Want to see a more recent dumb lug film than Rabbit, Run? American Beauty.) . . .

Rabbit, Run is based on a highly acclaimed novel by John Updike. I haven’t read the novel so I can’t compare it to the film, beyond pointing out that many great works of literature have been turned into mediocre movies, largely because the director never found a way to visually translate whatever it was that made the book so memorable in the first place. Rabbit, Run was directed by Jack Smight, who takes a rather frantic approach to the material. Since Rabbit, Run is primarily a character study, it needed a director who would be willing to get out of the way and let the actors dominate the film. Instead, Smight over directs, as if he was desperately trying to prove that he could keep up with all the other trendy filmmakers. The whole movie is full of extreme close-ups, abrupt jump cuts, intrusive music, and delusions of ennui. You find yourself wishing that someone had been willing to grab Smight and shout, ‘Calm down!'”

Read the full blog entry, (which features an embedded trailer for the film that looks more like a parody of a Rabbit, Run trailer)