Friday, June 10, 2022
hitting all the right notes: Diva (1981)
Summary: Jules, a young mail courier, is an impassioned fan of Cynthia Hawkins, a legendary, and determinedly unrecorded opera star. He smuggles a tape recorder into a performance and tapes her singing. At the same time, a prostitute hides a tape recording that details the career of a French mobster in Jules' delivery bag. Dizzying chases and bizarre plot twists follow, as Jules is pursued through Paris, aided by his two eccentric friends, Gorodish and his Vietnamese mistress, Alba.
When it first came out all those many decades ago, well, four decades actually, I was fortunate enough to see Diva in the theater and enjoyed it very much. Only recently I’ve had the good fortune to catch it again on DVD and am delighted to say it’s even better than I remember. It seems to be a mixture of many styles and genres – thriller, art movie, comedy, surreal fantasy, film noir (albeit in color). But whatever the pedigree Diva is eminently, inevitably French. Indeed I see it as a kind of Frenchified Fellini, especially suggesting Roma and in particular the chase scene which recalls the last scene in Roma with all those motorcycles in their va-va-voom vroom glory. By the way, the DVD transfer looks like a million dollars, which further emphasizes Diva’s modern look and feel. Likewise, Diva’s slyly implied critique of commodified consumer culture seems more on the mark today that when the film originally appeared.
Wilhelminia Wiggins Fernandez is terrific in the title role. I’m a bit of a classical music – but not necessarily opera – buff and I don’t know much about Miss Fernandez’s subsequent career, as an opera singer or actress [1]. In any case she’s just perfect here: her vocal timbre strikes me as very Callas-like – now there’s a lady who knew a little about being a diva. And at least in her public appearances, whether in recital or being interviewed by pesky reporters, title character Cynthia Hawkins, played by Miss Fernandez, seems to be channeling much of the Callas polish and hauteur. Indeed the film’s signature tune "Ebben? Ne andrò lontana" from Catalani’s opera La Wally, sung so expressively by Miss Fernandez, was a Callas specialty.
Diva is a wild ride of textures, images and moods, and who cares if the plot’s a little shaky? Quite a bit shaky actually. Indeed if there ever was a film in which style triumphs over substance, this is it. But Diva has other merits. Best of all perhaps is the assortment of grifters, low-lifes, prostitutes, corrupt cops, good cops, aesthetes, journalists, bootleggers and various hangers on that pop up throughout, and of course we can’t forget our nominal hero Jules. But among the supporting cast and bit players pride of place must go to the drug cartel’s brutal, if slightly incompetent, assassins L’Antillais and Le Curé, two of the sleaziest characters you’ll ever see anywhere.
Diva then is absolutely sui generis. I can’t think of anything like it, before or since. However, for all the film’s exuberant panache and historical significance, the one downside is that Diva’s director Jean-Jacques Beineix never quite found his voice so harmoniously again.
1 Update [Mar. 2025]: I was saddened to learn that Wilhelmina Wiggins Fernandez passed away on Feb. 2, 2024.
Wednesday, June 8, 2022
why do writers write?
Why do writers write indeed? Suffice to say the question is a complex one as it touches on matters psychological, philosophical, ethical and teleological, with no clear-cut answers. It’s like asking what motivates football players to submit themselves to such, literally mind-numbing, violence (no comparisons to writers intended), or why do stand-up comics want to do their schtick (here perhaps the analogy is more to the point). In any case as the question applies to writing greater minds than mine have weighed in on the subject, and there seems to be no consensus. But as for me it’s a constantly fascinating topic that won’t go away, and I thought it worth a look, though truth be told I have little new or original to add.
Thus to invoke the analysis of one of my favorite thinkers, which we might dub The Orwell Thesis. Aside: was it Hemingway who famously said that anyone who writes for a reason other than money is a fool? [1] As for Orwell’s take on the matter, there’s much to admire and little I can take issue with. Like Orwell I would argue that the motives are more complex and subtle than the purely financial, though this is a consideration. Orwell’s comments below apply equally to those who love – or hate – to write, but in either case feel compelled to do so. And while I find much of Orwell’s digression on writing a bit too, well, digressive, his basic points are well-taken and never go out of style. I offer a condensed version of his thesis below.
“Putting aside the need to earn a living, I think there are four great motives for writing, at any rate for writing prose. They exist in different degrees in every writer, and in any one writer the proportions will vary from time to time, according to the atmosphere in which he is living. They are:
(i) Sheer egoism. Desire to seem clever, to be talked about, to be remembered after death, to get your own back on the grown-ups who snubbed you in childhood, etc., etc. It is humbug to pretend this is not a motive, and a strong one. Writers share this characteristic with scientists, artists, politicians, lawyers, soldiers, successful businessmen – in short, with the whole top crust of humanity … gifted, willful people who are determined to live their own lives to the end, and writers belong in this class. Serious writers, I should say, are on the whole more vain and self-centered than journalists, though less interested in money.
(ii) Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story … The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons.
(iii) Historical impulse. Desire to see things as they are, to find out true facts and store them up for the use of posterity.
(iv) Political purpose. Using the word ‘political’ in the widest possible sense. Desire to push the world in a certain direction, to alter other peoples’ idea of the kind of society that they should strive after. Once again, no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.”
“ … Looking back through the last page or two, I see that I have made it appear as though my motives in writing were wholly public-spirited. I don’t want to leave that as the final impression. All writers are vain, selfish, and lazy, and at the very bottom of their motives there lies a mystery. Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist or understand. For all one knows that demon is simply the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one’s own personality. Good prose is like a windowpane. I cannot say with certainty which of my motives are the strongest, but I know which of them deserve to be followed. And looking back through my work, I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages, sentences without meaning, decorative adjectives and humbug generally.”
I just love all those one’s. So British. And while the passage is a little overwrought, to my way of thinking it’s still very much on the money. Orwell says it all so well it’s hard to find anything of value to add. The urge, compulsion some would insist, to write, say, a mystery novel is a mystery. [2] It’s not necessarily borne out of pleasure or financial motives. The inspiration, or malady, strikes some of us, present writer included, in varying degrees over time. I confess after penning several books, reviews and more blog posts than I care to remember, the motivation of my compulsion to write eludes me. Not for fun, certainly. Some have opined that what all writers must have in common is a tendency to the masochistic, especially considering the vagaries of the audience and critical response.
Film director Billy Wilder quipped that directing a movie is a lot more fun than writing the script, that writing is hard labor, going so far as to famously have inscribed on his tombstone ‘I’m a writer but nobody’s perfect.’ As for me the drive to writing goes way back, at least to high school years, when I enjoyed the essay parts of my English classes. I wasn’t very good but took to the assignments like catnip, and was always flattered when the instructor chose one of my pieces to read in class. It culminated in my being co-editor of my high school yearbook, and as the saying goes, the rest is history. Getting back to Orwell, I especially like and identify with this passage: “Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist or understand.” [3] As Orwell might say, hear, hear.
[1] Further research suggests the quote, or something like it, was actually said by Dr. Johnson, though no doubt others have expressed the same, or similar, sentiment.
[2] Especially so given the subsequent critical reception if one has the courage to go public with a literary creation. Perhaps the comparison isn’t totally felicitous but I recall a quote about war attributed to Queen Elizabeth I, which might well apply to creating a book: “I do not like war. It is costly and the outcome uncertain”
[3] To be sure, there are dissenting voices to the writing-is-a-horrible-torture point of view. See here, para. 3, for one example.
Friday, June 3, 2022
the girl who got away ... twice
Vertigo. Cast: James Stewart, Kim Novak, Barbara Bel Geddes, Tom Helmore, Henry Jones, Raymond Bailey, Ellen Corby, Konstantin Shayne, Lee Patrick. Director: Alfred Hitchcock. Screenplay: Alec Coppel, Samuel Taylor, from the novel D’entre les morts by Pierre Boileau and Thomas Narcejac. Cinematography: Robert Burks (colour by Technicolor, Vistavision). Art directors: Hal Pereira, Henry Bumstead. Costumes: Edith Head. Editor: George Tomasini. Music: Bernard Herrmann. Special effects: John P. Fulton, Farciot Edouart, W. Wallace Kelley, John Ferren. Production: Alfred J. Hitchcock Productions. Restoration: Robert A. Harris, James C. Katz, 1996. USA, 1958, 127 minutes.
Style **** Substance ****
Take it from Scottie Ferguson: If you’re not careful, an affair can make life shorter still. Need a painkiller? See Vertigo again. – Julia Szabo, “Why Vertigo Beat Citizen Kane to Become the Top Rated Film”
In a post elsewhere online I opine that Ernst Lubitsch’s frothy Trouble in Paradise may well be my favorite movie. However, a recent viewing of Vertigo may make the result more like a tie [1]. Anyhow fascinating to note that in both films the central character has broken the rules and fallen in love with the mark, but how different the treatment: with its intense emotional content, Vertigo may be seen as the dark mirror to Trouble in Paradise’s ebullient, quasi-screwball comedy feeling, the latter film nothing more and nothing less than a Cole Porter tune come to life. But where we might shrug our shoulders and simply say ‘it was just one of those things’ when referring to Trouble in Paradise, we’d never indulge ourselves in such an offhand dismissal when considering Vertigo.Kim Novak resplendent
It was a sometimes surprising experience to see the great film again, the first time I’d caught it on the big screen since its mid-80s re-release [2]. So many praiseworthy things about it: Herrmann’s haunting score, the phantasmagoric colors, Edith Head’s costumes … one could go on and on; critics and devotees have gone on and on. This time I was struck by its incredible, and incredibly complex, emotional content, and most of all, by the sadness and desperate longing embodied in the character of Judy/Madeleine, brought so spellbindingly to life (or is it death?) by Kim Novak in her wondrous performance. Up until the scene at Ernie’s in which Miss Novak enters the movie, it’s a fairly bland, and talky, mystery story set-up. But once the mysterious Madeleine makes her unforgettable entrance, the film really takes off and never lets up. Indeed, and with no disrespect to the great James Stewart, a terrific actor, from this point forward it’s really a Madeleine story.
As for our nominal hero Scottie, he’s already a broken man long before he meets Judy/Madeleine, the acrophobia and his back injury a metaphor for his irreparably damaged psyche. Although we're given few details about his past and as a result mostly in the dark as to his psychological history, we're thrown a nugget of a clue early on when it's revealed that Midge broke off their engagement twenty years or so prior, for reasons not revealed. Even so, he continues to needle her about it and protest too much that he’s still available (‘available Ferguson’). Another viewing helps me appreciate Barbara Bel Geddes’ touchingly sensitive portrayal – much overlooked in light of Stewart’s showy performance and Kim Novak’s more subtle, enchantress-like presence. In spite of all this Midge still loves him, treating him much like a mother, even referring to herself as such.
This time around I wasn’t quite so upset by Scotty’s heavy-handed treatment of Judy; the guy’s not a monster, he’s just hopelessly misguided and obviously unbalanced, more to be pitied than vilified. And we have to remember that Judy, sympathetic and beautiful as she is, is herself at least accessory to murder, just one step away from being a murderess. Indeed, unpleasant as Scotty may be, Judy is arguably technically the more evil of the two. Which reminds me: a fussy plot complaint (one of potentially many) – why didn’t Judy simply leave San Francisco, and for that matter why would Elster abandon someone so ethereally beautiful, to say nothing of the fact that she has the goods on him? And another thing … well, as you see, Vertigo isn’t about plot – a Golden Age puzzle mystery where all the pieces fit comfortably and logically together it most certainly is not, quite the contrary. And that’s rather the whole point: that life, and love, doesn’t always come out right in the end.
But, as intimated above, Vertigo is ultimately about Madeleine/Judy, and Kim Novak is utterly convincing in assuming the personas of two very different women. Moreover, everything about her performance is absolutely flawless; it’s a no brainer that it’s her best role ever. And, reports to the contrary that Hitchcock didn't like her as an actress, one could make a case that she's the ultimate icy Hitchcock blonde. I’d go one better and declare that her incredibly nuanced reading, revealed only though repeated viewings, is the best single performance by any actress in cinema history, or close to it. It’s almost fantastical to think she was all of 25 years of age when she delivered such a rich portrayal. Vera Miles? Grace Kelley? In this role? Gimme a break. It all inspires me to up the ante even further and suggest that, based on this performance alone [3], she has a strong claim as the best film actress of all time, though I do confess a great fondness for Gloria Swanson, especially her incomparable turn as Norma Desmond in Sunset Boulevard. In either case: take that, Kate Hepburn!
Interesting to consider Ms. Novak’s recent comments on her bipolar disorder :
“I was very erratic. I did suffer from mental illness. I didn’t know it at the time. At times I was focused. Other times, the press would come on the set and I’d feel the energy of people laughing at me or not approving of my style of acting. You could pick up those feelings. I was distracted. I couldn’t perform as well. I was erratic in my performances, I feel.”
It goes a long way toward explaining her wafty, slightly unfocused acting style. To a certain extent this is present in Vertigo, but somehow this time she was able to magically transform this disability into a positive with her multi-layered, enigmatic performance. Curiously, she considers Vertigo not one of her better films. Sorry, Kim, I beg to differ, in a big way. It’s also fascinating to recall the possibly spurious stories that she could be glimpsed during subsequent visits to San Juan Bautista Mission, where she would sit on the wooden benches and stare across the large lawn at the church, lost in her own meditation. A penny for her thoughts. Somehow, even if apocryphal, it’s an irresistible image.
Officially anointed the greatest movie of all time, Vertigo is easliy Hitchcock’s most written about work. And inasmuch as critics and film historians have explored its aesthetic depths more fully, Julia Szabo’s above-referenced essay is perhaps my favorite, as it comes closest to the bone in getting to Vertigo’s fear of falling (in love) message for today’s chatroom gestalt, especially for those of us of a certain age who feel especially susceptible to the seductive, but alas, elusive, and often illusory, allure of the perfect love. We may not be as damaged, or obsessive, or legally culpable as the characters in Vertigo, but in our ways just as imperfect.
Case in point: the one ‘normal’ character, Midge (Barbara Bel Geddes), is at best a flawed heroine. Nonetheless, how beautiful – and passionate – the character, and actress; Scotty was a fool to reject her, and perhaps she’s as much a fool in her obviously hopeless quest to win his affections.
Indeed, what strikes me upon re-visiting the film is not the incredible visual flourishes, or great detail [4], to mention only a couple of its virtues, but its compassion and humanity, for Vertigo is not really about romantic obsession per se, and it’s absurd to call it a murder mystery. Ultimately it’s of the human impulse, and, yes, need, to connect with others, to love and be loved, and the sometimes heavy toll said impulse takes on the spirit and psyche, even when things work out well in the end. At its core then Vertigo is a love story, however offbeat.
But as for the vehicle and style to express such a story: as mentioned above Vertigo is not a conventional romance and even less a mystery, but rather, a mood piece, a meditation, similar in tone to the Forties supernatural romantic fantasies like Portrait of Jennie, The Uninvited, The Ghost and Mrs. Muir, and Pandora and the Flying Dutchman. And for all of Vertigo’s much discussed extravagant colors and luxuriant on-location San Francisco photography, it has a remarkable similarity in mood and treatment to the low budget RKO Val Lewton supernatural noir thrillers of the early Forties, however different, at least in purely visual terms, its saturated look is from the stripped down studio bound aesthetic of the Lewton films.
As if in an attempt to restore all the illusions and hopes Vertigo so cruelly thwarts, Stewart and Novak were paired again the same year in the much more feel good if arguably artistically inferior Bell, Book, and Candle, which might be seen as a sunny sequel, or even the happy ending version of Vertigo, in which Kim Novak reprises, or to be more precise, offers a lightweight variant of the enchantress Madeleine in the form of a looking-for-love Greenwich Village witch, who, like Judy/Madeleine, becomes mortal when she falls in love. One is tempted to invoke the film’s memorable closing line: “who knows what magic really is.” But, as Ms. Szabo gently cautions us in her aforementioned essay, this soothing balm in Gilead doesn’t even come close to exorcising the psychic demons which Vertigo conjures up.
The greatest film?
Much has been made of Vertigo’s bumping Citizen Kane as the #1 film of all time [5], at least according to the critics (Sight & Sound poll, 2012). A separate S&S directors’ poll places Ozu’s Tokyo Story as #1, with Kane second, actually tied with 2001: A Space Odyssey, and Vertigo placing a respectable seventh. In any event, we have a split decision of sorts, though the critics’ poll has gotten a lot more ink.
For me, however, it’s the great emotional and, if you will, spiritual, content of Vertigo that sets it apart from other masterpieces or near-masterpieces, whether directed by Hitchcock or not. We can cite two examples : Hitchcock’s North by Northwest and Welles’s Kane, both eminently watchable, and impressive technical achievements, but both of which have barren emotional/metaphysical cores.
Even so, Vertigo divides viewers and critics to this day. There’s still lots of debate about whether Hitchcock was right to reveal Judy’s secret to the audience two thirds of the way through. My feeling is that he was correct, absolutely, because, on a simplistic level, this creates suspense, and yes, discomfort, for the rest of the film, rather than relying on an Agatha Christie-esque scenario in which the surprise is revealed only at the end.
[1] Two recent viewings actually, one of them in HD no less – incredible.
[2] I remember watching Vertigo on TV in the 60s and 70s, 'Saturday Night at the Movies', I think the program was called, and the narrator portentously intoned “Alfred Hitchcock’s Vertigo.” And I was hooked for life. Then the film went into its legendary out of circulation status, to re-emerge in the mid-1980s when I last saw it in the theatre. I also caught the expert 1996 restoration and its commentary a couple of times on DVD.
[3] To say nothing of her other, not so well known roles: Of Human Bondage, Middle of the Night, The Man with the Golden Arm.
[4] Just the art works and antiques alone in Scottie’s and Midge’s apartments merit especial praise. Ditto for Elster’s office and its scrumptious carpet and furniture. And still more kudos for the gossamer lighting effects at Mission Dolores. But for all its detail, there’s an artificial quality to Vertigo, which, combined with the great washes of color and the dreamy San Francisco landscapes and environs, that suggests a quasi-surrealist feeling akin to films like the aforementioned Pandora and the Flying Dutchman.
[5] Oops! In the 2022 poll, Vertigo slipped all the way to second place, being supplanted by Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles as the current critics' choice as the 'greatest movie of all time.'
Further reading: Brandie Ashe, Kim Novak in Vertigo: A Hypnotic Presence; Death and the Detective : Vertigo Revisited; A Month of Vertigo : the Boggers and Their Posts; Vertigo (no. 2) ; Rhik Samadder, My Favorite Hitchcock : Vertigo; An Inconsequential Yarn: Writing Alfred Hitchcock’s Vertigo; The Critical Transformation of Hitchcock’s Vertigo.
Wednesday, June 1, 2022
Tricky, the Dragon Lady, the gumshoe and the shrink
Graff, Garrett M. Watergate: A New History. Simon & Schuster, 2021.
O’Donnell, Lawrence. Playing with Fire: the 1968 Election and the Transformation of American Politics. Penguin, 2017.
Robb, David L. The Gumshoe and the Shrink: Guenther Reinhardt, Dr. Arnold Hutschnecker, and the Secret History of the 1960 Kennedy-Nixon Election. [includes: appendix, Reinhardt’s confidential report on Dr. Hutschnecker]. Santa Monica Press, 2012.
Confession: somewhat reluctantly I admit to be of sufficient certain years to remember the goings on during the Watergate Affair. With more than casual interest I followed the always fluid developments. Glued to my television, I reveled in a bespectacled John Dean as he spoke of a cancer on the office of the president; read somewhere that Martha Mitchell opined that rumors to the effect that she’d been confined to a mental hospital were “… as crazy as can be”; and remember a news item that let us know Gordon Liddy saluted someone (McCord?) when he walked into the courtroom. I’m even old enough to remember the rancorous – even by today’s standards – 1968 presidential campaign, and even recall, though just barely, and hazily, the 1960 campaign, my introduction to electoral politics.
Thus my personal association with the trifecta of books cited above and the eras they so vividly capture. I actually did some time (the phrase is not coincidental) volunteering for one of the sides in the 1968 presidential contest (I’ll not divulge which side), but haven’t been much of an activist since. In any event, as of the writing of this post, the 50th anniversary of the Watergate break-in is upon us, give or take a few weeks, and a think piece on the break-in and -like events of the era, focusing on three books that caught my attention, seems apropos. Of the three books listed above two are (semi)-scholarly and one is popular. All the books have a progressive slant, Graff only mildly so, O’Donnell and Robb not so mildly. What is surprising is that, while the slightest, the Robb volume is in its way the most remarkable, and surely the most entertaining. But I get ahead of myself.
O’Donnell’s compulsively readable account of the dramatic events of the late Sixties (an era uncannily similar to our own), focuses on the ’68 election and compares favorably with Theodore White’s magisterial The Making of the President 1960. The book in particular gives strong coverage to the nuts and bolts of the presidential campaign (almost too strong in some cases, the detailed accounting of the primary season and the nomination process being one example). Other tumultuous events of that year are chronicled extensively, but the overarching idée fixe throughout is the Vietnam War, which drives so much of the narrative both as foreground and background. If there’s a hero in O’Donnell’s thesis, it’s Senator Eugene McCarthy (Bobby Kennedy ranks a close second). McCarthy cheekily challenged President Johnson for the Democratic nomination and ran against him in the New Hampshire primary as the anti-war candidate, and almost won. There are plenty of villains in Playing with Fire, but it’s no surprise that Richard Nixon emerges as the principal bad guy though LBJ is always lurking in the shadows.
Correctly or no, O’Donnell credits McCarthy more than anyone else with shortening the war and saving lives. But he gives us the real kicker in the last chapter, aptly titled ‘The Perfect Crime,’ in which he details what came to be known as the Chennault Affair, the short version of which is: four days before the election President Lyndon Johnson announced a halt to the bombing of North Vietnam as a strategy to end the Vietnam War. But there was a problem: operatives in the Nixon campaign were secretly communicating with the South Vietnamese government in an attempt to scuttle the peace talks taking place in Paris. They told the South Vietnamese to just hold out a little longer and Nixon would give them a better deal if he became president. The principal go-between for the Nixon campaign and the South Vietnamese delegation was Anna Chennault, a Chinese-born Republican fundraiser, widow of U.S. WW2 Major General Claire Chennault, and general woman-about-town in Washington. A nice bit of ironic trivia is that she lived at the Watergate, in the penthouse no less.
When he learned of the underhanded communications, President Johnson described the skullduggery as "treason." But he never went public with his knowledge, for fear of damaging the office of the president and needing to disclose that that he used government agencies, arguably illegally, to spy on Chennault and the South Vietnamese. Moreover, Johnson admitted that he lacked “absolute proof that Nixon was involved” (revelations in recent years present a clearer picture, i.e. that Nixon was very much involved).
Nixon won the election against Hubert Humphrey, barely, and his ‘better deal’ for the South Vietnamese ultimately extended the war another six years, cost an additional 21,000 American lives and untold tens of thousands, perhaps hundreds of thousands, or more, Asian lives, and when the war finally ended in 1975, a year after Nixon’s resignation, the terms were essentially the same as those negotiated by Johnson in 1968 but never realized due to Nixon’s interference in the peace talks.
But perhaps the most long-lasting result of the 1968 campaign was the ascendancy of one Roger Ailes, Nixon political consultant and architect of the modern, mass media driven political campaigns and eventual chairman of Fox News. There’s also the, eerily prescient, politics of fear and divisiveness that drove, well, both campaigns really, but the Republican campaign used it especially effectively (remember Nixon’s law-and-order mantra and the Southern strategy?) with attendant electoral dividends.
There’s not a lot that’s new in Playing with Fire, but it’s presented in such a literate, cogent fashion that history buffs and politics junkies will take notice and find much of it little short of catnip. Still, how one reacts to O’Donnell’s take will in large part depend upon political sympathies. Like other things, good history, and good politics, is in the eye of the beholder.
"When the president does it, that means that it is not illegal"
We fast forward a few years, though not that many really, to 1971, where Garrett Graff’s Watergate: A New History begins. The mindset that led to the Watergate break-in and similar actions are covered in highly detailed, well-organized fashion in Graff’s densely packed account. Indeed, with Watergate: A New History, Graff has produced the most complete and thorough one-volume history of the Watergate Affair to date, and it should stand as definitive for some time, at least until new information, lots of new information, and new perspectives, are uncovered.
Depending on how one defines the origins of Watergate, the beginnings may go as far back as 1968, the year of the above-discussed Chennault Affair. But the true underpinnings of Watergate as a political operation didn’t take place until the summer of 1971, when Daniel Ellsberg released the Pentagon Papers to various newspapers. Nixon initially was nonplussed about the Papers but, egged on by his advisers, eventually went ballistic. ‘The Pentagon Papers’ was a top secret Department of Defense study of American involvement in Vietnam from 1945 to 1967, focusing on the administrations of John F. Kennedy and Lyndon Johnson. The papers included the various lies and deceptions committed by the government. But here is the great irony: the word Nixon barely appears anywhere in the 7,000 pages and 47 volumes. As much as anything else the reason Nixon reacted so violently to their public dissemination was the top secret classification. In a word, Nixon was afraid. The main reason for the fear was the possibility that Ellsberg or someone else might leak additional documents that would reveal Nixon’s then undisclosed, potentially criminal, actions, such as the secret bombing of Cambodia. But even worse, somewhere in the Vietnam deluge might be evidence of the above-discussed Chennault affair and Nixon’s treachery. Thus Nixon became obsessed with leaks and created the infamous White House Plumber’s Unit, whose various extra-curricular activities included the break-in of Ellsberg’s psychiatrist’s office, the planned break-in – on Nixon’s orders – of the Brookings Institution (never carried out), illegal surveillance and wiretaps, and eventually the Watergate break-in and cover-up. Thus what we today know as ‘Watergate’ was only part of a larger umbrella of clandestine activities orchestrated by the White House at Nixon’s behest or done on his behalf. In his new study Graff lays out this thesis in excruciating (in a good sort of way) detail, employing updated sources but relying mostly on contemporary accounts. The inescapable conclusion is that the Watergate break-in and cover-up was really just the tip of the iceberg, and not necessarily Nixon’s worst crime [1].
As Graff points out, had there been no Watergate, Nixon may well have been considered a towering and positive figure in twentieth century American history, right up there with FDR as one of the great presidents [2]. Nixon signed the Clean Air Act and created the Environmental Protection Agency, signed the Occupational Safety and Health Act, transformed the Post Office into a quasi-private government entity, hiked Social Security payments, extended unemployment benefits, declared war on cancer, signed Title IX to give women opportunities in academia and on athletic playing fields, was an early supporter of civil rights (he advised then-President Dwight Eisenhower to sign the 1957 Civil Right Bill.), signed arms control treaties with the Soviet Union, re-opened diplomatic relations with China, and was the first American president to visit a communist bloc country, this despite his being a lifelong rampant anti-communist. Speaking of anti-communism, it must be mentioned that his handling of the Vietnam War is another, more complicated matter, perhaps less deserving of praise [3].
There are additional, personal qualities one can cite. Nixon was always loyal to his family; he was an outstanding law student (he was offered a full scholarship to Harvard, but declined); he was something of an intellectual and an avid student of history; he was loyal to a fault to his workers and advisers (and later abandoned them); Nixon established a scholarship at the Duke University law school; he served honorably in the U.S. Navy in WW2; he was a classical music buff and a fair amateur pianist, and had even once considered a career as a musician.
However, and it’s a big however … all the positive accomplishments were largely negated by a one-word scandal that led to congressional impeachment hearings and his eventual resignation from office. For better or worse, ‘Watergate’ and all its lurid associations would be forever symbiotically connected to Richard Nixon, overshadowing all other facets of his political life.
Graff’s writing style is fairly dry but he gets high marks for organization, especially so considering the Watergate Affair’s many intersections and cross currents. The detailed index and extensive notes section are first-rate but there’s no general bibliography. A welcome plus are the footnotes Graff inserts within the text that clarify and elaborate upon the basic narrative. Graff also fleshes out a few more details of the unsavory Chennault Affair but more or less treads the same ground as does O’Donnell [4].
Graff admits that even today a half century later, despite the myriad of information available, there’s still no definitive answers to the basic questions: who ordered the Watergate break-in; what was its purpose; did some of the participants have their own private agendas; how did it fit in with the other dirty tricks of the White House Plumbers; how much did the participants know, both before and during the break-in [5].
Amid the sordid, untidy nature of the whole affair, there are compensations: one of the great joys, if that is the word, of Graff’s telling are the insights he provides into the various characters involved in the Watergate business, their glories, foibles and absurdities. There’s the near pathological, single-minded intensity of Gordon Liddy and his highly imaginative – and expensive – ideas for sabotaging the operations of political enemies; the outrageously politically incorrect pronouncements of Martha Mitchell (among other things Martha alleged she was held hostage and drugged when she tried to talk to the press); a near senile J. Edgar Hoover and the Nixon administration’s attempts to lessen his influence as FBI director; CIA operative E. Howard Hunt, author of spy novels and later his own autobiography, appropriately titled American Spy. Then there’s the baroque convolutions in the arranging of the ‘hush money’ campaign funds used to pay off the Watergate burglars for their silence.
Of course the inescapable main character is Richard Nixon, and what emerges is a somewhat complex but mostly unflattering portrayal. The White House tapes alone reveal him to be one vile, sneaky, thin-skinned, vindictive, anti-Semitic, homophobic, misogynistic, racist, paranoid, foul-mouthed piece of work. But what we get, from all three books really, is a more complexly nuanced, if not exactly sympathetic, view of the man. In a word, Richard Nixon was a complicated guy. Moreover, in his own idiosyncratic way, he actually loved his country [6], but the great tragedy is that he loved power more, and as these three books remind us, he would do (almost) anything to attain power and hold onto it. And because of his conspiracist vision of the world, saw enemies everywhere – the press, judiciary, anti-war protestors, Daniel Ellsberg, leftists, hippies, intellectuals, and of course Democrats – intent on taking that power away from him [7].
We go back to 1960 with David Robb’s The Gumshoe and the Shrink, which basically tells the story of eccentric private investigator Guenther Reinhardt and his connection to the 1960 presidential campaign. Reinhardt was hired by Frank Sinatra (acting as intermediary for Joseph Kennedy, JFK’s father) to dig up dirt on Kennedy’s opponent Richard Nixon, especially if he could find evidence that Nixon was seeing a psychiatrist. Indeed he was [8]. Nixon started seeing Arnold Hutschnecker in the early 1950s and continued to do so intermittently throughout the decade. Hutschnecker’s checkered career included the revocation of his license to practice medicine for a year, but he rebounded by writing a best seller titled The Will to Live, one of the first self-help books to reach a mass audience. Austrian born, Hutschnecker received his medical degree in Berlin and practiced medicine in Germany until 1936, when he fled the country to escape the National Socialist regime. He set up his medical practice in New York as an internist but his specialty narrowed and he focused more and more on psychosomatic illness and depression. His high powered patients included Rita Hayworth, Elizabeth Taylor and the author Erich Marie Remarque.
With The Gumshoe and the Shrink, we’re propelled into a different, what shall we say, literary, universe. I hesitate to say a different moral or ethical, even political, universe, since most of the dirty tricks and duplicitousness we find in the 1968 election and Watergate, covered so well by Graff and O’Donnell, were around in abundance in 1960, the difference being that they were less visible, or, perhaps more to the point, less covered, actually less discovered, by the press. In any event, the difference is really one of style: despite their smoothly digestible prose and friendly organization, Graff and O’Donnell still have a scholarly patina. Not so Robb’s breezy page turner. Gumshoe not only flows like a novel, a good one, but the content seems more fiction than fact. Indeed, much of it reads like a whodunit, and some of the stuff in it seems so fantastical that it must be fiction. But the claims are documented with sources and when one checks them out they come in positive.
Gumshoe is also enjoyable for the depiction of the various and sundry, sometimes oddball characters who flit in and out of the story: Westbrook Pegler, depraved reactionary columnist and radio personality, who penned near-psychotic missives against Roosevelt, Truman, unionists, and imaginary communists [9]; Senator Joseph McCarthy, who makes an appearance in an especially appalling scene of drunken violence; Drew Pearson, muckraking journalist, Pegler nemesis, and the first to report the Nixon-Hutschnecker connection; India Edwards, ground-breaking political operative and the sacrificial pawn in the JFK Addison’s Disease imbroglio.
Given that there’s something juicy on just about every page of Gumshoe – incidents recalled, documents quoted, quasi-bombshells revealed – somehow this modest entry into an admittedly crowded field has managed to stay under-the-radar. Indeed, I’d never heard of the book till I stumbled upon it a few years ago at the local public library. Moreover, one can only wonder why a cinematic treatment hasn’t been done. I can’t help visualizing in my mind’s eye our two main protagonists in the story, and no, they aren’t Kennedy and Nixon but rather Guenther Reinhardt and Dr. Arnold Hutschnecker. For me the inevitable choice to play the dodgy, amoral Reinhardt would be Walter Slezak, an Austrian émigré and prolific 1940s actor who specialized in slippery characters, albeit with a philosophic, intellectual bent. Appropriately enough, he played a private detective in two of his best films, Cornered and Born to Kill. The role of Hutschnecker is a little more problematic, but an initial choice might be John Hoyt, character actor with an exotic edge who appeared in countless 1950s and 1960s television programs and films. Horror and sci fi buffs probably best remember him as the mad scientist in the cult classic Attack of the Puppet People. In any case, what the heck, while we’re talking movies, for the other two, more historically significant principals of Gumshoe, to play JFK I’ve got to go with Bruce Greenwood of 13 Days, and for Nixon, a tougher call, since lots of actors have played him, and done so very well. But my choice is Dan Hedaya, who with the obvious physical resemblance, also comes with the distinction of previously essaying Nixon, brilliantly, in the Watergate spoof Dick.
While Robb’s book is vaguely pro-JFK with its mostly positive portrait, Joe Kennedy cuts a pretty poor figure. Power hungry, absolutely ruthless, and more than willing to use his huge financial resources to further the political ambitions of his sons, his ambitions really, Joseph P. Kennedy actually had a lot in common with Richard Nixon. And JFK doesn’t emerge totally unscathed: during the runup to the 1960 Democratic convention, doubtless with his knowledge and approval, subordinates and surrogates repeatedly and categorically denied that he had Addison’s disease. This was a blatant falsehood, since he’d been diagnosed with the condition as far back as 1947. But Lyndon Johnson emerges as an even more unsavory character. A consummate old school politician and exponent of the win-at-all-costs philosophy, Johnson was a master of dirty tricks at least at the level of Nixon himself.
Gumshoe is admittedly not a perfect work: the chronology jumps back and forth and thus detracts from the real narrative – the 1960 election, and especially Reinhardt’s various machinations – which is the crux of the story. Still, the book is a thoroughly enjoyable, fast-paced read, and should appeal to a wide audience, from history buffs to pop culture enthusiasts to fans of cloak and dagger intrigue on the margins.
It seems nary a year goes by and a new Nixon biography or Watergate analysis, memoir, or tell-all exposé isn’t released. Each one peels back a few more layers of the Nixon psyche and reveals just a little bit more – the conniving schemer, frustrated social climber, criminal dissembler, misunderstood genius, tragic hero. Yet if the politician is an open book, solved long ago, the man remains an enigma, as mysterious and inscrutable as ever. We may not have Nixon to kick around anymore, but we still have the specter of ‘Watergate’ and all its after-effects, manifested mostly in the profound distrust of government and disdain for politicians generally. We may be finished with Nixon, or hope we are, but as the three books cited above remind us, he isn’t quite finished with us.
[1] To be totally equitable it wasn’t only Nixon who was held accountable for all things Watergate. Scores of cronies, subordinates, and other operatives, as well as dozens of big corporations, were charged with crimes. Several served substantial prison sentences, and their Watergate afterlives are a curious combination of obscurity and semi-celebrity: right-wing radio hosts, actors, political and business consultants, best-selling authors (predictably, several memoirs emerged), political columnists.
[2] Similarly, it must also be mentioned that, had there been no Vietnam War, today Lyndon Johnson would be considered one of our greatest presidents.
[3] I leave to others, i.e. professional historians and legal scholars, to determine whether Nixon’s directives in the Vietnam War qualify as war crimes. At the very least the horrific Christmas bombings in 1972 and the above-referenced secret bombings of Cambodia are sufficient to give one pause.
[4] Rumblings of the scuttling of the Paris talks had trickled out in the press as early as 1969, but nothing stuck, and by the early 1970s the story had all but disappeared from the political radar. Ironically enough, the next substantial mention in the public record of the backchannel negotiations may well have come from a most unlikely source: Anna Chennault. In her 1980 memoir The Education of Anna she describes communications she had with Nixon, John Mitchell and the South Vietnamese government. This appeared at least two decades before more details, the proof, if you will, emerged, and the Affair began to seep into public awareness, culminating in books like Ken Hughes’s Chasing Shadows and Don Fulsom’s Treason: Nixon and the 1968 Election. For an exceptionally detailed analysis of the Chennault Affair see: John A. Farrell, Richard Nixon: The Life (Doubleday, 2017), pp.342-44; 637n-640n.
[5] Almost to the point of tedium, Graff methodically takes us through the most commonly put forth theories on the actual motivation for the break-in. The scenarios range from the mundane to the downright absurdist. The official theory, probably the correct one: incompetent burglars broke into the Democratic Party headquarters at the Watergate to bug the office or phone of party chairman Larry O’Brien, the ultimate goal to find incriminating or embarrassing information. A second, related, almost sub-theory, one that naturally alarmed the ever-paranoid Nixon, is that the burglars were looking for any incriminating information the Democrats might have on Nixon and the Republicans. And the theories get more creative: the burglars were looking for information about an alleged call-girl ring organized by the Democratic headquarters to arrange hookups with visiting supporters and VIPs. A different scenario, quintessentially Nixonian in its unsavoriness, is that of illegal foreign contributions to the Nixon campaign from the brutal Greek military junta in power at the time. These were said to total half a million dollars, and the Nixon campaign was concerned that the Democrats might have knowledge of such contributions. Then there’s the CIA connection: did James McCord and Gordon Liddy, former Agency employees, have their own, CIA-friendly agendas in the burglary? A final sub-theory is that the Democrats somehow had advance knowledge of the break-in and set a trap for the burglars. It’s also feasible that various overlapping elements of some or all the theories are correct. As the fellow said, we’ll probably never know the whole story.
Curiously, concern that the Democratic office might have the goods on the Chennault Affair seems not to have been an issue, at least as far as the conspirators were concerned. It’s very possible that Nixon considered the information so sensitive that he didn’t even entrust it to his redoubtable Plumbers.
[6] And truth be told, he did some good things. His most enduring, forward-looking accomplishments were in domestic policy, another Nixon irony, since he considered himself a foreign affairs specialist – a president is always judged by what he did in foreign policy, he often said. Nixon is also quoted as saying history would be kind to him, but historians would not, because most historians are leftists. A strange logic, perhaps, but there it is.
[7] Nixon’s paranoia was at least partially justified in that there were plenty of people intent on doing just that: taking power away from him.
[8] The ever Machiavellian Nixon may have been seeing Dr. Hutschnecker to learn psychological tricks to use against political opponents. This may have been the true motivation for Nixon’s visits. Then again, the insight into political psychology may have been an unintended benefit. We’ll never know for sure: in the eight books he authored, Nixon never once mentions Dr. Hutschnecker.
[9] Guenther Reinhardt wasn’t above doing a little communist hunting himself. In 1952 he authored a book titled Crimes Without Punishment, which Robb describes as ‘a masterpiece of guilt-by-association.’ In the book’s 322 pages Reinhardt alleges that Soviet agents or sympathizers have infiltrated all elements of American life. Hundreds of individuals were named. Most of the charges lacked any documentation or proof.
Further reading
Farrell, John A., Richard Nixon: the Life, Doubleday, 2017.
Greenberg, David, Nixon’s Shadow: The History of an Image, Norton, 2003.
Hughes, Ken. Chasing Shadows: The Nixon Tapes, the Chennault Affair, and the Origins of Watergate, Univ. of Virginia Press, 2014.
Lane, Penny, director. Our Nixon [videorecording (DVD)]; producers, Brian Frye, Penny Lane; Cinedigm, 2014.
McGinniss, Joe, The Selling of the President 1968, Trident Press, 1969.
Summers, Anthony, Arrogance of Power: The Secret World of Richard Nixon, Viking, 2000.
Wine-Banks, Jill, The Watergate Girl: My Fight for Truth and Justice Against a Criminal President, Henry Holt & Co., 2020.
Wednesday, May 18, 2022
Cry of the city
Wilson, Ben. Metropolis: a history of the city, humankind’s greatest invention. New York, Doubleday, 2020.
“ … a colourful journey through 7,000 years and twenty-six world cities that shows how urban living has been the spur and incubator to humankind's greatest innovations … Ben Wilson, author of bestselling and award-winning books on British history, now tells the grand, glorious story of how city living has allowed human culture to flourish. Beginning in 5,000 BC with Uruk, the world's first city, immortalized in The Epic of Gilgamesh, he shows us that cities were never a necessity, but that once they existed, their density created such a blossoming of human endeavour, producing new professions, art forms, worship and trade, that they kickstarted civilization itself.” (excerpted from the publisher’s summary).
I’m a city person at heart. Today I live in what most would call a medium size city (~ 500,000), though to me it has overtones of the big city, but with some of the charms of a small town. Ah … definitions. In any case I like the things one can find in a city, the history, people, coffee shops, bookstores, restaurants, concerts, architecture, historic districts, and such. There are other, more subjective, eminently less tangible, pulls of the urban: the mystery and glamour of a city, and indeed its flip side, danger and sordidness. Aside: this might go a long way toward explaining the fondness for my favorite cinematic genre, film noir, with its rather uneasy combination of the romantic and the criminal in an urban milieu [1]. By the way Wilson doesn’t neglect the dangerous and sordid aspects of cities in Metropolis, far from it. But I’m running ahead of myself.
Getting back to my preference for (mostly) all things urban, no surprise then that I’m just not much of a rural or small town guy. I grew up in a small midwestern town of – on a good day – 3,000 residents, actually to be technically correct in an even smaller town, village really, on the outskirts of said small town. Anyhow this might explain it. I’m essentially a private sort who prefers the low keyed and low profile to the flamboyant and heart-on-sleeve. Thus the anonymity of the big city is one of its attractions. In any event when I spotted Wilson’s Metropolis on the new book shelf at the library it piqued my interest and I scooped it up right away.
For the most part Metropolis lived up to its somewhat ponderous subtitle: “a history of the city, humankind's greatest invention,” and indeed there are juicy tidbits and a wealth of detail on just about every page. However, such an all-encompassing survey will of necessity be selective, and as a result the emphases may seem arbitrary. Some of my favorites – Berlin, San Francisco, Mexico City – receive rather short shrift while others get, arguably, more attention than they deserve [2]. Indeed, nothing gets an enthusiast’s back up when favorites are passed over or minimized. There are other things that might inspire a quibble or two. The detailed, user-friendly index is a plus, but the tightly scrunched, squint inducing ‘Notes’ section, for all its admirable content, does the reader no favors. There’s also the conspicuous absence of a general bibliography, which would have been welcome. Moreover, Wilson’s obvious infatuation with the material sometimes results in a tendency to wander and get over-wordy.
But now to the considerable merits of Metropolis. With the exception the aforementioned lack of a general bibliography, it has all the usual suspects that bespeak of academic patina: maps; well-chosen illustrations with detailed credits; thorough index; and a blizzard of footnotes. Broadly speaking, Wilson employs a chronologic approach in which each chapter discusses mostly self-contained aspects as they apply to one or a few cities of similar size, setting or historical era. Still, for all its factual density, Metropolis reads beautifully. Wilson writes in an eminently user-friendly style that’s a pleasing combination of the erudite and the popular.
The well-turned introduction in particular describes most of the issues to be covered within and contains some of the best prose nuggets of the entire book. Indeed some of the text reveals the touch of the poet and poet-philosopher in its smoothly flowing eloquence. One of my favorite passages is:
“Cities are, for all their successes, harsh, merciless environments. If they offer the chance for higher incomes and education, they can also warp our souls, fray our minds and pollute our lungs. They are places to survive and negotiate as best we can – cauldrons of noise, pollution and nerve-shredding overcrowding … city life is overwhelming; its energies, ceaseless change and millions of inconveniences, big and small, push us to our limits. Throughout history, cities have been seen as fundamentally contrary to our nature and instincts, places that nurture vice, incubate diseases and induce social pathologies … in their beauty and ugliness, joy and misery, and in the inordinate, bewildering range of their complexity and contradictions, cities are a tableau of the human condition, things to love and hate in equal measure.”
In similar fashion throughout the book, Wilson is honest about the downsides of urban life, symbolized for Christians since time immemorial as Babylon. Likewise, and especially compelling, is the description of the total destruction that cities have experienced during times of war, especially the unvarnished accounts of the saturation bombings during World War II. A surprising emphasis was the approach Wilson takes to Rome, in which he devotes considerable space to the city’s thermal bathes and their central place in the calculus of what a civilized city should be.
[1] I was delighted to see two, albeit fleeting, references to noir in Metropolis.
[2] To be sure Wilson does give some coverage (about three pages) to Tenochtitlan, the Aztec city that eventually metamorphosed into modern day Mexico City.
Sunday, April 24, 2022
a prescriptivist's revenge
Simon, John. Paradigms Lost: Reflections on Literacy and Its Decline; illustrations by Michele Chessare. N.Y., Potter, 1980.
In the beginning was the word, but by the time the second word was added to it, there was trouble. For with it came syntax, the thing that tripped up so many people. And they're tripping up more than ever today. ("Authors Without Fear or Shame")
Of all the books on the uses, abuses, and gradual, some might say inevitable, decline of the English language, this is one of my favorites. Paradigms Lost’s more than four decades vintage doesn’t lessen its impact and relevance: if anything it’s more on the money today than when it originally appeared (especially in present era when all of us – well, many of us, it seems – are more interested in looking at screens all day than interacting with fellow human beings in a civilized and intelligent manner).
In any case Paradigms Lost, a collection of previously published essays, touches on some of the major and minor abuses of the English tongue. The essays are arranged into broad subject area rather than chronologically, and as a result there’s some overlap of content. Covered are such topics as writers, linguists, movies, theater, philosophy, television, and more. Simon’s comments are brittle, incisive and always to-the-point. Few subjects are sacred and as a result few individuals are spared his rapier, often cruel, wit and (usually) wisdom. Indeed, a goodly amount of linguistic and other luminaries take their, in most cases deserved, lumps.
Let it be said straight away that Simon practices what he preaches: his command of English is undeniable, especially his sensitivity to pacing, flow and clarity. Thus Simon’s gentle – and sometimes not so gentle – admonitions are conveyed through elegant prose and invariable mots justes that are all the more remarkable when we consider that English isn’t his first language (or even his second, third or fourth). And whether one sides with or opposes Simon philosophically, it’s impossible not to enjoy his dismayingly erudite yet invariably entertaining combination of stylistic felicities and spot-on insights.
Admittedly not everything in Paradigms Lost has aged well. An unapologetic prescriptivist [1], Simon was out of touch with more liberal trends in language usage even a half century ago, and his take-no-prisoners traditionalism seems even more uncompromising today. And here and there in Paradigms’s otherwise enlightened ruminations, one might sniff a hint of misogyny. Likewise his snippety attitude toward ‘homosexuals’ and 'lunatic-fringe feminists.' And he takes a little too much glee in flaming other writers, especially critics. Nonetheless the delicious excoriating of fellow film critic Rex Reed is worth the price of the book itself.
As good as it is, Simon’s was hardly the first book to critically address the state of the language. There’s the venerable and perpetually in-print Elements of Style, which goes all the way back to 1918. But it’s the 1959 revision, in which E.B. White joined William Strunk, that we think of when we affectionately reference ‘Strunk and White.’ Even the great Orwell weighed in with his 1945 essay 'Politics and the English Language,' which covers much the same territory that Simon does in Paradigms. Also worth a mention are the howls of protest that accompanied the appearance in 1961 of the permissive Webster’s Third New Dictionary of the English Language. Various scholars, academics and other language purists objected vehemently to the dictionary’s more modern take on words: the collapse of civilization itself, or worse, was nigh, the inevitable consequence of such a cavalier approach to the sacred tradition of the English language.
Civilization survived, but something was in the air, and a grammar for the masses movement hit its stride a decade or so later, when a few volumes beat Simon to the punch, albeit by only a few years. These leaned toward a pop approach in contrast to Simon’s more intellectualized slant. One of the first out of the gate was Edwin Newman’s Strictly Speaking: Will America be the Death of English, which appeared in 1974. Published at the height of Watergate, Newman’s book drew heavily on the obfuscations and pomposity of various politicos. While Newman’s book is a popular treatment one of its merits is that he shares some of Mr. Simon’s intolerance and tendency to pedantry.
Newman’s book was a surprise hit. Indeed, Strictly Speaking reached #1 on the New York Times nonfiction bestseller list, a feat incidentally that none of Simon’s books ever achieved. Predictably, per publishing’s cardinal rule that nothing-succeeds-like-the-same, his A Civil Tongue followed soon after. In 1975 the eminent scholar and historian Jacques Barzun weighed in with Simple and Direct: A Rhetoric for Writers [2], which covered much the same material as Strunk and White, but with a more academic slant. Soon after other publishers got the message and got into the act. Journalist, political commentator and language maven William Safire entered the mix a few years later with I Stand Corrected. Safire then proceeded to one-up Newman as he issued an entire series of language books while penning his own column for the New York Times, ‘On Language.’
In subsequent decades the publishing industry intuited that spiced-up titles might sell even more copies, thus in the Nineties and early 2000s we had books like Karen Elizabeth Gordon’s The Deluxe Transitive Vampire: The Ultimate Handbook of Grammar for the Innocent, the Eager, and the Doomed; Constance Hale’s Sin and Syntax: How to Craft Wickedly Effective Prose; and Arthur Plotnik’s Spunk & Bite: A Writer’s Guide to Bold, Contemporary Style. A recent book that covers much the same territory and has garnered critical accolades is: Mary Norris, Between You & Me: Confessions of a Comma Queen.
Still, Paradigms Lost remains one of the best cautionary tales on the decline and fall of good usage, and to his eternal credit Simon doesn’t try to dumb down the material. Indeed, the lazy-minded ‘democratization’ of language, among other things, was one of Simon’s particular bête noires. And as much as I’m a fan of Simon’s writings and Paradigms in particular I find it more easily digested in small portions – a chapter at a time perhaps (most of the chapters are of modest length) – than in one large gulp.
An inevitable question that arises is: what would Mr. Simon think, nearly a half century after Paradigms first appeared, of the general mangling and disrepair of the language today? We can only guess [3]. An obvious villain is the cyber world. Considering his anti-egalitarian bent, the unpoliced, free-for-all nature of the Internet wouldn’t be much to his liking. Quite apart from questions of taste, usage and style, he would probably be horrified at the amateurishness, small-mindedness, venality, unsupported opinions, misinformation, disinformation, and propaganda that lards the information superhighway these days. (Indeed, in their utter viciousness and mean-spiritedness, online rants that appear with dismaying and increasing frequency make Simon’s critiques, however cutting, seem like models of civility and restraint). And what could he possibly make of those text shortcuts and Internet acronyms, the WTFs, OMGs and LOLs of this world (Indeed it would seem that cathedrals of knowledge are preferable to an ocean of information).
Simon’s passing is a great loss to those of us who prefer at least some level of manners, sophistication and good taste in our world. We miss his high standards, brittle wit and unyielding, magisterially elegant prose, and need more of his ilk in our increasingly aliterate, technology-obsessed, relentlessly commodified world. Happily we have the legacy of his books, articles and blog posts, all of which, for the moment, survive for posterity, and for that we are truly grateful.
[1] Prescriptivism is the philosophy that there are rules and standards, i.e. correct and wrong ways, in the practice of language. A prescriptivist wants the correct rules and usage to be followed. A descriptivist, as the word implies, simply describes the language used, including slang, colloquialisms and ‘mistakes,’ without any judgments about proper rules and usage. Thus a prescriptivist is concerned with the way language ought to be used, where a descriptivist simply describes how a language is used.
[2] Simple & Direct went through several revisions. The Fourth, and final, edition came out in 2001.
[3] It would be remiss not to mention that Mr. Simon passed on in October 2019 and was still writing up to the end. Moreover, as if to show he wasn’t totally a snob and averse to modern trends, he maintained a blog, appropriately titled Uncensored John Simon the last ten years of his life. He opines on a multitude of topics, chief among them cinema, authors, theater, and language, but also religion, philosophy, art, psychology, and not least of all, music.* (from all evidence, in addition to his other areas of expertise, Mr. Simon was a classical music buff as well).
* He wrote eloquently and poetically about great music and his favorite composers. Nonetheless, his tastes might be considered idiosyncratic, even eccentric. And by his own admission, Simon’s technical knowledge of music was limited. In any case it’s refreshing to know that there’s at least one art form that John Simon didn’t know backwards and forwards.
Review: James Chesher, “Simonize Your Language!” Reason, April 1981.
Further reading: Henry Hitchings, The Language Wars: A History of Proper English, Farrar, Straus & Giroux, 2011; David Skinner, The Story of Ain't: America, Its Language, and the Most Controversial Dictionary Ever Published, New York, Harper, 2012.
Friday, July 2, 2021
mark my words ...
Keyes, Ralph. The Hidden History of Coined Words. Oxford University Press, 2021.
This much welcome tome is a delightful survey, focusing on new or rogue words’ often deceptive and complex origins. (Even Shakespeare, often credited as the ne plus ultra among creators of new words, hundreds, even thousands of them, was in truth more a conduit and discoverer of words that already existed rather than a creator of novel ones). There’s pretty much something juicy on every page of Hidden History, and as a result it’s a joy to linger over the contents, which are perhaps better inhaled in small amounts – the (sub)chapters are of modest length, a page or two usually. I especially liked the chapter titled ‘Nonstarters’ which, as the title suggests, focuses on coinages that, for whatever reason, didn’t catch on.
Also commendable is the Notes section which lists in somewhat excruciating detail the sources, though it would have been helpful if the citings had been better identified, i.e. with page numbers or actual footnote references. More successful is the detailed and much welcome index, the lack of which would have been criminal in a book like this. I say this because it’s impossible not to notice the disconcerting trend of index-less nonfiction books these days, a sign of the times perhaps. But as the man said, don’t get me started.
While many of the usual suspects are present in Hidden History, gathered and presented in the nicely concise chapters, the necessarily selective nature of such a broad brushstroke compendium will inspire some head scratching. To wit, some of my favorites, seemingly obvious choices I dare say, didn’t make the cut: blonde bombshell, Wagnerian, slippery slope, ass-kicking, film noir, camp, campy, high camp, cult classic, stream-of-consciousness, cloak and dagger, Orwellian [1], hit-man, gumshoe, under-the-radar, scapegoat, fall guy, apparatchik, do-it-yourself, schlock, schlockmeister, B movie, mole, dish, blown away, auteur, pulp fiction, exploitation film, blacksploitation, anything by Raymond Chandler [2], to cite some of the more conspicuous absences.
In similar fashion, I would have preferred greater emphasis on the ubiquitous influence of the movies on world coinages. Ditto for cyberspeak [3], especially the text shortcuts and acronyms, which receive rather short shrift. I was also disappointed that there was no mention of language maven John Simon (even in the extensive reading list), who had a special antipathy to word coinages. On the positive side I was delighted to see good coverage of Milton, Dickens, Kipling, Damon Runyan, Lewis Carroll, Dr. Seuss, Walter Winchell, the Alsop brothers, and various other luminaries, literary and otherwise.
Ultimately one may object to what he includes, emphasizes, or leaves out, but make no mistake, Ralph Keyes is one fine writer, and his smoothly readable prose makes Hidden History a fun read and rare treat for wordaholics and language buffs.
[1] Orwell does get a paragraph which discusses 1984-inspired coinages, but the term Orwellian is nowhere to be found.
[2] Not so surprising, there’s a substantial section on the creation and evolution of the word google, along with the word’s metamorphosis into the capitalized Google of the all-too-familiar company and search engine we know today by the same name. However, there’s no mention of the ever-impish Raymond Chandler’s appropriation of the term. Contrary to some accounts, Chandler didn’t invent the word. Indeed, Keyes’s tome lists citings as far back as 1913, when ‘google’ was used to describe a monster in a children’s story.
But as regards Chandler, in a letter to his agent H.N. Swanson, March 14, 1953, Chandler parodies science fiction novels with his usual trenchant wit:
"… the sudden brightness swung me round and the Fourth Moon had already risen. I had exactly four seconds to hot up the disintegrator and Google had told me it wasn’t enough."
The ‘Google’ in this ditty is presumably some kind of intelligent entity. However, and as much as Chandler has aged well, it’s certain he didn’t foresee the search engine/mega-company that emerged nearly a half century later. Whether the ‘Google’ of Chandler’s story is human, human-like, cyborg or replicant remains a little vague.
[3] The term cyberspeak actually appears, in passing, in the aforementioned Orwell paragraph, but technology and -like coinages are in short supply.









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