The Legend of Sleepy Hollow

The Legend of Sleepy Hollow
© 1820 Washington Iriving; illustrations 1966, Leonard Fisher
58 pages

Long ago in a quiet part of the north country near Hudson Bay lived a superstitious and gangly schoolteacher whose amorous affections for a local heiress threw him headlong into trouble. The man’s name? Ichabod Crane, and if that name sounds familar to you, so might the Tale of the Headless Horseman. Though I’ve been familar with Crane, the Horseman, and name “Sleepy Hollow” since childhood, I have never read the story.  It’s a short story, a fantasy-horror tale with a comic main character in a barely independent America. While I initially peeked into the petite volume to learn where the tale went (ending in dread mystery),  surely it was worth reading for the language alone. Irving’s prose is ornate, yet highly readable, like the rare piece of cursive writing that is rendered artfully without slowing down communication.  The work has the added appeal of painting a picture of an America still very much wet behind the ears;  America is still more a colony than a Nation, and the Dutch population of Sleepy Hollow have not yet been ironed out of existence by the forces of cultural homogenization.  It is thus not only an elegantly-told short story perfect for occasions such as Halloween, but a charming piece of early Americana.  Another example of such is the story of Rip Van Winkle, also laden with Dutch characters though much shorter.  I trust the name and story are singularly familiar to most;  the tale of a happy-go-lucky farmer who has a lie-down under a nap and wakes up twenty years later to find  his wife dead, his country a republic, and his town burgeoning is also captivating.

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Global Weirdness

Global Weirdness: Severe Storms, Deadly Heat Waves, Relentless Drought, Rising Seas, and the Weather of the Future
© 2013 Climate Central
224 pages
          



Global Weirdness is a climate briefing for the civic body; short, well-organized, and to the point.  Produced by Climate Central,  the book is divided into three parts; the first reviews the science of climate change, considering not just greenhouse gases like carbon dioxide and water vapor, but contributors from Earth itself.  A second section examines what effects of climate change we are currently witnessing, and the final part makes tentative guesses about what changes we might see in the future.  Weirdness, despite its playful title, is a serious and cautious work.  The authors’ essential point is that we on Earth are in the midst of a climate change, a gradual heating; the trend is long term, and not defied by the vagaries of daily weather.  The trick is that the Earth is a massive place, and its climate enormously complicated; the chaos-wheel set in motion by one factor has consequences we cannot predict. What is clear is that the Earth as a whole is getting warmer, and its weather more unstable;  increased stress is inevitable for both humans and especially the global ecosystem.  More disturbingly, there’s not a great deal we can do about it; even if the global civilization suddenly stopped emitting greenhouse gases on an industrial scale, the planet would still continue to heat for a hundred years thereafter because of delayed actions. There exists presently no silver bullet; none of the alternative energy sources are particularly attractive.   Weirdnessis a call to awareness that we are in for a rough century. 

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This week: POWER! unLIMITED POWER!!!!!!

Dear readers:

First, of literary interest, last night I discovered a “Classic Tales” podcast that features readings of classic stories. I haven’t figured out how to access their archives prior to February, but just on the front page are performances of Around the World in 80 Days and Shakespeare’s Coriolanus.  I’m going to try my first tonight.

This last has been a relaxing week, filled with mostly fiction and the steady working-through of The Vikings.  After discovering a free Kindle book, I read my first Ayn Rand in Anthem and found it largely engaging save a bit of preaching at the end. It’s hard to mess up a good man vs state story, though. The Danes were successfully taken on, and that’s another victory over the mighty To-Be-Read list.

  1. Antifragile, Nassim Nicholas Taleb
  2. The Vikings, Robert Ferguson (6/7/14)                                         
  3. Power, Inc; David Rothkopf
  4. An Edible History of Humanity, Tom Standage
  5. Small-Mart Revolution, Michael Shuman
  6. The World Until Yesterday, Jared Diamond (5/29/14)
  7. Fighting Traffic: the Dawn of the Motor Age in the American City, Peter Norton
  8. Earth, Richard Fortey
  9. Age of Empathy, Frans de Waal
  10. Galileo’s Finger, Peter Atkins



Power, Inc may be next.  It’s going to have competition, though, because yesterday I made my usual library raid and brought home a small pile. I went in with a focus on working out a series of American Revolution readings, though, so they won’t surface until closer to the end of the month.  Closer to the fore will be Jihad vs. McWorld, by Benjmain Barber, and White Trash: Race and Class in America,  ed. Matt Wray and Annalee Newtiz.

Quotable:

We stood together for a long time. And we were frightened that we had lived for twenty -one years and had never known what joy is possible to men.

I know not if this earth on which I stand is the core of the universe or if it is but a speck of dust lost in eternity . I know not and I care not. For I know what happiness is possible to me on earth. And my happiness needs no higher aim to vindicate it. My happiness is not the means to any end. It is the end. It is its own goal. It is its own purpose.

Rand, Ayn . Anthem

Well, until next week — may your characters engage, your plot twists thrill, and your claims be thoroughly footnoted!  Happy reading.

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Anthem

Anthem
© 1938 Ayn Rand
128 pages

In a dark future, the triumph of collectivism has created a global society deteriorating to near-medieval conditions.  Man is utterly broken by the state, dominated by institutions from birth onward. Raised in cohorts in government offices, not by families,  children come of age at fifteen and are assigned their lot in life by the governing authorities.  They toil as drones for the next thirty years before being consigned the House for the Useless, where if they are lucky they will find some meager pleasure in the social programs before being execution as a burden to society.  The state and society are all, so triumphant that even the pronoun “I” has been extinguished.  The human spirit, however, is irrepressible.

Equality 2521 is a sinner in the hands of a suffocating state, a young man who yearns to study the ways of the world and perhaps even to become a scholar, but who is consigned to be a street-sweeper. After stumbling into an abandoned subway tunnel, Equality finds himself for the first time alone, and there in the dark with just his thoughts for company, a psychological journey begins. The tunnel, which he and a couple of sympathetic friends keep hidden from everyone else, becomes their sanctuary, a place for Equality to read books and experiment with the things he finds in the rubbish, a place where he eventually discovers that there are things not written in the Global We’s philosophy. There is Electricity, and if he can realize its power he can make the world a better place. Breathlessly he takes his findings to the convention of Scholars, who promptly imprison him for many manifold presumptions (among them, threatening to put candle-makers out of work). Happily for him they are incompetent at incarceration, since so few people have ever rebelled against them, and soon he’s escaped to make his fortunes elsewhere.

Anthem is a short work, a novella of no more than 90 pages; I read it chiefly because it was available for free on Amazon, and the delicious irony of something of Rand’s being offered for free was too good to pass put. Altogether it’s the tale of an individual’s self-realization, his struggle for consciousness. Eventually he does, and as in 1984 his rebellion is urged onward by forbidden love for Liberty 5-3000, and given safe harbor by the wild;  the rugged forests outside the bleak We-ruled cities are teeming with life and energy. But among the wild are grown-over homes, and inside them books which reveal how much was lost.  Ultimately Equality and Liberty shed their old identities and emerge as Individuals, and  here the book descends into preaching.  All of the lost passion of twenty years comes bubbling up into Equality’s realization that the individual is sovereign, the individual makes the world, and so carried away by it is he that when Liberty professes, “I love you,” he replies with a half-page speech about the importance of names and the individual.

I have never Rand before, and will own a bias against her, one I’ve had since listening to a radio interview with her years ago. Even so, I enjoyed this work for the most part; any tale of man versus the state, of  the natural vs. the contrived, is sure to win me over despite the overweening pronunciations of the last few pages  Considering  that the union of the happy couple results in a pregnancy, there is hope that the book’s heroes will learn what the childless Rand never did, that people are born into society as surely as fish are born into the ocean. It is a society of the family, however, a natural one, where we are reared by the bone of our bone and the flesh of our flesh, not an artificial and imposed “Global We”.    Even so, this is a fascinating little book, well worth the time spent reading it; regardless of my animosity toward Rand’s praise of selfishness, hers was a quick and artful pen.  The similarities between this and 1984 make it a beacon of hope after Orwell’s singularly depressing work about the triumph of the state.

Related:

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Divergent

Divergent
© 2011 Veronica Roth
487 pages


Every major city has problems with organized gangs, but the Chicago of Divergent’s future has nothing else. The entire society is organized in five factions devoted to an ideal;  Dauntless, Abnegation, Erudition, Amity, and Candor. These five subcultures prescribe virtually every aspect of life; occupation, manners, dress, and living quarters.  Every year, on their sixteenth birthday, young people submit to a test that informs them which faction best suits their personality. A rare few defy this sorting serum, however;  they are Divergent, and their very existence is taboo. Such is the premise of Divergent, a young adult sci-fi thriller that succeeds in  thrilling despite some problems.
 Our lead character and hero is Beatrice, soon to be called Tris. Tris has been raised by the  semi-religious Abnegation, who strive for selflessness and are trusted with the governance of society. Beatrice, soon to be called Tris, loves her family’s ways but can’t help but feel she doesn’t  belong there. When her inconclusive test results giver her the option of choosing, she bolts factions and becomes Dauntless. Her new faction, the society’s warriors and guards, place a premium on battle skills and ferocity.  Most of the book is taken up with Tris training for initiation; if she fails, she will be homeless.  Considering that the training involves teenagers violently sparring with one another (with the occasional knife thrown),  and the  plot eventually ends in rebellion against an establishment reigning with the machinery of the state,  little wonder it has been compared to The Hunger Games.
 Unlike The Hunger Games,  the insurrection is not one of the oppressed against an oppressor, but of one sect against another, manipulating  others to do its bidding. The Erudite, who are less wise  here than presumptive elites,  think little about society being run by simpering religious folk. They intend to seize power through sinister technocracy,  and Tris soon finds her allies as against her as everyone else.  Though she prevents catastrophic defeat, her victory is necessarily minor given that there are two more books in the series. Divergent is a touch more risqué than The Hunger Games, and not nearly as violent (yet).  The premise is contrived, especially when the primary danger of being Divergent is that such individuals pose a danger to the exact technology and plot used by the Erudite to start their coup.  Either the Erudite have been scheming this for a very long time,  Divergency is dangerous for other reasons, or that was a boo-boo.  The entire intellectuals vs. virtuous religious angle is obnoxious,  and the villains are more flatly Eeeeeeevil than one would expect for a teen audience. The ever-sympathetic challenges of a young person being removed from the safety of childhood and having to adapt to a new environment and new people provide a familiar story with plenty of excitement, with some exploring of moral horizons thrown in.  In my view Divergent’s best virtue is the value placed on family; while its society urges that Faction comes before family,  Tris  uses the lessons learned from her parents to help guide her transition into her own brave new world, and later relies on their help in the coup. 
Problematic but fun, Divergent is best for older tweens and teens.
Related:
  • “Profession“, Isaac Asimov.  In a future society where people’s professions are assigned to them by a testing computer, one man finds himself at a loss when he is declared un-assignable. 
  • The Hunger Games, obviously.

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The Smoke at Dawn

The Smoke at Dawn
© 2014 Jeff Shaara
528 pages




The bells of the South in 1863 rang death knells, not peals of joyous victory. In July, on the same day that Lee’s army suffered a staggering loss at Gettysburg,  General Grant of the Union army took possession of Vicksburg, and within it gained complete command of the Mississippi river. The South fractured and its strength wasted, the Confederates needed a fresh triumph. In November, General Braxton Bragg commanding rebel forces in Tennessee thought he might be the man to deliver it. After routing a Union army, he cornered them in Chattanooga, where he hoped a quick siege would see their surrender and regain the South its lost momentum.  The Smoke at Dawn is the story of the Chattanooga Campaign, of armies stumbling in the night through battlefields that soar into the sky.  It’s also the tale of commanding personalities, of men set at odds even against their comrades. The third book in Shaara’s new Civil War series is a third triumph for the author — and General Grant. 

Like Shaara’s other works, The Smoke at Dawn is a swiftly-moving narrative composed largely of the thoughts and conversations of generals commanding the battle. This combined with more conventional narration is highly effective at putting the reader into the generals’ position without being rambling.  Many of the characters are familiar names; Grant, Longstreet, and Sherman among them.  The greatest maneuvers and best battlefield performances, however, are put on by generals who fame has ignored.  The focus on the generals from across the field give the reader a strategic understanding of what is happening, allowing witness of the way the armies wrangled around one another, attempting to control supply lines or use the river to land by stealth and deliver devastating stealth attacks. The river puts the generals in the curious place of sometimes being closer to their foes than their friends;   Generals Thomas and Grant, commanding, can view Burnside’s own headquarters  from their own positions.   
As in his more recent work, Shaara also employs a few infantrymen to deliver combat scenes; the most notable here is Fritz Bauer, a Wisconsin orphan who would be alone in the world were it not for his best friend Willis. When Willis leaves the volunteers for the regular army, Bauer follows suit, and their course through the campaign gives not only plentiful action scenes, but the realization that soldiers often fought not for ideals but for their comrades. The book as a whole is steeped in the power of human relationships;  the obstinate and autocratic Braxton Bragg’s contemptuous attitude toward his subordinates withers away his own army’s effectiveness.  He earns no one’s trust save Jefferson Davis’, spending the entire battle fighting with his own officers and  once sending an entire corps away just to be delivered from a potential threat to his authority. Between Bauer’s devotion and Bragg’s contempt is the happy medium of rivalry,  most prominently Sherman’s running duel with his equally highly effective Confederate counterpart. Despite Sherman’s reputation and Grant’s high esteem of him,  Sherman can’t seem to best Patrick Cleburne.  For all of Bragg’s discipline and Sherman’s speed, however, ultimately the battle’s upset is decided by unpredictable forces — like a diversionary force that advances further than planned, attempting to avoid being slaughtered by artillery, and results in routing  an entire army. 
Readers of Civil War fiction will find The Smoke at Dawn most attractive. The fourth book in Shaara’s series will concern the Fall of Atlanta.
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The Penelopiad

The Penelopiad
© 2006  Margaret Atwood
224 pages

             
Which is worse, waiting twenty years for a rascal of a husband to return home while simultaneously managing his kingdom, raising his son, and fending off scores of suitors – or being upheld as a saint for doing it?    Everyone mocked Penelope for her loyalty while she lived, and derided her for not doing more to discourage the suitors dining locust-like from his orchards, but now that she’s dead, she’s become a paragon of chastity and wifely duty?  It’s a little too much to take, and from the Asphodel Fields, the shade of Penelope reflects on her life. The Penelopeiad is the story of the Odyssey from her view, largely comic though sometimes regretful as she explains why she acted as she did. Penelope’s narrative is interrupted from time to time by a chorus of maids, in keeping with Greek theater.  The maids, Penelope’s servants before Odyssesus ordered their deaths, are the touchstone of her regret. For decades they were her daughters by proxy, her conspirators against the gold-hunting boors infesting her hall, her only friends – and Odysseus slaughtered them! Helen of Troy makes frequent appearances as Penelope’s opposite, a beautiful and wicked betrayer of men who even in death enjoys teasing them. Although The Penelopiad is fully grounded in Greek mythology, modern quirks abound;  the chorus parts move from verse to anthropology lectures and then a mock-trial that ends in a fantasy showdown between Athena and the Furies. It’s great fun that doesn’t diminish the original source.


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This week at the library: Civil War and Sea People

Dear readers:

This weekend I finally posted comments for Away Down South, completing my unintentional miniseries of Books Whose Titles Came from the Chorus of “Dixie”.   The traditional verses offer a lot of other phrases ripe for titles; imagine a cookbook called Buckwheat Cakes and Injun Batter, or a thriller named The Gay Deceiver.  Those books have started what may turn out to be a longer trend, an extended series concerning the South.

I’ve recently completed The World Until Yesterday by Jared Diamond, and have thus started in earnest  on my quest to take down the To Be Read list, that array of nonfiction titles I’ve purchased but not read in the last view weeks. My next conquest will be The Vikings,who I’m sure will be worthy foes.  Expect comments for Diamond within the week. For leisure I have Jeff Shaara’s latest Civil War novel to enjoy, set during the Battle for Chattanooga.  This is especially fun because despite having been to Lookout Mountain where part of the Confederate force viewed its foe in the city, I’ve no knowledge of how the battle transpired.

To Be Read Takedown Challenge

Antifragile, Nassim Nicholas Taleb
The Vikings, Robert Ferguson (in progress)                                              Power, Inc; David Rothkopf
An Edible History of Humanity, Tom Standage
Small-Mart Revolution, Michael Shuman
The World Until Yesterday, Jared Diamond (5/29/14)
Fighting Traffic: the Dawn of the Motor Age in the American City, Peter Norton
Earth, Richard Fortey
Age of Empathy, Frans de Waal
Galileo’s Finger, Peter Atkins

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The Burden of Southern History

The Burden of Southern History
© 1960, 1968, 1970 C. Vann Wordward
250 pages
Louisiana State University Press

The publication of these essays on southern character and its tragic history, from Civil War to the abandoned civil rights efforts of Reconstruction could not have converged more significantly with its time when the volume first appeared in the 1960s. Even as Woodward reflected on reconstruction,  drawing out why it failed to substantively change the condition of southern blacks, a new movement had begun on the ground.  Woodward is a moderate, holding loyalty to the South without being defensive (in the manner of I’ll Take my Stand), and writing to urge justice and reconciliation in race relations.Three of the essays concern the failure of reconstruction and of civil rights, with Woodward charting emancipation and enfranchisement as political motives for the Union throughout the conflict, darkly concluding that the chief reason northerners pushed through the amendments that, in the count of one, two, three, transformed millions of slaves into millions of voters, was to prevent the defeated aristocracy from triumphing at the ballot-box instead of on the battlefield. The other major theme is southern identity and the South’s role to play in the United States. Woodward sees the southern states occupying a unique role in the American experiment. The United States in 1960 had never known anything but victory; every problem, every foe, it hitherto conquered through force of arms, or new inventions; for it, history was something that happened to other people. This put the nation in great danger of engaging in catastrophic mistakes like preventive wars. The south, however, had experienced history; had known defeat and occupation. It could offer to America  a humbling perspective.  The south’s view was used as a check on American hubris in literature before; in one essay Woodward  demonstrates how various  northern authors, including John Quincy Adams’ grandson Henry Adams, employed southern characters to shine a spotlight on the rest of the nation’s sins. Although most of the book is dated by now, including the comparison between the Cold War and the feud between abolitionists and slavers,  encountering a white southern voice from the 1960s arguing for civil rights is a breath of fresh air considering the usual Civil Rights narrative casts white southerners as villains.

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Away Down South

Away Down South: A History of Southern Identity

© 2007 James C. Cobb
416 pages


            What does it mean to be southern, beyond a fondness for turnip greens and cornbread?  The answer is an evolving one, as the South’s distinctiveness has changed its expression throughout the United States’ history. Away Down South follows national and southern attitudes about southern-ness from settlement days to the present.  The Civil War, the South’s stand against the rest of the nation, sets the stage for most of the book, including reconstruction and the continuing problem of race relations. The work  looks at the southern mind and heart, exploring not only intellectually-steeped expressions of the South like I’ll Take my Stand and The Mind of the South, but delves deeply into southern literature, black and white.  The South as a concept remains negative throughout. Not that the South is without its virtues, but from the country’s beginnings James C. Cobb maintains that the south has been seen both by itself and the rest as a country as a place apart; first a wild frontier infested by poisonous snakes and Indians, a no-man’s-land fit only for criminals, and later as the cesspool of American culture; the hiding place of aristocracy, slavery, ignorance, and all things foul. Having no France across  the Channel, or a Germany across the border, the South is the “other” which the rest of the country, with progressive, industrial New England as its model, can hold itself superior.  The  south’s wild gave way to plantations and then Jim Crow, but regardless of changes the taint of ‘other’ remained.  This is a view not preached by Cobb, a man of the south himself, but the attitude haunts the imagination of the southern intellectuals and artists who later claim the story. What makes Away Down South stand out for me is the space given to black southerners, who left the fields for the  northern cities only to return in part to the southland. Despite its tragic history, its story is one they share;  the southern scene is the one fixed in their memories of home. That coming-to-terms with the past can’t help but hold a fascination for a southern student of history such as myself.



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