Noir Fantasy – Double the Fun

Anyone who’s been following Classically Educated is well aware that we have a soft spot for noir around here.  We like it in film, we like it in writing.  We would like it in plays and tweets if it were available widely in those formats.

We also enjoy the fantasy genre.  Again, film and literature are our preferred genres, but who can really resist playing Zelda every now and then?

So when writers decide to mash these two genres together, we sit up and pay attention, with the result that we’ve decided to share some of our experiences with two very different takes on the subject.

Exhibit A is a recent anthology entitled Darker Than Noir, edited by Faith Kauwe.  It’s a collection of short stories which does exactly what the title says:  blend the noir detective sensibility with the darker end of the fantasy spectrum.  A few of the tales could rightly be called supernatural horror, but all have fantastic elements.

Darker Than Noir

In this book, our fearless–or, in other tales, hapless– detectives investigate everything from actors who want to stay young forever to misdeeds at a furry convention.  There’s something here for every taste, as long as you like it dark and with hardboiled sensitivities.

As a primer to get one’s feet wet, it’s nearly ideal.

But that’s an appetizer – for the main course we’d like to discuss the man who, in our view, takes hardboiled fantasy to its most exalted heights:  Glen Cook.  Yes, he’s better known for his military fantasy series, The Black Company, but we’d argue that he will be remembered for being the man who most perfectly blended put a human private eye in a world of elves, ogres and pixies.

Cook’s P.I. Garrett series has to be one of the most entertaining fantasy series out there, bar none.  It tells the tale of a former marine who makes his living by investigating crimes.  As expected in a fantasy world, the bad guys are usually both magical and very, very twisted.

Sweet Silver Blues - Glen Cook

What makes these compelling, though, is the main character’s voice.  Honoring the noir canon, they are told in the first person, in the world-weary, street-savvy voice we’ve come to love from the genre.  Garrett shows his human side early and often, and in so doing makes you laugh and suffer with him.  It really is a change from implacable heroes (even the flawed ones are often implacable in fantasy) and perfect elves we’ve come to expect.

It’s not our intention to do a blow-by-blow of each book here (read them, you’ll thank us), but just to point readers who share our interest in a couple of interesting directions.  Both of these very different propositions proved entertaining–so think of our pointing you their way as a public service!

Eventually, the War Ended

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Even in Italy, a country that was, to a degree ravaged by both sides in WWII, the conflict eventually came to an end, and things went back to normal, even to the point where politically charged films could be made.

Of course, the open wound that directors could stick their cameras into was the memory of the war itself and the deep divisions in Italian society.  So for our next film from the 1001 films to see before you die, we give you Roma, Città Aperta (Rome, Open City), the first of Roberto Rossellini‘s Neorrealist films, and probably the most raw.

It’s a film about fear and loyalty–both extreme loyalty and the confused, divided kind–as well as about betrayal, and the cost of not being true.

It’s also a film about strange bedfellows in which we see a Catholic Priest share the fate of a Communist revolutionary, and women dying alongside their men.

All of these effects are heightened by how it looks.  The lack of availability of adequate processing facilities as well as the difficulty in obtaining film stock means that the imagery isn’t of the quality one expected from the era; at times, it looks more like a war documentary filmed at the front than the output of a studio.

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The one criticism that has been leveled against it is valid: this is more of a melodramatic piece than an unflinching slice of realism.  But even that works in the film’s favor, making it more powerful than a pure expression of realist ideas could have achieved.

But powerful as what?  This isn’t so much an anti-war film as one that decries the hypocrisy of humanity.  I feel that, melodrama aside, it shrugs its shoulders at the way we are… and therein lies its ultimate success, and its capacity to be classified as neorrealist.

It’s impossible to analyze it further without spoilers, but this truly is a film that everyone should see.  People haven’t changed since it was made, after all.

 

Book Recommendation – Siege by Gustavo Bondoni

So, for those of you who’ve been enjoying our content over the past few years, we wanted to drop you a line to let you know that our Editor-In-Chief has published a new novel and he’ll fire us if we don’t plug it here!

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Siege is a far-future SF piece in which humanity is fighting for its very survival.  From the book description at the publisher’s page, we get the following:

Threatened on all sides by enemies they can’t fight and often can’t even comprehend, the human race has taken refuge in an inhospitable corner of the galaxy. A tiny pocket of habitable space concealed by black holes and dust clouds, hiding a cluster of colonies where the last humans in the galaxy reside, preparing themselves for a war of annihilation against all comers.
Crystallia is a hidden military base that guards the access route to the colonies. The main mission of the soldiers there is to remain undetected for as long as possible, to spot any incursions from the outside and to hit them with everything in humanity’s arsenal.

No one is quite convinced that this strategy will be enough to save the colonies or even to create enough of a delay for some of the colonists to escape. The best bet for the human race is to remain concealed.

Unfortunately, something has found them.

Siege can be purchased from Amazon and Barnes & Noble.

 

If you do happen to read it, drop us a line and let us know what you thought.  You might make an editor’s day!

 

Cristopher Tolkien Makes an Appearance

I’m always a bit leery but also drawn in when a famous writer’s offspring attempts to ride a progenitor’s coattails to fame, fortune and probably an enlarged bank account.

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Brian Herbert and Kevin J Anderson expand Frank Herbert’s Dune Universe.

Brian Herbert’s attempts to expand his father’s Dune universe are a typical case in point.  They are interesting science fiction books in a familiar universe but… but they break no new ground.  This is probably the biggest attack on his father’s legacy that was committed here because the original Dune books were beloved precisely because they were new and fresh. Core fans will read them, of course, bit I doubt they’ll be considered part of the canon anytime soon (at least not by me).

But Herbert’s books (with an assist from Anderson, clearly) aren’t bad.  If it wasn’t for the legacy, we’d all have liked them without further comment.  Much worse was the disastrous attempt at authoring an epic Fantasy by Nicolai Tolstoy (grandson of Leo), which resulted in the only time I have ever voluntarily abandoned a book in the middle of it in the last 30 years.

So it was with mixed feelings that I picked up the Christopher Tolkien’s History of Middle Earth series some years ago.  That first book was a difficult read, but I was fascinated by the textual history that Tolkien Jr had managed to piece together from his fathers papers.  It is a stunning piece of academic research taken on by probably the only person with both the access and motivation to succeed in it.

I’ve since read the six books that followed which brings us all the way through the history of the writing of the tales that eventually became the Silmarillion to the text of the Lord of the Rings.  The book which prompted this post, and which I’ll be concentrating on here, is the seventh, The Treason of Isengard.

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The Treason of Isengard, Book 7 of the History of Middle Earth and Book 2 of the History of the Lord of the Rings

Like its predecessors, this volume presents older drafts of the material with commentary on when changes were likely made, and when names evolved into the current versions that everyone knows and loves.

As a writer, I find JRR Tolkien’s process mesmerizing and terrifying.  Mesmerizing because watching text evolve so methodically is an education in and of itself and Terrifying because the man spent his entire adult life continuously tweaking his text.  Were it not for editorial pressure and deadlines, he probably would have kept toying with the Hobbit and Lord of the Rings until the day he died, much like he did with Silmarillion.

The reason to read this series isn’t because it will bring you a new appreciation of LotR – we all know it and love it (or despise it) for our own reasons, and this won’t change it, but it will bring you a type of writing process that will feel very alien to nearly every one of us.

If I wrote my books like that, I’d simply go insane, but it’s undeniably effective.  The layers of myth upon myth back through the ages that shine through in the Lord of the Rings are there because Tolkien actually wrote them, and rewrote them and wrote them yet again as he composed the Silmarillion and the associated poems.

In this particular case, I don’t begrudge the son a single cent, and actually prefer that his series exists instead of having original writing from Christopher.

 

Not the Greatest French Film of All Time, Interesting Nonetheless

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Les Enfants du Paradis Movie Poster

As we continue our slow journey through the 1001 Films one must supposedly watch before one dies (maybe if we never finish the list we’ll live forever?) we encounter a bunch of films which are reputed to be or voted as the greatest something or other.   The major conclusion one can immediately take from these is that an amazing number of important-sounding institutions exist which seem dedicated to choosing the greatest films of whatever country, and none of them can agree on which one it is.

Les Enfants du Paradis (1945) was voted the greatest film ever in one poll of French film industry people.  Yes, I know that it was obvious that the French would select a French film for the honor, but it’s pretty amazing that they happened to select this one.  It isn’t.

It’s also been called the French equivalent of Gone with the Wind.  It also isn’t.

What it is is an interesting flick with a fascinating production history.

The plot is noteworthy .  Everyone is in love with the girl, but no one gets her.  Additional interest is given to it by having her suitors span the social range from a mime and a criminal to a count.  Loads of fun and hijinks and melodrama ensue, and the film does entertain.  The ending is also worth waiting for, as it is neither a conventional happy ending or a typical tragic one.  The only person who dies richly deserves it.

The most noteworthy thing about it, however, is that it was produced in Vichy France under the strict and watchful eye of the German censors with a cast and crew that mixed resistance elements with collaborators in what must have been the ultimate example of workplace politics.

Imagine attempting to shoot a large-scale film in a country ravaged by war, with Nazis telling you what to cut out of it and a director, Marcel Carné, who tries to sneak a lot of the stuff that is supposedly forbidden back in, in a different guise.  The sets were a shambles, which was a drawback for a film with a lot of outdoors street scenes, and one can only imagine what kind of scarcity conditions they had to operate under as the allies advanced.

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Robert Le Vigan – French actor convicted of collaborating with the Nazis in Vichy France.

Perhaps one of the most interesting aspects of the film are the story of Robert Le Vigan who was removed from the production, accused of being a collaborator and disappeared.  He was later tried and sent to prison, but in the meantime they needed a replacement for him, and chose one of the Renoir brothers (yes, the son of the painter).

Collaborators, of course, weren’t tried under the Vichy régime, so you are correct in guessing that the movie wasn’t finished until the allies liberated France.  It is speculated that Carné himself created production delays that ensured the film would only be released in a free France.  Whether that is true or a product of Carné’s propaganda is open to debate, but it does cement the legend.

So, perhaps it’s not the film itself but the context and symbolism which engendered the French industry’s fascination with it.  It’s both understandable and forgivable, and the film isn’t bad either.

The Bard, Our Take

It’s pretty tough to justify a name like “Classically Educated” after writing only tangentially about Shakespeare over the course of the past couple of years.  Being completely impervious to criticism (what’s the use of living in an ivory tower if you can’t occasionally drop some boiling oil on critics?) we’ve ignored the hue and cry, pointing at our excellent track record of reviewing old films and discussing everyone from Homer to Umberto Eco every once in a while.

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The Tempest – William Shakespeare

The main problem with Shakespeare isn’t the Elizabethan English or the sonnets (although the sonnets, admittedly can get pretty ugly when you realize that he was writing a bunch of them for patron’s children, and not for love of anything other than money – this comes through loud and clear when you read them in succession.  “Shall I compare thee to a summer’s day?”  was written for a male youth, probably the son of a patron.).

But that isn’t the problem.   The problem is that, to get some insight on Shakespeare, you really have to got through and read all the plays in succession… yes, even the Winter’s Tale.  So, that is exactly what we did.  Armed with an inexpensive leather-bound edition of the Oxford text, the most universally accepted version which is roughly divided into four sections: Comedies, Tragedies, Histories and everything else, I set out to see whether we could make some sense of this Shakespeare thing.

Now, first things first: a lot of Shakespeare scholars attempt to make a name for themselves doing textual analysis on the plays and attempting to attributing the plays to random other figures.  Everyone from Shakespeare’s wife to his cook and other playwrights of the time gets a look in.  We won’t be playing at that, just looking at the plays on their own merits.

But first, we must eliminate the rest…  There’s a reason Shakespeare was revered in the theatre more than as a poet, and that is because most of his poetry isn’t at the same level as his plays.  The longer ones, sadly, are just long, while the shorter ones have some good lines in them (that summer’s day one comes to mind), but don’t have quite the impact of the theatrical work.

So, onto the plays…

To modern audiences, the comedies are a bit predictable.  You know it’s going to come out well in the end, and you can usually tell how it’s going to be fixed as soon as the tableau is set, except for Merchant of Venice, which it is no longer politically correct to discuss.  Fortunately, Falstaff makes some appearances (he is probably Shakespeare’s most interesting character), and gets clobbered by the Merry Wives.  I’ll agree with Hollywood on this one: Much Ado About Nothing is likely the best.   The weird ones (Tempest, Midsummer’s Night) would probably be a nice primer for anyone attempting to track the evolution of the Fantasy genre in the English language.

Had Shakespeare only written comedies, time would likely have preserved some, and they would be part of the canon, but the bard himself would be of much lesser stature.  The tragedies are where he made his name, and rightfully so.  These are better than the comedies in general, and the Scottish Play in particular is nearly perfect.

The rereading of Hamlet was interesting, as I’d forgotten how convoluted it actually is, while Lear, as always, is brilliantly insane.  But none comes close to Macbeth for utter depth of the despair it produces in the reader.  This one, much more than Timon of Athens, brings the sensibility of the Greek epics to a renaissance audience.

Romeo and Juliet, of course, is nearly unreadable.  I had to force myself through the thing while attempting to avoid tossing the rather large volume out of high windows.

Engraving of the Conclusion of the Treaty of Troye, from Shakespeare's Henry V

William Shakespeare – Henry V

Last, I’ll discuss the histories.  To my shame, other than having watched the aforementioned film version of Henry V, I’d really not paid much attention to these.  So when, one after another, they turned out to be much more interesting than both the comedies and the tragedies, I sat up and took notice.

Perhaps I would have enjoyed them less had I remembered the history of British monarchs, which I’d long since forgotten.  But possibly not, since Julius Caesar was good despite knowing exactly what would occur.

So, strangely, I have found that the most neglected part of old William’s oeuvre is probably the best for modern readers.  One never really knows what’s going to happen unless one remembers his British history (it’s safe to say that most people emphatically don’t).  It was a pleasant surprise, and made the huge reading/rereading project worthwhile.

So, if you’re yearning for some Shakespeare, might I suggest forgoing the obvious and grabbing the Histories?  You’ll probably find them much, much more rewarding!

Ratings Don’t Lie: An Open Letter to Bernie Ecclestone

Who says the epistolary narrative is dead?  Hear at CE, we believe that it has energy and relevance, and our sports correspondent uses it to talk formula one… he doesn’t seem to be particularly impressed.

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Dear Bernie,

I’ve been following F1 since the 1983 season, when I was a seven-year-old who didn’t entirely understand the whole thing, but who never missed a race.  Even back then, I knew there was something special about the sport, that it represented the pinnacle of something glorious, with tradition and pageantry to match.  I was hooked forever and have been scheduling my Sundays around the Grands Prix ever since.

Well, until now, at least.  I very nearly gave Hungary a miss (and let’s be honest, I wouldn’t have missed much).  I believe that people like me, not uninterested millennials, are driving the ratings decline for F1.  It’s the core motorsports fans who are leaving.

And the reason is pretty simple – though the hybrid cars are interesting technically, the rules around everything else seem designed to destroy all the drama that F1 used to have.  I see there’s now an initiative to fix radio rules, but I think that’s kind of like painting over the damage left by an atom bomb.  I believe the real problem is a bunch of things that have accumulated over the years, and need to go… preferably immediately, possibly in 2017.

At the core of the problem lie the cost control rules.  The ban on testing and engine development mean that a team that starts a new formula with an advantage keeps it – so Mercedes, with two uninspiring drivers (one whiny and one timid) has an unassailable advantage until the next complete package overhaul.  So people, even hardcore fans, tune out.

We all understand that this is there to make the smaller teams more competitive – or at least allow them to survive.  Well, hasn’t worked.  Scrap it.  In fact, think of how we used to have Dallaras qualifying third at Hungary, or Onyx’s on the podium.  The situation has gotten significantly worse wince then, and we’re still losing teams left and right.

The second consequence of the cost control rules is that engines / gearboxes / etc. no longer break.  This is because of silly limits on the number you can use in a year.  I’d definitely watch with more interest if I knew that say Romain Grosjean’s car had been fitted with a hand grenade of a power plant that is giving 30% more power than usual, but is unlikely to last the whole race.

I remember some very strong BMW engines that led every race until they detonated… do you?  That was exciting to watch.

Having every single car finish a GP is not anyone’s idea of entertainment, especially as the racing on the track is artificial and has to do with the tires.  Let the teams risk it all for glory and if it breaks, then that is sufficient penalty in itself.  Cars breaking makes for much more exciting races…

Also, bring back classifying engines.  Senna on a hot lap is still the epitome of the perfect racer in the zone, but he’s been dead for 20 years.  There’s only so many times the F1 channel can repeat his brilliance before everyone has seen it.

Cost-cutting, however, isn’t the only culprit.  Other stuff which isn’t helping has accumulated over the years.  Any single one of these might not be terrible, but together, they add up to YAWN:

Track limits… the fact that track limits don’t enforce themselves is stupid.  If you go off the track, you should be prepared to have that limit enforce itself aggressively.  Trees might be a bit extreme, but grass, gravel traps and armco are nice substitutes – see if you can find the last time a driver was killed in an F1 race after hitting one of these things (hint, it hasn’t happened for 20 years).  That is why Indy, Monaco and Le Mans are still revered.  You don’t need to enforce track limits there.  Firing Mr. Tilke might help (although, in fairness, it’s not his fault – he has to do the best he can with the current nanny state situation).

There is no excuse for starting a wet race behind a safety car.  Any F1 race director who pushes that should have his credentials revoked (again, as we live in a politically correct age, we can’t actually request the guillotine).  If you feel a need for that kind of thing, there’s probably a rookie league somewhere that needs a steward to take care of the rich dilettantes making their first competitive drives.

There’s a mantra you should repeat: “Rain at Monaco is a blessing from the gods.  I will never again allow it to be squandered the way it was in 2016”.  Say this a thousand times.   Make Charlie repeat it. Please.

This is actually the main reason people are leaving.  It seems that when the weather cooperates to make the racing better, the powers-that-be are actively sabotaging this.  It make it look like F1 HAS to be boring.

Tires…  Make it so anyone on the planet with a vulcanization plant can produce F1 tires.  Tire wars are interesting.  Also, make it so everyone can use as many tires as they want, and of whichever type.  F1 should be about the cars going as fast as they can under the current rules, not about which tires you’re on.

Leave it 100% up to the teams whether to change tires or refuel during a race. Just make sure refueling rigs are to code.

DRS is fun.  Give full control of that to the driver, for use anywhere on the circuit.   I might make an exception to this if Takumo Sato comes back, but other than that, go for it.

Other than that, the rules seem to be fine.  The cars are interesting and don’t look anywhere near as bad as the ones from the late 90s.  The power units may be complicated, but so were the first turbos, so were the first injection systems.  Just make it so the engineers can work on stuff and improve it every single race.  Also, permit alternative engine types for people who don’t want the hybrid hassle.  Loosen the noose.

Fix it soon… there are too many other options now for a crappy product like the current F1 to survive.  Hell, the WEC is the best it’s been since the 962s and, trust me, had you insisted on causing Baku and Le Mans to clash, my set would have been waiting for that big Rolex to strike the 24th hour.

We all want F1 to be unpredictable again without becoming a spec-racer series with artificial excitement injected (see current stupid tire rules for a good example of that).

Right now, the only thing keeping the series afloat is the fact that it’s the place where the holy red cars are entered by the factory.

Lose that and no amount of glorious history will save it.

 

 

Reversing Noir

 

Joan Crawford in Mildred Pierce

Joan Crawford in Mildred Pierce

Films of the noir era usually focused on one character who, though no saint himself, had a strict view of just how much bending of “right” was acceptable.  The hardboiled dick who lets the dame off despite the fact that she is guilty as hell because the guy had it coming is the typical storyline.  There is one other twist which is that everyone, including the point-of-view character is so deeply mired in muck that they are irredeemable.

By 1945, however, Michael Curtiz decided that the genre needed a new twist, and used that feeling to create his take on Mildred Pierce, an adaptation of the novel by James Cain (who you might remember from here).

In this film, while some characters are certainly sleazy, there is only one who is actually bad… and the rest of them spend the entire film putting themselves at risk in order to try to help that one character (I don’t want to spoil the film for anyone who might be watching).  Their reward?  Betrayal of all sorts, from sexual to downright criminal.

Other than that particular twist, the film is notable for the way Mildred Pierce creates a business empire against all odds, often hindered by friends and family.  It’s a sign of how the war had affected American society – audiences accustomed to women performing war work were definitely ready to see them on screen as strong business leaders.  Although this isn’t the central theme of the movie, it is strong enough to be very notable.  And Joan Crawford is extremely believable in the role, one can’t help but think that she was a much better choice than the other women considered for casting.

This is a good complement to the noir era, something to watch if you’re really into noir in all its permutations.  Of course, it’s a film a casual viewer might never actually get to, but for fans of the genre, it’s a must.

Ann Blyth

Also, a shout out to surviving cast member Ann Blyth, who is notable because she was a key member of the cast – and central to the plot.

“Whenever I make a film that’s for war, you can take me out and shoot me.”

 

by Stacy Ketcham, Omaha Chronotype-Mercury War Correspondent in Italy*

 

Italian Colonial Exposition 1940

Buildings of the 1940 Italian Overseas Exposition before the war

December 26, 1943 With US Army 21st General Hospital, Mostra Fairgrounds, Bagnoli. Italy–Candidates for the Purple Heart in recognition of battlefield wounds in Italy will now pass in review under the eyes of no less famous a figure than Benito Mussolini. His face, substantially larger than life, is prominent in a mural at the Albanian pavilion of his 1940 Colonial Exposition, an extravaganza intended to modestly showcase his glorious achievements as Italy’s leader. The immodest number of bullet holes which mar his likeness manage to render the image pleasant enough for medical personnel to work in view of it in what is now the surgical area of an Army Hospital, and few of the soldiers they attend to take the time to look up at the man who still looks down on them.
Just three weeks ago, as the Third and Forty-fifth Infantry Divisions began crossing the Volturno River, the men and women of this hospital, more than four thousand of them, began crossing the Mediterranean, bringing with them more than three thousand crates of medical supplies and equipment, to set up shop in this new location, right outside of Naples, and only thirty miles from the front lines. This proximity relieves much of the pressure on field hospitals even closer to the front, and allows greater flexibility in determining the best treatment for urgent and critical cases.
This proximity also allows wounded men to be brought directly from the battlefield to what is literally the newest, most modern hospital in the world, And Il Duce allows these men to recover in good humor; the post-op room was originally a memorial to Italy’s brave soldiers, most of whom have now surrendered or simply discarded their uniforms and quietly gone home. No man, regardless of whether he is American, British, or any of the other nationalities now fighting with the allies in Italy, has failed to find this amusing.
Another thing every man has found amusing is discovering what knockouts some of these nurses can be. To free every available doctor for surgery, a number of nurses volunteered to learn how to administer anaesthesia. I found it reassuring to see a man wounded less than an hour earlier ask his anesthetist if she’d go out with him after he recovered. Her only reply was a smile; before she could have spoken a word, he was unconscious.

* * *

There were, of course, a number of things I couldn’t mention in this column without risk of undermining the war effort. I couldn’t say that this man, like many battlefield casualties, was in shock. Nor could I say that, like most battlefield casualties, he had not been told how badly he was wounded. If he’d been wounded before, he might have known how unusual it was for the anaesthesia to be injected into the neck, rather than an arm or a leg. But he no longer had arms and legs. That was something else I couldn’t mention.

And this is only one hospital, Erich Maria Remarque had written. How senseless is everything that can ever be written, done, or thought, when such things are possible. It must be all lies and of no account when the culture of a thousand years could not prevent this… A hospital alone shows what war is.

I remembered that as I typed, but still sent my column.

* * *

Dusk was well upon us by the time I stepped outside. I was nominally billeted in a field hospital nurses tent a few miles away, and wondering if I should try to find a closer place to sleep for the night or hope for a ride when I noticed a jeepload of clean uniforms heading my way. Replacements going somewhere, I supposed, until they stopped in front of me. A Signal Corps Captain looked at my armband, then spoke up.

“We were in San Pietro before anybody,” he said, with the tone of a man in shell shock. “There’d been an attack and a counterattack in the night, and there were just hundreds and hundreds of dead.”

What had he expected to find after a battle, confetti? I didn’t ask, I just stood there listening to the motor of the jeep idling, and glanced at the newsreel cameras on the floor of the jeep.

“Battalion?” the driver asked, a trace of Yiddish to the question, somehow. I pointed and the jeep was moving again.

I don’t know when I finally realized I’d met John Huston that evening. Certainly not by May of 1945, when I saw the Army’s fiercely edited two-reel release of the battlefield documentary Frank Capra had sent him to film.

* * *

On the Road to San Pietro

US Tank destroyed attempting to enter San Pietro

How do you create the cinematic documentation of a battle when you weren’t there until the battle was over, and the first thing you find when you do arrive is hundreds and hundreds of dead? Of course, a critic, particularly if he’s never directed a movie or been anywhere near a battlefield littered with corpses, many of them fragmentary, will say you fabricate the whole thing. Yes, anyone can recognize that John Huston’s The Battle of San Pietro was a re-enactment, for the most part, with no particular effort made to capture realism in the scenes depicting the battles. Even the men shot in the five-reel original were staging their deaths. The only aspect of the film which was genuine and even in the least candid was the part Huston experienced personally on the first morning of filming. The corpses, even when repositioned for effect, or to keep the grotesquely distorted faces, if they were American, out of view, were absolutely real. They were not extras, they were the stars of the film, and Huston, editing either version, must have calculated how much carnage could be tolerated by the typical audience without blunting their sensitivity to what they were being shown, and how much of this brutal depiction of a brutal reality was necessary to validate his own statement, as the movie approaches its close, “These lives were valuable–valuable to their loved ones, to their country, and to the men themselves.”

* * *

The officers for whom Huston screened his original edit all walked out in quick succession, but George Marshall, who had to concern himself not only with morale, but also with the more difficult issues of desertion and combat fatigue, decided that a shorter edit of Huston’s stark depiction of battle would be an appropriate training film. Marshall was pleased by this version of the film, with a brief introduction by General Mark Clark, and Huston was promoted to Major.

* * *

The wind and snow on Christmas Eve were answers to prayer. Everyone’s prayer. The Germans–those still alive–were glad of something to cover their retreat. And those Americans still alive were glad of the excuse to let them slip away. The battle per se of San Pietro had been over for a week, and the 3rd Infantry was taking up forward positions in relief of what remained of the 36th. There had been a flood of T-patchers in the field hospital, and from those able and willing to talk, I’d pieced together a story that still needed a lot of window dressing and white washing before it could be typed up and cabled home.

Essentially, the Germans had built their own little Maginot Line from Lincoln Logs. A series of fortified foxholes with nearly perfect defilade and concealment, protected by alternating layers of barbed wire and land mines. Further, each of these could only be approached by a single man scraping his short hairs in the mud. Covering fire could be provided, but only carefully; more of his boots and buttocks were exposed to that fire than the whole of the German position. As I said, there were a vast series of these strung along the mountainside, interlocking in a pattern something like the teeth of a circular ripsaw. The flank had to be turned, and the 143rd Regiment had begun doing that in early December, scaling a mountainside in the face of mortar and machine gun fire which could excoriate the landscape without being aimed. The Germans knew the Americans were there. When that mountainside had been secured, and this in a relative sense, the assault itself began, one American at a time, approaching each in this series of small fortifications, until somebody was lucky enough to get a grenade in before another man had to pull him back, wounded or killed. You can imagine that casualties were high, but even I had not imagined how high.

* * *

I’d been to Mass that morning with the 100th Battalion; Japanese Americans from Hawaii, attached to the 36th. From the small number there, I’d assumed that only a few of them were Catholic.

Technically, the 36th was still at the front, but through the good offices of the 3rd Division and cooperation of the momentarily defeated Germans, the front was moving away, allowing the T-patchers to enjoy their Christmas dinner of C-rations on the hood of a jeep, or to gather around an impromptu Christmas tree chosen from among the myriad fragments of trees scattered by two weeks of uninterrupted combat. Their trees were decorated with strips of their C-ration’s foil packaging, usually discarded, but now kept and carefully torn to form tinsel garland.

In the early evening, as darkness became definite, I noticed four candles at the opening of several tents knotted together at the grommets, forming a shelter large enough for half a dozen men to gather. I went to it.

“Are you Jewish, Ma’am?” one of the Texans asked.

“My mother was.”

“Then I guess you are.” He tapped a wooden board, covered by a surprisingly clean white cloth. As I sat where he had indicated, each of the boys pushed a few of their piled M&Ms toward me. Then the one who had greeted me handed me the dreidel.

* * *

“Are you the reporter, Ma’am?” a voice behind me asked. The Jewish soldiers and I had been pushing M&Ms back forth for about an hour.

“Yes,” I said, turning around to see an NCO from Divisional HQ.

“You’ve had clerical experience?”

“Yes,” I said, now getting up. The two of us left, and he led me toward a jeep cleaner than most I’d seen that day. We sat in it.

“A battalion clerk has a problem,” he said. “You might be able to help, if you’re willing.”

“Yes, of course.”

We drove further from the front. Perhaps ten minutes, arriving at a farm building labeled as Bn HQ. He led me inside, where I saw a clerk, his head resting on a typewriter, weeping profusely. I wouldn’t have believed a clerk this far from the front could have combat fatigue, but that’s exactly what it looked like. There were packages piled up, filling nearly three-quarters of the office.

“You need help delivering these?” I asked.

“No Ma’am,” the driver said. “We need you to draw a line through the address of each one, and mark it KIA.”

I was on the floor, sitting, wondering if I’d fainted. Amid the fog, slowly dispersing it, I heard President Roosevelt, his voice crackling on the radio.

“We ask that God receive and cherish those who have given their lives, and that He keep them in honor and in the grateful memory of their countrymen forever. God bless all of you who fight our battles on this Christmas Eve.”

I reached up. The driver handed me a pen.

“Thank you, Ma’am.”

I nodded. He left as I grabbed the first package. The clerk was still weeping over his typewriter when I finished, just past dawn, my hand stiff and fingers numb.

* * *

When the 36th Infantry Division returned to the front line in January, 1944, 80% of its men had been in the Division less than two weeks.

 

 

 

*This is actually an excerpt from Stacy Danielle Stephens amazing WW2 magnum opus, very intimately linked to this post.

The Single Biggest Issue with Postmodernism

It’s interesting to note that, of all philosophical trends in history, only modernism was declared dead due to a failure of architecture.  The demolition of the Pruitt-Igoe complex in St. Louis was hailed by everyone from serious sociologists to literary critics as the end of one era and the beginning of the next, which they imaginatively called “postmodernism”.

pruitt-igoe implosion

Pruitt-Igoe complex demolition – hailed as the end of Modernism.

Of course, the aspiring postmodernists had were simply using a fortuitous event to further their cause and ignoring inconvenient truths.  While it’s true that Pruitt-Igoe was undoubtedly designed on modernist principles, its failure had more to do with mismanagement and public policies than with modernism itself*.

In the long tradition of social reformers, however, the postmodernists ignored the facts and pushed their way of thinking forward – successfully.

In its original form, postmodernism was a typical adolescent rebellion by social theorists against what had come before, turning a skeptical eye towards both antique institutions and modernism itself.

So far, so good.  They say nothing is more predictable for intelligent people than the avant-garde, and postmodernism was living up to that truism from the outset, and would soon settle down to become the established norm with new rules and values.

They did this admirably.  Nowadays, if you know what is particular pet topic is, you can write a postmodernist scholar’s paper for him before he knows he is going to write it**.

And therein lies the problem, and ultimate barrenness of postmodern thought.  At some point, postmodernism began searching for tools with which to give form to what began as a rejection of what came before, and they seem to have taken a wrong turn.

The central tenet they ended up embracing is, in layman’s terms, that there is no such thing as a “big picture”, and that it is perfectly valid to analyze individual elements separately – and in a separate, but ultimately equally damaging turn, that the observer is a critical part of the analysis.

While subjectivists were alive in Ancient Greece, the idea that single-element analysis is valid it’s called deconstruction, BTW) has been particularly detrimental in combination with it, damaging fields as disparate as History and Architecture.

We can dispense with the architectural elements easily – all one needs to do is to envision a building where the elements are meant to be viewed individually with no concern for the whole.  There are some out there (you can see one below – and it isn’t even the ugliest), but most architects have a grounding in art history, and an appreciation for aesthetics, so they have, on the whole, rejected the idea that the big picture is irrelevant.

k2_building_tokyo

The K2 building is Pure postmodernism.

Where things do get unfortunate, however is in the softer sciences such as history or literary criticism (I won’t repeat the XKCD joke here – go find it yourself!).

History students suffering the postmodern wave of revisionism (every movement has its revisionist wave) are being taught that unimportant groups and people were just as important as the movers and shakers of their era.  That slaves were historically important in societies where they were just used as human cattle, or that minority groups were politically influential in ancient India, or whatever.  The justification seems to be that the history of anyone who ever existed is important, so it must be taught as important.

The reality is that the suffering of minorities, slaves, or any other disenfranchised group is only important in times when the group managed to get some kind of power… if not, their suffering actually was in vain.

And yet, historians today are telling a different story.  It’s all very democratic, but will ultimately prove as damaging to the science as any other philosophically-based prejudice (see Eugenics for another 20th century attempt to fit history to philosophy – that one didn’t turn out so well either).

Criticism is often a butt of jokes about the academic worth of its practitioners, but we have to admit that, lately, the discipline has earned the scorn.

The problem is that with deconstruction allowing one to choose the focus one wants, it becomes easy – nay, obligatory – to focus on a single dimension when evaluating a work of art.

Warhol Campbells Soup

Soup Can: very pretty, but how does it speak to animal rights?

So a novel that touches the human spirit can be attached for not being feminist enough, a beautiful sculpture is worthless because it doesn’t address the plight of oppressed minorities.  Postmodernism’s obsession with minutiae blinds it to everything other than minutiae, to its own detriment.  Political arguments in the early 21st century seem to be imbibed with the same kind of narrow-gauge thinking.

It ends up feeling like postmodernism is the whiny self-absorbed teenager of philosophical movements…  Even to the point where there are already rumblings of a post-postmodernism.

However, like whiny teenagers, it will be hard to steer this one to a good port.  You see, the death blow to postmodernist thought has already been dealt, nearly two decades ago.

In 1996, physicist Alan Sokal submitted an intentionally flawed, parodical academic article to peer-reviewed postmodern journal Social Text.  Not only did the ridiculous piece pass the peer review process, but, after Sokal came forward to announce the hoax, some of the journals defenders actually said that (and I paraphrase) “Sokal didn’t understand the actual depth and significance of the piece he had written”.

Now that is more embarrassing than a simple demolition, don’t you think?

 

 

 

*Modernism clearly had its moronic moments, but Pruitt-Igoe wasn’t its fault.

**For example, that last sentence would be rewritten by a feminist post-modernist using “her” in place of “him” and “she” in place of “he”.  A multi-gender postmodernist will attempt to use an invented gender-neutral word in its place, etc.