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Brooklyn Bugle Book Club: “Butcher’s Crossing” by John Williams

October 30, 2015

Screen Shot 2015-10-30 at 12.18.04 PMDedicated fans of John Williams’ novels “Augustus,” (1972, reviewed here), and “Stoner,” (when the book was published, in 1965, the word stoner had not taken on its present-day connotations) should by all means read his earlier novel “Butcher’s Crossing,” first published in 1960 and now available, like the others, from NYRB. “Butcher’s Crossing” tells the story of Will Andrews, the Boston-born son of a minister, who in 1873 has left Harvard after three years and made his way, by coach and rail, to the town of Butcher’s Crossing, somewhere north of St. Louis and a jumping-off point for hunters and others heading west. With the opening of the first transcontinental railroad in 1869 railroads were spreading across the country, but huge unsettled spaces and large herds of buffalo remained. Andrews has some capital, and he’s intent on fulfilling a vision of wildness Williams describes as:

. . . a freedom and a goodness, a hope and a vigor that he perceived to underlie all the familiar things of his life, which were not free or good or hopeful or vigorous. What he sought was the source and preserver of his world, a world which seemed to turn ever in fear away from its source, rather than search it out, as the prairie grass around him sent down its fibered roots into the rich dark dampness, the Wildness, and thereby renewed itself, year after year.

Andrews invests a chunk of his capital in preparations for a buffalo hunt, trusting the patter of a Mr. Miller, who has seen great herds of buffalo in a remote mountain valley. Andrews joins the expedition, and Miller brings along Charley Hoge, who is missing a hand, as cook and drover, and Fred Schneider, an expert skinner. Andrews keeps following Miller’s decisions, though even he knows they’re questionable: to head directly west rather over the prairie rather than stick with known routes along rivers. To massacre an entire herd of buffalo for their skins, leaving the meat but nothing else, not even survivors to repopulate the herd. To stay in the mountains even as winter closes in.

Fortunately Miller, Schneider, and Andrews himself are strong and resourceful, and they survive the ensuing disasters. Their trials only multiply when they emerge from the mountains: the world has moved on, not caring about their travails. The pace of the narrative is very slow, as Williams describes their long trip in exquisite and disturbing detail, but the concentration and work required of the attentive reader is more than repaid in vivid descriptions and thought-provoking scenarios. The book anticipates many of the issues we’re struggling with today, including environmental, habitat, and species destruction and the impact shifts in economic trends have on every participant in every interconnected marketplace. Will Andrews’ reflections at the end of the story bring to mind Nick Carraway’s, and this reader found “Butcher’s Crossing” to be a worthy and remarkable bookend to “The Great Gatsby” in its depiction of the cost of the American experiment.

Do you agree? Let us know in the comments. Have a book you want me to know about? Email me at asbowie@gmail.com. I also blog about metrics at asbowie.blogspot.com.

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Brooklyn Bugle Book Club: “The Grapes of Math: How Life Reflects Numbers and Numbers Reflect Life” by Alex Bellos

October 23, 2015

Screen Shot 2015-10-23 at 12.04.51 PMMath is full of jokes, says Alex Bellos, and he uses his recent book “The Grapes of Math” to explain what he means. Even if you don’t think of yourself as a math person, you use numbers in everyday life. Need to know what day it is, or what time the movie starts? We all need to count, and Alex Bellos starts his entertaining and enlightening romp through the world according to numbers with a brief history of counting. The first thing he counts is favorite numbers. Admit it – you have one. Most people do. Bellos relates an anecdote about an online (possibly not representative) survey he conducted asking people to pick their favorite numbers. The lowest number with no votes? 110. The highest vote-getter? Seven. That’s 7. Pi and e also got a lot of votes, and odd numbers were more popular than even ones.

After that things get even more interesting: Bellos first takes a look at why the week is divided into seven days, starting with the classical explanations (the Greeks observed seven planets, the Egyptians used a human head as the hieroglyph for seven, perhaps because of the seven orifices in the head). He then goes on to an arithmetic fact: seven is different from the rest of the first 10 numbers because “it cannot be multiplied or divided within the group.” The rest of the chapter is taken up with a discussion of the properties of numbers – not the arithmetic ones, but the properties we ascribe to them, and a study in which people were asked to indicate whether they liked, disliked, or felt neutral about the numbers 1-100. The patterns shake out into what Bellos calls prime number sieves: our favorite numbers are often prime numbers, as are numbers respondents to another survey characterized as “excitable.”

That’s the first chapter. In the following chapters Bellos discusses the frequency and statistics (in almost any document, the digit most represented is likely to be a 1); triangles,which leads to a discussion about measurement of height; cones and parabolas, with a digression into a riddle about planetary orbits Galileo Galilei sent Johannes Kepler, and another digression discussing the shape of cooling towers at nuclear plants; the startling properties of π, the ratio of the circumference to the radius of a circle, and a discussion of the path of fastest descent, which occupied the mathematicians Johann Bernoulli and Gottfried Leibniz, and the constant e, the exponential constant.

Throughout, his explanations are clear, so long as you can read graphs and charts, and illuminated with a deep knowledge of history and a dry wit. For example, Jakob Bernoulli (Johann’s older brother) sought to identify the geometry of the catenary curve. Here’s Bellos’ description

This curve–called the catenary, from the Latin catena, chain – is produced when a material is suspended by its own weight . . . It’s the sag of an electricity cable, the smile of a necklace, the U of a skipping rope and the droop of a velvet cord. The cross section of a billowing sail is also a catenary, rotated by 90 degrees, since wind acts horizontally as gravity does vertically. . . Jakob did not know the answer to his question before he asked it. After a year’s work it still eluded him. His younger brother Johann eventually found a solution, which you might assume would be a cause for great joy in the Bernoulli household. It wasn’t. The Bernoullis were the most dysfunctional family in the history of mathematics.

The later chapters include some equations, which are worth wading through (and require only high school math in any case) because they bring you through the theory of imaginary numbers to complex numbers to fractals, a set that contains miniature versions of itself and, with advancing computers, to 3D fractals (you can watch a fascinating and video about them here).

Bellos’ final chapters move from calculus, the nature of mathematical proofs, to the impact computers have had on proofs (a big impact) to computer math games, including one, the Game of Life, that has the possibility of self-replicating. It’s a fascinating concept – cellular automata follow a set of rules on a flat grid – and can result in extremely complex behavior. (Here’s a youTube video explaining some of the puzzles and patterns that can arise.) Right now there are few applications, but you never know, says Bellos: “sometimes–maybe years, maybe centuries or maybe even millenia later–new applications are found.” Math’s not really a joke, he concludes. It’s possibly the key to life, and certainly central to understanding life.

Agree, or not, let us know your thoughts in the comments.

Have a book you want me to know about? Email me at asbowie@gmail.com. I also blog about metrics at asbowie.blogspot.com.

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Brooklyn Bugle Book Club: “Muse” by Jonathan Galassi

October 16, 2015

Screen Shot 2015-10-16 at 10.04.38 AMJonathan Galassi’s charming new novel “Muse” is a love story, Galassi tells us in its opening pages, and so it is, but it’s a love story where the hero and heroine don’t meet in person until late in the novel. The hero, Paul Dukach, is the second-in-command and hopeful heir apparent at a small literary publisher. Ida Perkins, a 20th century poet of great distinction, is the heroine. Ida, an “unimpeachably expert” poet, may be the Muse of the title and is certainly the poet that Paul’s boss, Homer Stern, wants most to add to his list.

Unfortunately for Homer, Perkins is published by his main competitor; that firm is owned and run by a relative of Perkins’s. Paul has made the study of Perkins’s work, and to some extent her life, the main object of his avocation, and he knows, and so do we, and so does most of the interested public (thanks to Ida’s unquenchable forthrightness”), that Perkins has had affairs with both publishers, and various others, among and between her four marriages.

The early chapters set the stage, describing the world of mid-twentieth century publishing before (and during) the arrival of the Internet and the rise of on-line retailers like the bookseller Galassi calls Medusa. It’s a rather self-important world, and Galassi’s description is reminiscent of the world of Beerbohm’s “Zuleika Dobson” without, alas, the illustrations. The writing throughout is beautiful, as one would expect from a publisher and poet. Here’s Galassi’s description of Stern’s editorial staff, “ a raggle-taggle gatherum of talented misfits” (note the fun that Galassi has naming his characters):

portly Paddy Femor, an exceptionally gifted editor whose perfectionism made it nearly impossible for him to let go of the manuscripts he noodled over, sometimes for years; cadaverous Elsa Pogorsky, known around the office as Morticia, invariably dressed in black from head to toe and forever scowling through forbidding black glasses . . . ; crotchety, heart-of-gold copy chief Esperanza Esparza, renowned for her way with a red pencil, who seemed never to leave her desk surrounded by its array of scraggly avocado and spider plants that leached all the available light from her grimy office window.

Each chapter in the middle third of the book begins with a set piece – a farm in upstate NY, the Frankfurt book fair – they’re too good to be described as filler, and are interesting as an insider’s top-level description of the book business and the work of researching and, yes, writing a literary biography. Interested lawyers will note that Galassi does not include any depiction of publishers talking to each other or other merchants about a response to internet sales or publishing, though he does describe the general gnashing of teeth over mergers that sublimated most publishers into large conglomerates. The section also sets the reader, and Paul, up for the final third, a literary mystery. The heart of the story is here, told in many wonderful pages, not least of them Ida Perkins’s final poems, collected in a book to be called Mnemosyne; in them the “goddess of memory, the mother of the Muses was speaking the poems, remembering.” The mystery is easy to solve, for the reader who’s paying attention, but Galassi leaves the reader with many questions to ponder.

It may be that physical books are an anachronism, and “Muse” has an elegiac air, but the transition will be a long one and there are still apartments and houses filled with books and Common Readers, as  Galassi calls us, who happily keep reading books. If you’re one of them, you’ll enjoy curling up with “Muse” for a happy afternoon. If you’re not, read “Muse” anyway, because you’ll get a telling and vivid description of a particular kind of life, and what more can we ask of fiction?

Have a book you want me to know about? Email me at asbowie@gmail.com. I also blog about metrics at asbowie.blogspot.com.

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Brooklyn Bugle Book Club: “The 33” by Hector Tobar

October 9, 2015

Screen Shot 2015-10-09 at 11.39.44 AMMany readers will remember the 2010 news reports of the Chilean miners: trapped underground for more than two months in the San Jose mine in the Atacama desert of northern Chile, and their dramatic rescue, one by one, while the world watched on television. Hector Tobar’s vivid account of the miners, the mine’s collapse, and the rescue “Deep Down Dark: The Untold Stories of 33 Men Buried in a Chilean Mine, and the Miracle That Set Them Free” has been retitled “The 33,” and re-released in preparation for a movie version coming in November.

Tobar meticulously describes the miners, their families, their lives, and the mine. The miners’ lives are not easy, and they work in the mine because it pays well, allowing them to support their families: wives, children, and sometimes extended families. (At least one married miner split his time between his wife’s home and his girlfriend’s.) In the US we often think of miners as local, but the Chilean miners came from far and near the mine, working a week of 12-hour shifts at a time, then heading off again to homes as far as 36 hours away by bus.

The San Jose mine was a century old, and still yielded copper (40 pounds per metric ton of rock) and gold (less than an ounce). Its central passageway, the Ramp, was big enough for trucks. The miners entered at level 720, 720 meters above sea level. On the morning of the collapse miners were working at level 60, and some as low as level 40. There was a refuge area with food and cots at Level 90, often used as a break room, because fresh air was pumped into it from the surface. For several months before the collapse cracks had appeared in the Ramp but tests indicated the cracks were not growing. So the men went on working.

Getting the 33 out wasn’t the only miracle of the story. No one was killed or injured during the collapse. The trapped men were able to get to the refuge, and the people on the surface found them (that took two weeks). There was water – not fully clean water, but enough of it – where the trapped miners could get it. But the families had to pressure the mining company and the government to keep the search going, and they did so by camping near the mine entrance.

It’s tempting to treat the miners as heroes, and to project superhuman skills and values on to them but the men suffered, and they reacted in character. Some grabbed food, some shrank from leadership. One kept a diary. Throughout the book Tobar describes the men not, perhaps, as their best selves, but as men who had to behave as best they could in a group in order to survive.

Tobar’s story of life under the rock is vivid and gripping; it’s matched by his account of what went on above – the politics, the news stream, the psychological support and the missteps. “The 33” is a detailed and lively account resourcefulness and resilience, and very entertaining as well. Do you agree? Let us know in the comments.

Have a book you want me to know about? Email me at asbowie@gmail.com. I also blog about metrics at asbowie.blogspot.com.

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Brooklyn Bugle Book Club: “Fates and Furies” by Lauren Groff

October 2, 2015

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Lancelot Satterwhite, called Lotto, and Mathilde Yoder, the central characters in Lauren Groff’s wonderful new novel “Fates and Furies,” meet as college students, marry young, and live together happily for many years. Lotto becomes a successful playwright and Mathilde manages his career and their lives as they move from basement flat in Greenwich Village to full-time life in the country, from penniless to comfortable. Lotto’s family is wealthy but his mother has cut him off as a result of his marriage to the penurious Mathilde. Lotto’s aunt Sallie and much younger sister Rachel stay in his life, and both of them slip money to Lotto and Mathilde from time to time. Lotto has a lifelong friend, Chollie, who also mistrusts Mathilde, and their relationship continues during the long period Mathilde outlives Lotto.

But the synopsis is the least of this novel, because midway through we’re thrust into a parallel narrative, where everything we thought we knew about Lotto and Mathilde and their marriage turns out to be incomplete. So there’s an alternative synopsis of this transcendent novel, involving an innocent trapped into marriage with a fortune hunter, and an alternative to that, because the novel can also be read as a quest – both Lotto and Mathilde are cut off, adrift from their families, and each seeks something more than the other provides in their lives together. A summary does not do this well-written, allusive, and deeply intelligent novel justice: it would be like trying to summarize the “Odyssey” – which is in fact one of the many books to which Groff’s text refers.

Like the synopsis, the characters can be read in very different ways. Take Mathilde, for example. By some accounts, including Lotto’s, she is incredibly good for, and to Lotto. She’s supported him while he tried and failed to make a living as an actor, and recognized and encouraged his genius as a playwright. She edits and helps shape his work, and she’s willing to live in his shadow. But Mathilde has shadows of her own, which Chollie senses from the beginning and which Lotto’s mother discovers with only a little effort. Mostly, Mathilde uses her shadowy contacts for Lotto’s good, and her own, but the shadiness means that, without his knowing it, Lotto is compromised. So does that make Mathilde good? Evil? It does not do this layered book justice to come to so simple a conclusion as to say that, like all other people, Mathilde is complicated.

The writing is skillful and beautiful throughout, with details that sear or flay and stick. Here’s just one example:

“You’re a pathological truth-teller,” Lotto once said to her, and she laughed and concede that she was. She wasn’t sure just then if she was telling the truth or if she was lying.

Great swaths of her life were white space to her husband. What she did not tell him balanced neatly with what she did.

In the novel’s first part, “Fates,” years pass in a couple of sentences, so when Groff slows down the reader must pay attention. In the second, “Furies” Groff fills in or tints the white spaces she has earlier left to the reader, and our understanding of the characters, and the marriage, deepens, shifts, but doesn’t necessarily converge.

“Fates and Furies” is, in the best possible way, a shape-shifting novel: for every interpretation, there’s another available: often directly contradictory yet equally plausible. The themes of family, marriage, guilt, redemption, creativity and yes, life and death course through it. Read this novel, and it will repay the work of the reader in thought-provoking resonance and depth.

Have a book you want me to know about? Email me at asbowie@gmail.com. I also blog about metrics at asbowie.blogspot.com.

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Theatre for a New Audience presents John Lahr in conversation with Sarah Ruhl

October 1, 2015

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On Wednesday, October 7 John Lahr, drama critic for “The New Yorker” and author of “Joy Ride: Show People and Their Shows” will talk about his new book with one of its subjects, Sarah Ruhl (The Clean House, In the Next Room). A Q&A with the audience and book signing will follow the talk. Books, food and drink will be available for purchase in the lobby.

The talk starts at 7:00 pm at the Polonsky Shakespeare Center, 262 Ashland Place, Brooklyn, NY. Tickets are $10, general admission. More information and tickets are available here.

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Transit Museum to Screen “One Track Mind” on October 7

September 29, 2015

Screen Shot 2015-09-29 at 8.39.39 AMSubway aficionado and artist Philip Ashforth Coppola and director Jeremy Workman will screen the documentary “One Track Mind” (2005) about Coppola’s work cataloging and archiving every station in the NYC system. After the screening they’ll talk about “preservation, documentation and the artistic idiosyncrasies” of New York City. Mr. Coppola’s original drawings and station renderings will be on view as well. Tickets are $10/free for Museum members.

The Transit Museum is located at Boerum Place and Schermerhorn Street in Brooklyn Heights.

The screening starts at 6:30 pm; doors open at 6 pm. Tickets available here.

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Brooklyn Bugle Book Club: “Station Eleven” A Novel by Emily St. John Mandel

September 25, 2015

Screen Shot 2015-09-25 at 12.33.08 PMArthur Leander, playing Lear in “King Lear” on a wintry night in Toronto, has a heart attack onstage and dies during a performance. It’s an unusual staging which includes three child actors playing Lear’s daughters as children. One of them, Kirsten Raymonde, watches Leander die, without fully understanding what is happening. Jeevan, an audience member, tries to shield her. After turning Kirsten over to her minder Jeevan leaves the theater and walks home through the snow; during his walk he receives a call from a close friend, a doctor working at Toronto General Hospital. The doctor has bad news: an epidemic, a bad one, is breaking out. It’s called the Georgian Flu, and it kills most of the people in the theater that night, and in Toronto, and in the world.

Much – but not all – of the story takes place 20 years later. The scattered survivors live in villages, tending crops and telling their children stories of life before. There are a few travelling peddlers, and there’s the Traveling Symphony, which wanders from town to town, its members doubling as musicians and actors – they also perform the plays of Shakespeare. Kirsten Raymonde is among them; Kirsten combs old gossip magazines for pictures and stories about Arthur Leander, his ex-wives, and his son, Tyler, who is about her age. But Kirsten, and the other travellers, don’t have much time for anything but hunting, work, and staying alive. The roads are dangerous, and when the Traveling Symphony moves it moves under arms.

Mandel creates an eerie but entirely credible world, with overgrown highways packed with cars, some with skeletons still sitting inside. Abandoned houses are common, but finding one that has not yet been ransacked is rare, and when that happens there’s not much left that’s usable (candles, sugar, maybe, containers. Gossip magazines. Musical instruments.) But it’s the living who are the most terrifying. When the Traveling Symphony returns after two years to a town called St. Deborah by the Water, where they left two of their members, the residents are docile. Symphony members are trailed by children whenever they go. The only sign of the two musicians, a married and pregnant couple, is a marker in the church graveyard with their names and a curious symbol: a t with two crossbars. It’s the symbol of a cult, whose leader has come to St. Deborah by the Water.

Mandel intersperses her tale of a dystopian future with various characters’ life stories from before the calamity. The movement back and forth in time, in place, and in point of view make for a textured novel. The scenes in which people react to the pandemic – the TV announcers stuck in the studio telling their loved ones to flee, the collapse of the electrical grid, the grounded flights – strike a fully plausible note. The surviving texts are an odd conglomeration of human knowledge: Shakespeare, of course, the Bible, some musical scores and some comic books, Kirsten’s gossip magazines, and the slogan painted on the side of the Traveling Symphony’s caravans: “Because survival is insufficient.” That idea applies to books as well as people: We need books, but without reflection we won’t fully understand what’s on the page in front of us.

The comic book contains a caption “I stood looking over my damaged home and tried to forget the sweetness of life on Earth.” Substitute life as a king for the last two words, and you have Lear’s predicament. You might think it would be a mistake for a novelist to kill off her central character in the first page of a novel, at least one that’s not a murder mystery, but Arthur Leander keeps turning up. He’s a student, a friend, a father, a husband. He connects most of the characters, and many of the objects in this lucid and compelling novel.

Have a book you want me to know about? Email me at asbowie@gmail.com. I also blog about metrics at asbowie.blogspot.com.

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Brooklyn Bugle Book Club: “Black Man in a White Coat: A Doctor’s Reflections on Race and Medicine” by Damon Tweedy, M.D.

September 18, 2015

Screen Shot 2015-09-18 at 9.11.50 AMDamon Tweedy graduated from the University of Maryland-Baltimore County with extremely good grades and an average score on the MCAT. He was actively recruited by highly-regarded medical schools, including Johns Hopkins and Yale, and ultimately chose to attend Duke, even though it’s located in the south, because it offered him a full scholarship. He was one of 14 minority students among the 100 in the Class of 2000. On his first day of classes, Tweedy says, he looked around and asked himself why Duke had accepted him and offered a full scholarship. “As I played through the scenarios, affirmative action appeared to me the only answer,” an answer that was confirmed when the doctor welcoming the class pointed out the number of “underrepresented minorities” in the class. In his first month in medical school one of his lecturers mistakes him for the handyman sent to fix the lights, then asks if he’s not the handyman why he’s in the class. Happily for us Dr. Tweedy is a deeply thoughtful man, and once he got over his anger, and with dogged hard work restored the confidence that his teachers’ thoughtlessness had shattered, he began asking difficult, useful, questions.

“Black Man in a White Coat” is a sensitive book, and that’s important, because in each chapter Tweedy addresses difficult issues. There’s a chapter called “Charity Care” in which Tweedy describes a monthly clinic volunteer medical students ran for patients living in a rural area (under the supervision of qualified doctors). He describes the chronic problems of people living in poverty in the south: diabetes and hypertension. In the late 1990s, well before the Affordable Care Act, the clinic provided the only care patients could receive; volunteer doctors stocked it with sample medicines they could give to patients who couldn’t afford medications otherwise. (The last patients of the day were often out of luck.) But Tweedy goes deeper: the clinic is a well-meant, even a generous donation of time, but the structure of a monthly clinic with rotating doctors meant the quality of care suffered. Tweedy offers similar chapters on childbearing, especially among drug abusers, the risks to young men living in the inner city (primarily gunshot wounds), hatred in patients, discrimination by doctors, and the heavy impact of HIV/AIDS in the African-American community.

Several themes come out of this, and Tweedy discusses them with nuance and sensitivity. One issue he returns to is the role of the black doctor: does he or she owe patients more than good care? What, if anything, can a doctor do to reduce the disparities in care? Often, the assumptions doctors make about the strangers in front of them are the right ones, even if they’re shortcuts based on cruel stereotypes. In his chapter “Baby Mamas,” for example, Tweedy describes a woman with an advanced pregnancy who denies her pregnancy and denies drug use. Tweedy,who was then a second-year medical student, knew what questions to ask, but is surprised when the supervising doctor, diagnosing an abruptly separating placenta (which can kill both baby and mother), dragged the admission of drug use from the patient. He’s even more shocked when the doctor and nurse agree the baby’s death is for the best, and disturbed by their discussion of whether the mother, age 19, should be asked about having her tubes tied. The reader can’t help but think of forced sterilizations, and then Tweedy adds an important emotional layer in his description of the mother’s keening apologies as she holds her dead infant. It’s an extremely effective technique, one that brings out the policy issues while forcing the reader to remember that Tweedy is telling stories about real people, who have and express their feelings.

It’s clear that Tweedy, now a psychiatrist and professor at Duke Medical School, has answered his question about the role of the doctor in the affirmative. In the final chapter Tweedy identifies three types of problems that need to be addressed so that we can move beyond race in medical treatment: the first is the system-based disparities caused by health insurance or the lack of it (the book was written just as the Affordable Care Act came into effect), and the differences in care those with private insurance receive. The second is the doctor-patient relationship. Both doctors and patients bring attitudes and prejudices into the hospital or clinic with them. Tweedy devotes an entire chapter to the prejudices among his poor white patients, and his often-successful attempts to overcome it, and the prejudice and fear expressed by his black patients. He’s equally thoughtful about the impact of racial pairing during his training – sometimes it worked well, in ways he expected, and sometimes it did not. Finally, Tweedy lists unhealthy lifestyles of many African-Americans, partly due to circumstance (fresh, unprocessed food may be expensive or unavailable) and partly due to culture (deep fried, breaded dishes).

Tweedy could have become bitter and angry, and it’s fortunate for all of us that’s he’s so thoughtful. His book raises important questions and anyone who thinks about medical care should read it.

Have a book you want me to know about? email me at asbowie@gmail.com. I also blog about metrics at asbowie.blogspot.com.

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Brooklyn Bugle Book Club: “American Romantic” by Ward Just

September 13, 2015

Screen Shot 2015-09-13 at 11.43.18 AMAt an early stage of the Vietnam War Harry Sanders, a young foreign service officer and the hero of Ward Just’s new novel “American Romantic,” is posted to Vietnam. His job involves inspecting American-funded development and medical projects, but he takes in more as he observes the countryside. Back in the capital, Harry begins a brief affair with a German woman, Sieglinde, who leaves the country almost as soon as the affair begins. The Ambassador, Basso Earle, asks Harry to undertake a sub rosa mission, a top secret operation which must remain “deniable in case this somehow leaks.” Harry agrees to the mission, a response to a feeler from the guerrillas which may or may not be genuine.

Nothing in Harry’s heretofore privileged life – Harry is from Connecticut, his parents regularly socialize with a US Representative, his father owns a Marsden Hartley – has prepared him for this mission, during which Harry is abandoned by his revolutionary escorts somewhere in a jungle. He rises to the occasion, facing down hunger, thirst, snakes, a very wet path and at least one armed man. Somehow he finds his way out to a road, where a truck picks him up and deposits him outside a US government installation. Harry’s feet are ruined – he must use a cane for much of the rest of his life.

After he leaves Vietnam Harry’s career follows an expected arc – as Just puts it, the “Department looked after Harry,” with postings in South America, Africa and, eventually, Europe. Harry marries May, a woman from Vermont, who is perhaps not quite as prepared for the life of an American blue-blood as Harry might wish, but who manages during brief visits to Washington, and who is quite at home during much longer stays in overseas postings. Harry mulls over his encounter with the armed soldier throughout his life, telling the story to himself and, eventually, to others, looking for an interpretation. It is part of him, yet it’s an event he considers at a remove from himself. In Just’s telling Harry’s story is a fascinating look at how one integrates the experiences of a life. Harry doesn’t use his experience as an excuse, though it was evidently quite traumatic, or as a crutch, but it is there, perceptible, all the same.His secret, or perhaps secrets, since he never forgets Sieglinde, travels with him, and May develops her own regrets and secrets.

“American Romantic” is a quiet novel, whose observations and insights come from deep within the observer’s brain; the feeling is only emphasized by Just’s renouncing of quotation marks – every statement might be a thought, or an utterance, and it’s up to the reader to sort out which. “American Romantic” is also a look into a privileged life, with some lovely flashes of wit. Here’s an incident at a Washington diplomatic reception:

The Polish ambassador, in high good humor, was explaining that he and his wife had a parlor game, identifying the causes of World War I. They had a dozen or more causes, the development of the battle tank, the murderous example of Antietam, the general boredom in the chancelleries of Europe among them. And now they had a fresh candidate, utterly unexpected, most interesting.

Ambassador Kennel raised his eyebrows.

Walt Whitman, the Polish ambassador said.

This was the thrilling insight of his compatriot the great poet Milosz. Milosz proposed that in the years before the Great War, Walt Whitman was widely known and revered throughout Europe, but had a truly fanatical following in just one country: Yugoslavia.

Is Harry’s a successful life? Looking back at the end of his life, Harry seems to conclude that it’s been a satisfactory life. Isn’t that all one can ask? “American Romantic” is a beautifully written and deeply memorable novel, one that repays a slow pace and a some reflection. Take it with you on your next vacation.

Have a book you want me to know about? Email me at asbowie@gmail.com. I also blog about metrics at asbowie.blogspot.com.

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