Fathers and Sons

A Father Who Wrote What He Couldn’t Say

It is true - a story has no beginning or end, only the perspective of the person telling it and the time they choose to start. My grandfather Cady sold farm implements for a living and wrote letters to live life as the father he wanted to be to his family. He wrote every evening to his dear Elsie and their sons. He was on the road for days at a time throughout Vermont, New Hampshire, and eastern New York, and for weeks in the spring when farmers needed to buy new grain silos, tractors, balers, and combines. A tall man with broad shoulders, a strong back, and a heart as big as a Clydesdale’s, he was a Yankee. A Yankee family man who wrote what he couldn’t say face to face.

Cady Arthur Bailey (1883-1965)

Cady Arthur Bailey (1883-1965)

Cady was born in the fecund rush of life that was every New England farm late in the 19th century, where existence was creation manifest. Birth, life, death, always with purpose. Faith in the mystery of it. He was merely a current in the river, useful for a time, who would pass naturally into a higher flow. He didn’t talk much about his future; he focused on his sons’ and daughters’ futures and how it would be different for them.

One day before the second great war, he wrote to his fifth son - my father - from the Union Hotel in Victory Mills that he missed being home more. He wrote that doing right was not often easy, but always best; share what you can and then give a little more; and that he knew my father’s leg would recover. My father’s youngest sister, Marcia Frances, lay quarantined in the kitchen at that time with the fever and died before my grandfather came back from that trip. When he did, he carried her body cradled in his arms down Pearl Street to Pinecrest Funeral Home and handed over the 38 dollars he had made for his last three week’s work travels. The family ate turnips, soup, and days-old bread that month. The service at Holy Family was well attended, and Cady tucked little Marcia in one final time in that plot at Pine Hill.

During the war, granddad Cady continued to write to my father from inns in Bennington, Sudbury, and Poultney, and hotels in Glens Falls, Chatham, and Utica, carrying on a conversation as naturally as if they were face-to-face by the fire. He wrote about how he sold the first corrugated steel silo in the state to a dairy farmer in Graftsbury. His zeal for betterment - in this case, the practical advantages of steel over strapped wood - glowed on the page in his forceful handwriting. He mentioned that he would be there on silo raising day to support the dairy farmer’s radical decision and make sure it was done ‘plumb and proper.’

My father wrote back from an island in the Pacific that he worried about my mother taking care of Mike and Jimmy all alone and working the late shift at GE. My grandfather responded that he and Mother had visited last weekend, and the boys and Mary Jane were crackerjack.

That was February when it was cold and white in Chittenden County. My grandfather did not complain, but his curiosity about golden sand beaches, warm evening breezes, and yes, tropical women lingered just behind the words on the page. My father wrote back weeks later – it took the Army Air Corps censors weeks to read the mail and pass it along in mailbags that hopped from island to island by plodding, blunt-bowed supply ships. Letters arrived already opened and old, but that did not lessen their importance to fathers who believed in hard work, promises, and family. And sons so far from green mountains, sweet rains, white winters, and family.

Updated: 1 Aug 2020

WARLIGHT | Michael Ondaatje

The Fog of War Never Clears Completely

Michael Ondaatje is so adept at creating seductive and compelling settings and observations of the human element in his storytelling that he can share the premise and foreshadow the entire novel’s narrative in the opening line. 

In 1945 our parents went away and left us in the care of two men who may have been criminals. 

In WARLIGHT’s first sentence, he tells us the who, what and when of the novel. There is also something in the voice and phrasing that suggests the where. And by his omission of the why, he hints at an entire universe of mystery, adventure and discovery.  

ISBN 978-0-525-52119-8

ISBN 978-0-525-52119-8

Ondaatje writes as if it’s just the two of you apart from distracting crowds, bosses, spouses, children, marketers, even smartphones. He wants you to know this story and tells you exactly what you need to know to get to the next sentence with its revelation of another intriguing surprise. And on he goes, rewarding your interest with deeper insights again and again.

Fourteen-year-old Nathaniel and his older sister Rachel are abandoned by their parents and left in the care of a not very talkative enigma, an ageless fellow they come to know as The Moth. As they become certain that the Moth and his associates are as untrustworthy as their aliases, Nathaniel and Rachel worry less and adapt each in their distinctive way to their mysterious circumstances.  

Years later, Nathaniel penetrates the reality of his myth and that of his parents and others and chooses to continue his journey to understanding.

Ondaatje was born in Columbo, Ceylon (now Sri Lanka) to unreliable parents. By the time Ondaatje was six years old, his father abandoned him for alcohol. His mother left for England. Eventually, he followed his mother and kept going to Canada to study literature.

In addition to being a Booker Prize novelist – The English Patient – Ondaatje is a gifted poet. He writes from a place of such sensitive and elegant connection to truth that one occasionally wants to pause and reread a sentence for its power and artfulness. His writing possesses a sense of time, place, and action so profoundly known and understood that he doesn’t slow down for exposition. Nothing bores a reader faster than telling. It slows the momentum. Any obstacle to complete surrender to the story is to be avoided.

Ondaatje draws upon his distinctive grasp of human aspirations and fears as he relates the young teenagers’ coming of age among a ring of operators who manage to survive during World War II London by skillful manipulation of the levers of hidden night schemes. Each setting evolves from shadows with characters that resonate with the cleverness of Dickens’ Artful Dodger, the resolution of Le Carre’s George Smiley and entirely new yet recognizable strangers who become acquaintances, some of whom we trust. 

Some critics have held Ondaatje’s patience in revealing character strictly through action against him. I laud him for it. In life, we are each on our own ultimately to discover the truth of things in other people and ourselves. 

“If you grow up with uncertainty, you deal with people only on a daily basis, to be even safer on an hourly basis. You do not concern yourself with what you must or should remember about them. You are on your own.” 

In WARLIGHT, Nathaniel and Rachel grow stronger through uncertainty in ways that Michael Ondaatje seems uniquely qualified to tell us.

MICHAEL ONDAATJE is the author of seven novels, a memoir, a nonfiction book on film and several books of poetry. In addition to Warlight, he wrote The English Patient (Booker Prize), Anil’s Ghost (Irish Times International Fiction Prize and Prix Medicis), The Cat’s Table, The Cinnamon Peeler, The Collected Works of Billy the Kid, Coming Through Slaughter and Divisadero, Coming Through Slaughter and Running in the Family.

Today, We Are All Irish

Editing and Remembering

Working on the novel today. I am remembering my research of the Book of Kells in the Library of Trinity College in Dublin. So long ago, it seems. Not to the Book of Kells, I'm sure. The last of its 340 folios was completed in 384AD.

Today is March 17, and the weather is beautiful where I am. The sun is bright in a blue sky and warming the chill of a late winter morning beside the Pacific. It's a good day and I am grateful for it. That said, I'd rather be in The Temple Bar this morning for a proper Irish Breakfast.

Irish Breakfast

  • Eggs

  • Bacon (chewy, not crispy)

  • Sausages

  • Mushrooms

  • Baked Beans

  • Grilled Tomato

  • Black Pudding

  • Toast  (Irish soda bread for me, thanks)

  • Butter

  • Marmalade

  • Tea  (coffee for this Yank)

Dublin is 11 hours and 5,145 miles away measured in time and miles but not in the more accurate distance of memory, desire and the senses. The streets, Georgian stone architecture, the greens, buskers and bracing poetic passions of that place are just outside my mind's window today.

The annual St. Patrick's parade will cross over the Liffey River at O'Connell Street and enter another year of one of western society's most enduring traditions.

Patrick and Ireland are indelibly bound in our imaginations, yet he is not Irish. He was born Maewyn Succat in Roman Britain. When he was about 16, Irish pirates kidnapped him and sold him into slavery to a Druid high priest in Ireland.  He worked as a shepherd for six years before escaping back to Britain. Eventually, he had a dream in which a voice gave him the mission of returning to Ireland to work with the Christians there. Patrick was beyond good for the Emerald Isle. He adopted the Irish and by the time of his death, he had established schools, monasteries and churches all over the island. 

Perhaps it's the Irish in me, but I'd like to think that Patrick and today's Irish would recognize one another if he were to return to Ireland for today's celebration in Dublin. He would welcome the embrace of that legendary and companionable literary city.

Now, I'm off in my mind to The Temple Bar for a stout. With a raising of the glass by the Scot in me to the North-Northeast and a corresponding Sláinte to the assembled patrons in the pub, I settle in to appreciate ballads accompanied by Uilleann pipes.

Photo: Leandro Borges de Carvalho

Photo: Leandro Borges de Carvalho

Happy St. Patrick's Day to you.

 

Mark

Separate Fictions, Joint Reality

BEYOND THESE WOODS | Mark Roger Bailey

All our separate fictions add up to joint reality.

- Stanislaw Lec (1962)

BTW Cvr Blue.png

Recently, I discovered an alternate draft of the pitch for my novel, BEYOND THESE WOODS. Considering its position between works-in-progress dating back to 2014, I assume that I put it aside when one of the calls-to-duty that occur in my working life took precedence, and the draft was misplaced for the past four years. Reading it, I experienced a return to my state of mind at that time, which now seems irretrievably distant, a time before the flare-up of human darkness that threatens to overtake us. 

The fictional dysfunction at the root of the conflict in BEYOND THESE WOODS remains with us in fact. My novel is an imagining based on facts rooted in events that have occurred in our lifetimes and remain unresolved mysteries. The passions that drive social, economic, scientific, political, and military forces to their breaking points in WOODS have metastasized into a plague on America's foundational principles and the institutions upon which our ancestors built what I have always considered to be a good life. Our shared aspirations and values have become practice targets for the angry and aggrieved among us who are willing to submit to the disruptive expedient, to roll the dice, and only hope they haven’t participated in the torching of civilization. Perhaps they are exhausted by the demands of progress and have intentionally submitted to a louder, dominant destroyer. It’s just easier. The duties of effective citizenship are too hard.

Reading this alternative draft through, I am struck by how everything has changed in our day-to-day reality, and nothing has changed at all. We are re-learning that consciousness of a fact is not the same as knowing it. Our history is repeating like a dark tidal current. 

Here is what I wrote earlier:

When men claim that the earth was made for them, beware. Human beings - and birds, fish, mammals, plants - are of and by the earth. When men bully Mother Earth, who stands up to them? The lobbyist, the sheriff, the national guard, the average citizen, the lone wolf scientist? When men savage Earth's ancient forests, who has the courage to say no?

When all of these forces conspire to brutalize again and again, should anyone be surprised when Mother Nature pushes back?

Many of the trees on the western slopes of California's oldest mountain ranges were growing peacefully before the first nation ancestors crossed the Aleutian Island chain, and more than 1,000 years before the first Europeans discovered North America. Giant Sequoia trees were masters of this corner of our planet. No other living thing could match them for size and strength. They have endured every wave of natural disaster and human exploration, settlement, and exploitation. But today, something in California's Thunder Peak old-growth forest is killing everyone who comes to harm them, who thinks the Sequoia is theirs for the taking. Loggers and hunters are dying, struck dead in their tracks when they get too close. No one has a clue about what is causing these deaths among the trees' tormentors, except Lotte Keene, who knows more about nature -- including human nature -- than is healthy for her and anyone who works with her.

What this irrepressible scientist-adventurer doesn't know is that past is prelude in this environmental crisis. A mysterious environmental activist and a ruthless shadow force within America's government are dedicated to preventing her from ever learning the truth about their goals. Worse, they are unaware of their separate, yet intersecting plans. And Lotte Keene will stop at nothing to identify the cause of this pathogen. No one is safe from her fierce and unblinking search. 

With Keene on their case, no clues are safe from discovery. No enemy is safe from the ultimate antiseptic; exposure to the people of Thunder Peak Wilderness, America, and the world.

This is high-tech close-quarters warfare with causes and shadowy actors that are chillingly familiar to each of us. This is high-tech combat in which the enemy within is more terrifying than any enemy beyond our borders. 

This is the story of natural justice and one woman’s tenacity to solve the mystery of sudden death in the Sierras, to rescue earth’s oldest forest matriarchs, and save humankind from itself.

This is human weakness run rampant. In the wrong hands, it will rewrite the laws of evolution and permanently alter life as we know it . . . beyond these woods.

I questioned whether to share unpublished writing from another time. What decided it for me was the window this experience opened into a higher truth: humans are a fascinating breed capable of exquisite achievement and beauty, yet we are simultaneously inclined to darker deeds. There are times when we as a species can't seem to control our horrifying impulses. We allow the worst among us to rise, dominate and destroy. Just as the people of Longwood, California experience the nightmare of creeping extremism in BEYOND THESE WOODS and have to confront how far they are willing to let chaos take over their lives and everything they have worked generations to achieve, we now find ourselves at a similar moment of truth in 2018 America, the UK, Italy, Germany, France, Turkey, Russia, Venezuela, Egypt and elsewhere.  

One is fiction that gives us an opportunity to live history without paying a price for the experience. The other is fact. 

CONFESSIONS OF MAX TIVOLI | Andrew Sean Greer

Poignantly Awry - Life Between Ordinary and Extraordinary

I recently re-read THE CONFESSIONS OF MAX TIVOLI and am glad that I did. It is a leader in a small class of novels that deal so entertainingly with immortalism and aging.

Upon picking up the book for the first time, any of us would naturally ask ourselves: Did Max Tivoli really emerge from the womb an old man? That has to be writerly bravado, a wild swing at capturing the reader’s attention. Or the beginning of a story that has never been told before. Either way, the author has moxie.

The Confessions of Max Tivoli is an enchanting and affecting novel about an old man born old in 1871 in San Francisco who is destined to grow young.

1st Picador Edition (2005) ISBN 978-0312-42381-0

1st Picador Edition (2005) ISBN 978-0312-42381-0

Andrew Sean Greer tells how this improbable mistake of biology, time and physics occurred in strikingly rich exposition. Max’s mother is from a wealthy Carolina family relocated to Comstock-crazed San Francisco. His father is one of the countless dreamers drawn to the Gold Rush. As Max tells it, “…the Comstock had made too many beggars into fat, rich men – so society became divided into two classes: the chivalry and the shovelry. My mother was of the first, my father of the wretched second.” Suitably, their union is a paradox of the mundane and the magical, which combine to create a moment of timeless possibility.

Max learns soon enough that while his condition is not unique, he is one of very, very few. So rare is his dilemma that only once – later in life as he grows younger – does he encounter another of his kind, and then it is only supposition.

Max meets his life’s great love early and their future seems doomed by the secret between them. Over time, he wins her through desperate deceptions for a glorious period in his middle years. Even then, she is unaware of his magical condition.

Greer's literary voice has been compared with Ford Madox Ford, which is high praise. Greer's narrator Max is direct whereas Ford's Good Soldier John Dowell is disengaged and distant. The ultimate unreliable narrator. " . . . I have generally found that my first impressions were correct enough. If my first idea of a man was that he was civil, obliging, and attentive, he generally seemed to go on being all those things."

Max is comfortable with seemingly straightforward declarative sentences, which are in fact occasionally complex expressions of deeper emotions woven like Celtic coils into his trustworthy narrative. He earns our confidence with candor and a voice that is consistently true to 21st century sensibilities despite its slant and attitudes of 1890's San Francisco. Max's out-of-time experiences and priorities complete the illusion of otherness. "While at twenty I had been far off the map of youth, now that I was nearly thirty I looked nearly right. Perhaps not quite in the bloom of youth, but approaching it in my ogreish way, and I began to get more than my usual share of glances from ladies who peered like fascinated children out of carriages, streetcars and shop windows."

Greer also consistently surprises and delights the close reader with his offhand use of opposites, subverting expectations and recharging our attention with the unexpectedly profound cast off phrase.  

The century turned, the seasons changed, but little changed for me until a lucky and terrible disaster.

Something of youth comes back with age.

This novel received extraordinary support with blurbs from John Updike, Michael Cunningham, Michael Chabon, the New York Times, Publishers Weekly, the L.A.Times, and the plaudits go on and on.

I enjoyed THE CONFESSIONS OF MAX TIVOLI and will look for his short story collection, HOW IT WAS FOR ME and the novels, THE PATH OF MINOR PLANETS, THE STORY OF A MARRIAGE, and THE IMPOSSIBLE LIVES OF GRETA WELLS.

 
If you read THE CONFESSIONS OF MAX TIVOLI and have an issue with my description, please comment below. I will respond if appropriate and update this post to reflect new information.

 

Andrew Sean Greer

Born to two scientists, Greer studied writing at Brown University, where he was the commencement speaker at his own graduation. He worked for years as a chauffeur, theater tech, television extra and unsuccessful writer in New York City. He earned his Master of Fine Arts from The University of Montana in Missoula. Currently, he lives in San Francisco and is a fellow at the New York Public Library Cullman Center.

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THE CAT'S TABLE | Michael Ondaatje

Occasionally, writing penetrates the walls we build around ourselves, opens the windows to let sunlight in, and reminds us of who we are, what events shaped us, and hints how we got to this particular place. Michael Ondaatje’s writing does this for me.

Some events take a lifetime to reveal their damage and influence.

This truth, a defining presence in Ondaatje’s writings, is a powerful current in the flow of this novel. The Cat’s Table is understated and life-affirming, with a cast of characters that capture a lifetime of experiences during several weeks at sea.

VIDEO: John Berger and Michael Ondaatje

Two important writers discuss story telling and the creative process in a conversation recorded courtesy of the Lannan Foundation.

I have read, been inspired by, and re-read several of these writers’ books. John Berger’s To The Wedding and Michael Ondaatje’s In the Skin of a Lion and English Patient are particular favorites of mine. This conversation was recorded at John Berger’s farm in Quincy, Mieussy, France, October 2002.  Enjoy…




Resonance: Dreams give us lift . . .

Sometimes, a passage in a book stops us in our tracks. It might be that its meaning intersects with a personal moment of significance, or it states a truth so powerfully that we pause to appreciate the moment of connection. Here is one that caught my eye today.

 

Dreams give us lift …  The trick is to bear up after the weight of life comes back.

Ivan Doig
HEART EARTH (p. 133)