The Keyboard I Didn’t Buy

I came within a few synapses of buying a keyboard today.  An old Yamaha, double-manual, polyphonic ensemble—portable, with a stand.  No amplifier.  There was a time I would have fallen all over myself to get one of these for under five hundred bucks.  This one—sitting on the grass in someone’s back yard, part of the swag obtainable at the annual neighborhood yard sale we attend—was going for twenty-five bucks.

And I passed.

Couldn’t change my mind, either, a young fellow was right behind us and snatched it up.

Now, I could say that I passed on it because I never buy a keyboard without trying it out, to see if all the notes and pots work, to see, basically, if it both sounds good and feels right.  Feel is very important in these matters.

But that would be waffling, really.  I didn’t buy because…well, why?  I’m going to be 55 in a few weeks and my days of gigging are more than thirty years past.  I do not play well enough anymore to justify having more than the one piano I have—an instrument, by the way, the capacities of which I have yet to max out.

I play at playing music.  Way, way back in the distant past, there was a period of a couple of years when I could sit in with other bands, could do a reasonably good evening of rock-n-roll with some classical stuff thrown in for the oohs and ahhs.  I played every day, usually for three hours, often more.  I wanted to be Keith Emerson.  I could do a couple of the less complex ELP tunes.

But I did not have all the other requisite drives to make it as a professional musician.  I hate dealing with the business side, for one thing, something I confess to still dislike.   I am not constitutionally equipped to make money.  I wanted to play music.

But I also wanted to play the music I wanted to play and the fact is that as in everything else one does to make a living, you don’t really often get to do what you want to do—you have to please the customer.  And I lost patience with the pathetic musical taste of my so-called audience back then.  I—and the guys playing with me—would break our backs learning some really cool piece of choice music (something by Genesis, say, or Yes or, one time I remember, something by Premiata Forneria Marconi—and if you do not know who they were, go check them out, for your musical education is lacking) and put it out there at a gig and receive lukewarm response and a request for something from the Doobie Brothers.  Not that I dislike the Doobies, mind you, but it just wasn’t up there, in my opinion.  Actually the audience just wasn’t up there.

So I walked away.  I sold all my equipment and said to hell with it.  Didn’t play for several years.

We bought a piano in 1989.  The last gig I’d done was about 1977 or 78.  I had forgotten damn near everything.

But I hadn’t bought the thing to relive glory days or revisit tunes I could enjoy easily on the stereo—I’d bought it to do what I wanted to do.  So I wrote a few pieces, played in the mornings just to reset my mood for the day, jammed, really.  Over the years, I have occasionally picked up a piece of sheet music and worked at it, but basically I play a kind of pretend music.  In my mind it is.  It’s kind of like Keith Jarrett, who improvises everything he does.  Of course, Jarrett is marvelously skilled and educated so his improvisations are fascinating, intricate.  Mine are a bit redundant.  I’ve developed a suite of a couple dozen motifs that I can mix and match and then just sit down and rip on them.

People listening, when I’m in a groove, think it’s amazing, and the structure is such that most of them think I’m playing something they just can’t quite recognize.  But it’s a rudimentary form of jazz freeform.  Middle-level musicians enjoy what I’m doing but know it’s more or less fake.

Oddly enough, the few really good musicians I know love listening, because to them it’s just spontaneous composition and they’ve worked very hard to get to a point where they can do the same thing.  As long as I don’t play too long, they’re actually impressed.

About once a month, if I’m not doing anything else, I play at a small church open mic from January to August.  The audience is small, they never have requests, and they think I’m pretty good.  At least, they clearly enjoy themselves when I play.

And that’s enough.  I’m playing.  I’m playing from the heart.  I’m playing what I want.  I don’t really need much more, though sometimes I’d like more.

So why did I pass on the yard sale keyboard?  Because two keyboards means more discipline.  It means I’m getting serious about doing music that I no longer do.  It means—to me, from inside my skull—that I have to knuckle down and practice and prove I deserve to be playing.  It means pressure.

There might come a time I decide, because I really want to, that I need to get my chops back in a serious way.  But not now.  I’m concentrating on my writing.  That’s the work that needs the lion’s share of my attention.  If I start playing music three or four hours a day again, I’ll short-change the important stuff.  So I passed.  I don’t need it.  I’m okay with where I’m at with what I do with the music I make.

Besides…where the hell would I put it?

Some Art

Time for a little art.

Once upon a time, in the distant past, I had ambitions to become a comic book artist.  I wrote and drew my own.  My models…well, I am very much a fan of extreme realism, so some of the less mimetic, more representational comic art leaves me unimpressed.  My idol when I was a kid, trying to do this, was Russ Manning.  He was the ne plus ultra of comics technicians, and not only because of his superb style, but for the substance of the comics he did.  Magnus Robot Fighter 4000 A.D. was just about everything I ever wanted in a comic book, along with its spin-off, The Aliens, which did not last very many issues.

There were others I liked.  Dan Spiegle,  who did Lost In Space (before the lamebrained television series and long after it) among other things.  And of course the wonderful Alex Raymond of Flash Gordon fame.

There was a time, when I was drawing every day, that I got fairly good.  But then photography came along, then I went back to writing, and the rest, as they say….

But I still do art occasionally.  Now I think that rather than doing comics, if I’d stuck with it, I’d do illustrations.  That leads to a whole other pantheon of greats.  In the last couple decades, I sit down to doodle or sketch when I need a break.  It’s fun and relaxing and I feel no pressure to accomplish anything beyond satisfying my desire to create something cool.

Below you’ll find a new drawing.  You may be able to tell from the technique that I’m a Virgil Finlay fan, though nowhere near his legendary abilities. Below the main, finished, illustration are thumbnails of the work-in-progress.  I posted these as they were done on my Facebook page, but I thought I’d put them all up here.  (Click on the thumbnail and you can get a larger view.)

I’m going to hang several pieces this year in the Archon art show.  I don’t have room to keep everything, but I’ve scanned the pieces into the computer and I can print them out later if I want.

Anyway, enjoy.

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Thumbnails of the process below.
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Legacies

Comparisons of the disaster of 9/11 to Pearl Harbor break down in the aftermath.  What I remember is getting a phone call from my wife to turn on the news, any news, and then seeing the images on CNN.  I then called several people, including some on the west coast, early as it was.

It was a binding experience.

Then the silence of the skies for next few days.  All planes grounded.  We don’t pay attention to all that background noise until it disappears.

And I remember wanting to strike back.

But at who?

I am not a reflex pacifist.  I do not believe in turning the other cheek as an automatic gesture.  The world, in aggregate, does not yield to such gestures until much blood is spent, and disgust comes to the aid of the peaceful intent.  Strike at me,  hurt my family and friends, threaten my home, I have no compunction about the use of violence.

But not thoughtless lashing out, flailing, blind retaliation.  That does less good than the habitual use of peaceful surrender.  If we were to find these people, we needed to be smart about it, and move carefully.  When caught, punishment must be determined accordingly.

That was not to be.  I watched our so-called leaders turn this event into a justification for major abuse globally.  The sympathy we had from the entire world evaporated as the United States began stomping around acting like a pissed off child whose lunch money had been taken by a bully.  But we were not small and weak, so embracing the automatic response of schoolyard tactics resulted in calamity.  I was horrified by the unfolding nightmare of the Bush years, all done supposedly in my name as a citizen.

The aftermath of Pearl Harbor was horrible but not cause for self-loathing and shame.  We rose to an occasion that demanded sacrifice and we came to the aid of a  world gone mad.  The enemy was clear, the stakes enormous, the calculations easy enough.  Ugly as WWII was, our response was as close to noble as war can bestow, and we have carried ourselves with pride born out of that period for going on 70 years now.

Not so after 9/11.

We were struck in 1941 by a nation that officially declared war upon us.  We knew who they were, what they stood for, and where to find them.  It was a conflict of clear adversaries fighting as nations.

The 9/11 aggressors were a band of people more like the mafia, with no nation, no formal declaration of war, and no clear face.  We had a few names, a few associations.  We didn’t know how to deal with this, so we pretended it was just like any other war, shoved the awkward details into the box called War, and attacked as if nations could be blamed.

After WWII we could expect and received formal surrenders from nations authorized to sign such instruments.  Rebuilding began, and it could be argued that THAT was the real victory.

Who will sign a surrender in this conflict?  Who can?  What would it look like?  And how do you rebuild something these very same enemies keep knocking down and by so doing make us knock them down as well, along with all the innocent people who just get in the way?

There was a time hatred could not act on its own in such a vast theater—it required nations to enable it and give it reach.  That’s changed.

It seems to me we need to start figuring out how to rid ourselves of hate.  We can’t do that if we keep hurting the very people we need to help.

Our job has been made infinitely harder because of the schoolyard bully mentality of the administration that dragged us into this fray in the aftermath of national tragedy.  We may never regain the credibility needed to address the real issues.  That is the loss I continue to mourn on this day.

The dead cannot be blamed for the acts of the living, and revenge is a cold legacy for the sacrifice of the honorable.

Boston, 1989

One of these days I will get the Art section of this website straightened out.  If you go there now, you’ll find a lot of photographs, but several of them when clicked on expand to huge size and you only see a corner of the image.  I found that if you click on that again, it reduces to screen size.  Still, it’s a bit of a pain.

Meantime, I can always post an image here now and then, and for no other reason than I like to.  Like this one, taken in Boston circa 1989.

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I’m proud of my photography.  Quietly, almost too shyly.  I love the medium, always have, and some time in my childhood I became acquainted with the work of Ansel Adams.  The older I get the more I appreciate his artistry and I doubt I’ll ever match it.  But I’ve done a few pieces that I think are not too bad.

I had my first gallery show in July.  The reception evening was a surprise.  The place was never empty, and most of the people who came through I did not know.  I felt very pleased.  We didn’t sell anything, but I hadn’t expected to.  Now that the bubble is burst, though, I may try to do that again.

I’ve been taking photographs actively since I was 15.  That’s nearly 40 years now and I have tens of thousands of negatives.  The technology has changed and the industry is digital and I need to crack the books and learn it.  I’ve been dipping a toe in the (non) waters of digital imagery, hence the photographs posted here and on Facebook.  I have a lot to learn and I should get on with it before I run out of either time or interest.  But even if I don’t, I can still put a few up here for wandering visitors to enjoy.

When I Was But A Wee Thing

I found a very old packet of photographs the other day, going all the way back to nearly the beginning.  They were snapshots taken the day of my Christening.  This would have been, according to the date written in the booklet, November of 1954.  I pulled the one of my parents and me, did a little clean-up with photoshop, and here it is.

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Mom was a fox, dad had moviestar good looks—maybe B picture, but who cares?  Mom was absolutely crazy about him and he has never lost his complete fascination with her.  They have never regretted a single day they’ve spent together as far as I know (barring the usual ups and downs every relationship has) and they are good companions.  At this point, they hadn’t been married quite eleven months.  Me?  I’ve been privileged to be along for the ride and I credit them with teaching me how to love my own Donna.  “You have to like each other,” Dad told me once.  “Love comes and goes, but when you’re not in love, you have to like each other.”

That was the absolute truth.

Readingless Writers—Not Right

I’ve heard of this phenomenon, but never before encountered it directly.  Excuse me, I’m still trying to wrap my head around the utter vapidity of this…

I have a MySpace page.  Admittedly, I pay less attention to it these days in lieu of my Facebook page  (all these Pages…for such a functional Luddite, it amazes me I navigate these strange seas), but I do check it at least once a week.  I post a short blog there.  And I collect Friend Requests.

I received such a request the other day from someone whose name I will not use.  Unless it’s from someone or something I recognize, I go to the requester’s page to check them out.  Saves on a small amount of embarrassment.  This person had a legit page.  Aspiring writer.  Claimed to be working on several short stories and a novel.  Great.  I’m all about supporting other writers.  Sometimes we’re all we’ve got.  But I scrolled down to the section where he lists his interests and find under BOOKS this:

I actually don’t read to much but I do like a few. Twilight, Harry Potter, Impulse, Dead on Town Line, etc.

I sat back and stared at that and the question ran through my head like a neon billboard, “How does that work?  Just how the hell do you want to be a writer and not like to read?”

So I sent this person a message and asked.  I told him that to be a writer you have to love words, love stories…

Well, here’s the exchange, sans names:

Okay, you sent me a friend request, so I looked at your profile. It says you want to be a writer, but then under Books you say you don’t read much.

How does that work? You want to be a writer you have to love words, you have to love stories, you have to love it on the page, and that means reading A LOT.

You might just blow this off, but don’t. If you really want to be a writer, you must read. That’s where you learn your craft, sure, but more importantly that’s where you nurture the love of what you say you want to do.

Either that, or you’re a poser.

Apologies for the bluntness, but I am a writer and before that I was a reader. You can’t have one without the other.

Mark

REPLY:

You don’t have to like both to be a writer. That’s a ridiculous thesis to be honest. That’s like saying that you have to like listening to someone else to you how their day was in order to tell them how your day was. It’s just true. Reading bores me, and prefer to witness a story as a much faster pace, eg. a Movie. Writing, however, doesn’t bore me. It’s as simple as that. I don’t know why people always over complicate simple things like that.

MY RESPONSE

Well, good luck with that. It’s like being an auto mechanic and not liking cars. Or being a musician who doesn’t listen to anyone else’s music.

Maybe someday you’ll get it.

Mark

You don’t have to like both to be a writer?

Well, I suppose in the absolute strict sense of wanting to write things while disliking going through other people’s work, he’s right.  But that, it seems to me, is legitimate only insofar as a narcissistic indulgence.

But a ridiculous thesis?  How do you even come to a notion of what it means to be A Writer without some affection for the product in general?  This is so alien to my experience, my way of thinking, that I’m still struggling to make sense of it.

It only scans in one of two ways.  (A), it’s not that you want to be a writer.  Being a writer is hard work, it’s paying attention to all manner of triviality that goes into the making of Life, sorting it into piles of Meaning and Dross, and from that compiling and elucidating an observation that is relevant to strangers, because if you publish you have no idea who will read your words, and the viability of what you do must find a resonance with people you do not and will never know.  Being a writer is living through the word, through the paragraph, the scene, the story.  The way in which story operates—how it comes to be, how it is constructed, how it moves—can only be learned by responding to it yourself, both in life and on the page, but on the page is where the art happens, and you cannot learn how to do that unless you read, widely and deeply.  So it is not that you want to be a writer, you want to be an Author, someone with titles strewn beneath your name, who is adulated by the public, respected for what wisdom may be found in works you presumably did by some mechanism (but not, apparently, by actually being a writer).  You like the idea of being a writer, but having no idea what the purpose of it is, you cannot be one, only, if you learn the trick, an Author.

Or (B) you are simply in love with the sound and look of your own voice on the page.  Nothing wrong with that, but unless you have some external input what you write will only be relevant to yourself.  It will be indulgent.  And it will have resonance to others only by accident—not because you are so different from anyone else, but because you have no notion how to convey your commonality.  It is a form of masturbation, and while that is legitimate, it is done in isolation, born out of a fantasy of connection and, in time, if it is all you do, an inability to touch anyone outside yourself.

But what genuinely troubles me is the whole disregard—the blind ignorance—of what writing is all about.  It is an art and if you cannot respond to the art you cannot do it, not so that it means much to anyone else.  It is, to stretch a metaphor from the previous sentence, like having sex with someone you don’t much care to spend any time with.  You like the orgasm, but you don’t want to be bothered with other people and their desires and needs.  It’s selfish, true, but it’s also tragic, especially if you then go and pose as a Great Lover.

We do have a generation (and I’m using that term to define an age bracket—this group includes people from 10 to 50) that is enamored of film.  That’s where it is for them.  But a lot of flawed and failed films get made and often—not every time—but often the failure is because someone doesn’t read and has no idea what it is that good writing conveys.  It begins with the word, but they want to bypass that.

Why?  I have a theory, of course.  Because it’s hard work to make the translation from words on a page to images in the mind.  Most of the people I know who do not read for pleasure—read fiction for pleasure, I should say—seem incapable of running the story in their imagination.  The words do not make pictures for them, do not open vistas of the imagination, do not convey the essence of character.  They’re just words on a page.  This is sad and I think a failure of education on a basic level.

But it’s sadder still when these sorts then try to do film.  Or fail to do film.

I’ve said this before, and I’ll say it till I have no more breath with which to say it—reading is fundamentally different from almost any other form of entertainment (the closest is radio drama) because it is interactive and participatory.  You must do the work of creating the images suggested on the page in your own mind.  It is a trick best learned young, but it is a trick that will give us the stars, because the imagination is a living thing that must be nourished from both within and without. If you cannot envision, you cannot build.

There are many reasons to read and I was encouraged more this year than ever before to learn, via and NEA report, that reading in America had increased substantially for the first time since they’ve been keeping track in 1982.

But you run across these bizarre confluences from time to time and you wonder how this happened?  I can live with the idea that there are people bored by reading.  But then to be told that these same people want to be writers baffles.  If reading bores them one can only assume that what they write will be boring—because they’ll have no clue how it can be otherwise.

Choice Evening

Donna and I arrived a few minutes after six.  The evening—the physical manifestation of July 17th—was wonderful.  Mid seventies, straggly cloudlets in darkening blue sky, a pleasant breeze.  Early for the usual nightlife that flows up and down Park Avenue on a Friday night, but there are a few folks choosing restaurants.  There’s a custom glass shop across the street, customers still perusing.

I’d changed clothes twice, trying to decide what level of chic or cool I wanted to reach.  Had to wear the hat, the Bogard, which Donna had made me buy several years back and which I love.

Only the owners are in the Gallery as we step through the door.  Greetings, there’s wine.  I pour a glass—plastic cup, really—and step out into the main gallery.  My photographs range across one complete wall, with three spill-overs on another.  Jane, the gallery manager, puts on some music—light jazz.

And people start to arrive.

A lot of friends show up, and Donna points out later that a lot of them never saw this much of my photography before, many of them having met us wehn writing had become the dominant pursuit.  Only Tom showed up, who has been there through multiple ambitions—even helped with a lot of it.  But most of these images were new even to him.

Then strangers arrived.  People are looking.  The place gets crowded.  Questions get asked.

I’m a bit of a hit, it appears.  No offers for purchases, but that may come later.  For three hours people keep showing up, leaving, a couple of them come back.  All the wine gets drunk but for two glasses, which the owner and I finish.  The last people out besides us is a local photographer who is favorably impressed and we talk knowledgeably about certain difficulties in printing.

We go home and I’m in a kind of warm bubble.  Even if no one buys anything, it was worthwhile.  Choice evening.

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July Memory

Back in 2001, Donna and I took a vacation that has become, for us, a high bar, a hall mark, the Gold Standard of vacations.  We flew into Oakland, CA, rented a car, and for next several days wandered up toward Seattle.  We visited many places, saw many amazing things, ate some wonderful food, and ended the automotive part of the trip in Seattle where we stayed with our very good friends, Kelley and Nicola.

Arriving in Washington state, Donna wanted to take the ferry into Seattle, so we drove into Bremerton.  Just in time to catch the ferry.  I took this shot of the clever, hungry, graceful gulls that followed the boat all the way.  People would throw bread crumbs or whatever up into the air to watch one of these birds pluck the morsel out of the sky.  The trip was magic and remains one of our best memories.

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We’d been to Seattle before and took lots of photographs.  So, interestingly enough, once we arrived at their house, I stopped taking pictures.  The gulls were more or less the last images I shot during that trip.  Not a bad endcap, all in all.

My Dad’s Hands

This image was made in the days when I had serious pretensions toward being a world famous photographer.  I always admired Ansel Adams, certainly, and Edward Weston.  But there was Philip Halsmann, too, who was one of the best portrait photographers ever.  Between him and Arnold Newman and Karsh, most of the really significant people of the 20th century were preserved in photographs that were as amazing as the people themselves.

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Dad was a machinist then.  Eight hour days in stifling heat, wrestling steel and machinery.  He always made things.  That was what dad was all about, making things, often massive things.  I caught him one night, just after work, before his shower.  I did do a straight portrait, but then I thought, those hands…

About 1973, ’74.

No Excuse

Generally speaking, I don’t like to criticize books.  Tim Powers told us at Clarion that a sale negates all criticism.  That may be more true with fiction (though I reserve the right to privately diss any book that’s badly done, regardless) but when it comes to nonfiction, I find it inexcusable.

I’ve been slogging—slogging, mind you—through a history of the rise of the Spanish Empire under Fernando and Isabel, the period during which the New World (?) was discovered by Europeans and Spain became the pre-eminent power on the global scene.  The book is called Rivers of Gold and it was penned by one Hugh Thomas, published in 2003.  I’m finding it virtually unreadable.

Partly this is a style issue.  The prose are flat, lifeless.  He makes the mistake of introducing casts of characters in one-paragraph lumps, as if the average reader is going to remember all these people, many of whom do not seem to matter in later parts of the narrative.  We are given chunks of delightful detail about some things (the make-up of Columbus’s crews on both the first and second voyage, which is very telling about the geopolitics of the day) and the rather revolutionary nature of Fernando’s and Isabel’s co-rule (for it was genuinely a partnership) and then little about other things (like the ultimate disposition of the Muslim populations after the fall of Granada and what happened to their libraries, which directly impacted the rest of Europe).

But these are small quibbles.  Thomas seems to have a bias toward Christianity, but he is clearly restraining himself throughout and attempting to be even-handed, and largely succeeds (sincere mourning for what became of the Jews).  He orders the events well, so that we see the relevance of Fernando and Isabel adhering to Law rather than acting as autocrats and their background and education as it affected their judgement concerning what Columbus found and what his enemies told them.

But the writing is…dull.

Obviously, there was a mixture of motives.  An economic purpose is certain.  The monarchs knew that, after the conquest of Granada, they would lose money in the short-term…It would be silly to neglect what might be another source of income.  Cabrero, Santangel, Pinelo, and other Genoese bankers would have taken up this position with the King and Queen.

A second motive was a desire to outmanoeuvre the King of Portugal…In the fifteenth century as in the twentieth, rulers allowed their imperial claims to be affected by what their neighbours were thinking.  (pg 87 & 88)

After three or four pages of that, I find myself falling asleep.  Perhaps that is an unfair criticism, perhaps others do not find such lines quite so soporific, but if one is to learn from a text one should be able to take it in without the brain shutting down from the drone of seeming indifference.

On the part of the editor if not the author, for heaven’s sake.  “…would have taken up this position…”?

There is material in this book which I would like to know.  I bought the book for a reason.  But I find that I must sit in uncomfortable positions in order to keep my attention focused, that if I recline or rest against soft pillows, Morpheus descends too soon for the experience to be valuable.

As a comparison, I’m reading another history, this one of the French and Indian Wars—called, appropriately enough The French and Indian War—by Walter R. Borneman.  Published in 2006, this is written with rigor, attention to detail, and a lively, engaging voice that took me zipping along the first 50 pages in short order, with a satisfying increase in my knowledge of the events leading up to and the beginnings of a very complicated period of history.

Edward Braddock—the soldier used to giving orders—arrived in Virginia and proceeded to do just that, managing in the process to alienate almost everyone he encountered.  Braddock immediately went to Williamsburg to confer with Lieutenant Governor Dinwiddie and then summoned governors De Lancey of New York, Shirley of Massachussetts, Morris of Pennsylvania, and Sharpe of Maryland to meet with them at Alexandria.  Rather than ask the governors’ cooperation and assistance, Braddock demanded, indeed expected it.  That attitude didn’t go over very well with anyone.

“We have a general,” wrote William Shirley’s son, also named William, “most judiciously chosen for being disqualified for the service he is employed in almost every respect.”  Assigned to General Braddock as his secretary, the younger Shirley would have cause to feel Braddock’s inadequacy all too personally within a few weeks.

Perhaps I’m showing my bias, but I find that infinitely more fluid, insightful, and engaging than the Thomas.

But they are about such different periods, one might say!  Yes, they are, but the writers are not.

I suppose this is what makes one writer “better” than another, the ability to engage, to draw the reader in, to bring the subject to life.

I complain about this here because I’ve been working through a variety of history books of late in preparation for a new novel (a couple of new novels) and while I’ve encountered, as usual, a range of styles and varying levels of what might be called Accessibility, I find that across a spectrum of authors the ability to tell the story is what makes the book worth reading and what makes it readable.  This is not a side issue.

We complain all the time about students coming out of school with less than adequate knowledge, pitiful grasps on subjects, and ill-prepared for anything other than an almost assembly-line life as a career.  Many factors contribute to this.  But one, I recall vividly, though I did not quite realize it at the time, is the dudgeon paucity of style in school texts.  I have seen this complaint registered elsewhere, by people much more qualified than I am to assess such things.  School text books are more often than not chosen for their inoffensiveness rather than their ability to impart knowledge.  The duller, simpler, unemotional texts have a better chance of being purchased by school boards than books that engage their topics in lively—dare I say, relevant—manners.  As if a text which might elicit pleasure from a student cannot possibly be “suitable.”

Obviously, this sets a standard.

But such “liveliness” may forgo objectiveness for the sake of engagement!  The author may be interjecting biases for the sake of enlivening the story—and this is not a story, it is history!

To which I say, nonsense.  History damn well is a story.  And if you’re worried about objectivity, then read more than one book on a subject.  Viewpoint is essential, because history is not irrelevant to the present, it is essential.  The confusion with which so many face tomorrow is at least partly a consequence of their ignorance of what had gone before.

And if they can’t get through the turgidity of approved texts, no wonder the level of historical knowledge and perspective is so low.  It seems occasionally as if the purpose of school is to deaden the mind, reduce to average the inconvenient possibilities of a questioning public, to create a vapidity of general awareness.  (What it really is about is trying to move x-number of students as efficiently as possible through a system that is overburdened by oversight demands, paperwork, accountability assessments, and budget meetings, which take their collective toll on class time and the ability of a teacher to engage students meaningfully.  The negative consequences of all this are, sadly, little more than byproducts of an unspoken social assumption that very little of this stuff means anything against one’s ability to make money.)

If I were a history teacher, here is what I would do.  I would find ten books on a given period and assign a different one to groups of three or four in the class.  Then we could all discuss what we learn from those texts over the course of a semester.  there would be a master template giving the principle elements of the period—names, dates, etc—but the classroom activity would be a controlled argument over differing viewpoints.

That’s ideal, of course.  It would be nice.  Unlikely to happen, though.

In lieu of that, I’d like to see a policy of adopting text books based on a community response to a given selection with one major criterion—no more dull books!  The school board should hand out copies to a number of citizens and let them decide which are the best written, most readable—most fun!  Because if there is one thing we have come to learn about education it is that if the students aren’t having some fun with the work, they won’t learn.

Hell, given the state of prose in some of these books, they can’t learn.  All they can do is fight to stay awake.