Tag Archives: 1969

Soft-Rock Sixties: Songs in Ursa Major

18 Monday Jul 2022

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Review: Songs in Ursa Major, by Emma Brodie
Knopf, 2021. 324 pp. $27

It’s summer 1969, and the Island Folk Fest awaits the arrival and performance of Jesse Reid, the hottest up-and-coming star of the folk-rock music scene. The fictional Bayleen Island, perhaps a look-alike for Martha’s Vineyard, has always been a tourist destination, and the festival is jammed, having drawn musical artists from all over.

But the locals have serious talent to boast too. Jane Quinn, nineteen, blonde, and preternaturally gifted as a singer and acoustic guitarist, leads her band, the Breakers, to open for Jesse Reid. Except that Jesse crashes his motorcycle, leaving the Breakers to hold center stage — and suddenly, the out-of-town music honchos want to know who this girl is. Assuming she’s marketable.

But as Jane quickly learns, the path to stardom is paved with broken bottles and barbed wire. Yes, once Jesse’s injuries have healed, Pegasus, his label, hires the Breakers to go on tour with his band, opening for them once more. But when it’s rumored that she and Jesse are an item, she can’t tell whether the Breakers, and her, have value for themselves or as the satellite revolving around planet Jesse.

Woodstock, August 1969 (courtesy Derek Redmond and Paul Campbell, via Wikimedia Commons; public domain)

At its best, Songs in Ursa Major offers an intimate view of the cut-and-thrust politics within the music industry, especially those chapters told through the eyes of a Pegasus executive and a sound engineer. I also like the passages in which Jane searches for musical inspiration; the lyrics she composes not only reflect her life and experiences, they remind me of the songs I listened to as a teenager. I see more than a hint of Linda Ronstadt and Joni Mitchell, credibly rendered, and I catch an occasional phrase that seems borrowed from my favorite Mitchell album, Blue. The book title, after one of Jane’s songs, is catchy and spot-on. Brodie knows her music.

The author also captures the artist’s dilemma, how to receive the attention and validation she deserves because of her talent while fending off all attempts to own her, reshape her, and turn her into cash, with no regard for aesthetics or her sensibilities. That seems all too real. Less real, perhaps, is how Jane, with no musical training whatsoever — Jesse teaches her to read notes — can pick up almost any instrument and make sophisticated music with it. At age nineteen. Even Mozart took lessons, though I suppose poetic license covers that contingency.

More seriously, I don’t see the Sixties. Vietnam might be referred to twice, parenthetically, and the assassinations and upheavals of ’68 not at all. Since much music from that era spoke with political intent, I’m startled, but it’s not the headlines I’m missing. I don’t sense that Sixties vibe, the feeling in the air that once-accepted beliefs and ways of living must either be thrown away or reinforced. Not everybody wanted change, but you took a position, one way or another. In this narrative, though, no one even cares.

Much else in Songs in Ursa Major feels generic, beginning with the prose. Consider the first page, when a music groupie offers a visiting correspondent a joint:

His exhale became a brushstroke inside an Impressionist painting; swirls of smoke rose in the salty air, tanned limbs and youthful faces interweaving like daisy chains across the meadow. He handed the joint back to the girl and watched her skip into a ring of hippies. Someone had a conga; thrift-store nymphs began dancing to an asynchronous rhythm.

The language, though vivid, feels empty, without emotional resonance. It’s a formulaic rendition of a scene, shorthand for an era in some people’s minds—especially those who didn’t live through it—and though it’s just one descriptive paragraph, it’s representative. So many sentences begin, “She felt…” that at one point, I flipped back to the title page to make sure this book had come from Knopf, the quintessential literary publisher. If a writer can’t show why her protagonist is hurt or angry or what that looks like, I don’t feel it. Involving a reader requires complexity, not shortcuts or buzzwords.

The same holds for the love interest between Jesse and Jane. For a while, I thought I was reading a formula romance — girl and boy lock eyes, go to bed shortly thereafter — but luckily, significant shifts occur, and much goes wrong. Even so, the sex scenes read like a Hollywood fantasy, and, within the love affair, the author withholds the truth behind a crucial secret so as to derive maximum shock value. That’s a trend, these days, I guess, but it’s not credible, and though the revelation surprises me, I feel cheated.

Read Songs in Ursa Major, if you will, for its seamy, appalling glimpse of music moguls. In other ways, I find the novel a disappointment.

Disclaimer: I obtained my reading copy of this book from the public library.

Good, Evil, and Hope: Deacon King Kong

18 Monday Jan 2021

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Review: Deacon King Kong, by James McBride
Riverhead, 2020. 370 pp. $28

Few people even know his real name, because he never uses it. Even the police confuse him with someone else, because he shares a driver’s license with another man, which makes his official record almost untraceable. But to the residence of the Causeway Housing Projects (the Cause) in south Brooklyn, he’s Sportcoat, because of the colorful assortment he wears of that garment.

His finest moment came umpiring the Cause baseball team, now disbanded. These days, the former deacon of Five Ends Baptist Church spends his time high on King Kong, the popular name for a friend’s moonshine, and talks to his late wife, Hettie. Or thinks he does, and nobody can persuade him otherwise.

Except that in summer 1969, Sportcoat shoots Deems, a teenage kingpin of the Cause drug traffic, and his former baseball protégé, at point-blank range. Sportcoat claims not to have understood what he was doing, but nobody believes that, least of all, the police. But he’s the type of character who doesn’t care what anybody thinks, alternately perplexing, amusing, and horrifying everyone else.

From that shooting springs a complicated, finely woven story, involving Five Ends, cheese deliveries, storytelling as an art form, the racism that warps life in the projects, unlikely romances, what constitutes good in the face of so much evil, and how humans dare to hope.

A portion of the Red Hook Houses project, south Brooklyn, as it appeared in 2012 at Lorraine and Henry Streets (courtesy Jim Henderson via Wikimedia Commons; public domain)

But I’d be doing Deacon King Kong a disservice if I failed to mention what a rollicking good time the novel is. Pick almost any paragraph, and you’ll find sprawling, delicious sentences like these, oozing with spicy flavor:

Meanwhile Sister Bibb, the voluptuous church organist, who at fifty-five years old was thick-bodied, smooth and brown as a chocolate candy bar, arrived in terrible shape. She was coming off her once-a-year sin jamboree, an all-night, two-fisted, booze-guzzling, swig-faced affair of delicious tongue-in-groove licking and love-smacking with her sometimes boyfriend, Hot Sausage, until Sausage withdrew from the festivities for lack of endurance.

And for those who appreciate snappy dialogue, look no further. What in the Sixties we used to call “rank-outs” or “snaps” appear here in a poetic form guaranteed to prompt laughter. For instance: “But that idiot’s so dumb he lights up a room by leaving it.” Or: “Son, you looks like a character witness for a nightmare.” McBride has a superb ear and inventive pen, which makes the narrative a delightful ride.

For the first two chapters, McBride even goes a little too far, I think, unraveling so many stories within stories, and with such far-ranging flights of verbal fancy, that I worried. I thought reading Deacon King Kong would be like eating an entire tub of caramel pecan ice cream in a half-hour, past my limit. But the narrative settles down somewhat, to the extent that it does, and McBride’s storytelling skills come to the fore.

Every spoonful matters, as details you might have glossed over come back to play important roles. Characters cross paths in natural yet unexpected ways, and points of view transition gracefully from one to other. Sportcoat moves through the novel oblivious to the effect he has on others, the ultimate catalyst — and denies it, if anyone should point it out to him.

Two key themes emerge. One involves how white interpretations of Black life rest on lies that Black people need not — must not — accept, even if they can do nothing else to fulfill themselves. Dignity requires insisting on the truth. Within that, a person finds meaning and hope by taking small actions, even though they won’t change the big picture. That’s all anyone can do.

As historical fiction, the novel gets down to neighborhood level, as in how the influx or departure of certain groups changes the Cause, how the police or certain agencies function differently from the past, or how drugs have taken over, and the horrific damage that follows. That’s what 1969 means here, aside from frequent references to the New York Mets. And though I yield to no one in my love for that team, I do wish McBride had gone a little further. In particular, I’d have liked to hear more about the Vietnam War, for instance, because maybe residents of the Cause had strong feelings about fighting the white man’s war in Southeast Asia.

But Deacon King Kong is a terrific book and a testament to the author’s range and vision.

Disclaimer: I obtained my reading copy of this book from bookshop.org, a bookseller that shares its receipts with independent bookstores.

The Marsh Girl: Where the Crawdads Sing

11 Monday Jan 2021

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Review: Where the Crawdads Sing, by Delia Owens
Putnam, 2018. 368 pp. $28

Six-year-old Kya doesn’t know her real name is Catherine, nor has she ever been to school. All she knows is the South Carolina marsh where she lives with several siblings, a drunken, violent father, and a much put-upon mother. But in summer 1952, Ma walks out, after which Kya’s brothers and sisters follow. Little Kya has to raise herself, essentially, because her father’s often absent on a bender, which can be a blessing. Her only friends are wild creatures, whose habits she comes to know intimately; her greatest, sole pleasure.

You see the wild creatures she loves, rendered with insight and deep feeling:

A great blue heron is the color of gray mist reflecting in blue water. And like the mist, she can fade into the backdrop, all of her disappearing except the concentric circles of her lock-and-load eyes. She is a patient, solitary hunter, standing alone as long as it takes her to snatch her prey. Or, eyeing her catch, she will stride forward one slow step at a time, like a predacious bridesmaid. And yet, on rare occasions she hunts on the wing, darting and diving sharply, swordlike beak in the lead.

Kya herself might answer to this description, especially that of the “patient, solitary hunter.” The vivid portrait of nature in a place nobody else wants, whose human inhabitants the inlanders consider trash, provides a superb background. And the tale of how this girl grows up by her own wits (and kindness of strangers), terrified of just about everybody and everything except the marsh, makes remarkable reading.

However, Where the Crawdads Sing doesn’t settle for the unusual coming-of-age story, and therein rests its greatest shortcoming. Jumping ahead to 1969, as many of these short chapters do, there’s a mystery as well. A former high school quarterback, the town Lothario, is found dead in the marsh. You guess right away that the police, utterly incompetent and desperate to find a murderer (they refuse to accept that such a demigod could have died accidentally), will home in on the Marsh Girl, what the locals call her. She’s reputed savage, lustful, and depraved, the townsfolk’s way saying that she’s different from them, therefore expendable.

The All-Star Bowling Alley, Orangeburg, South Carolina, pictured in 2015. In February 1968, police opened fire on Black students protesting the alley’s segregation policy at the time. Three students were killed and dozens injured. (Courtesy Ammodramus, via Wikimedia Commons; public domain)

Granted, the southern-justice narrative provides an instantly recognizable means to raise the stakes. But Owens introduces the death in a prologue and keeps the police procedure front and center, as if the mind-boggling story of a little girl in a marsh weren’t enough. As years pass, there’s also a tender romance with a young man who accepts Kya as she is. I’d have thought all that sufficient and quite lovely, so I ask why we need the mystery. I will say that the murder investigation allows Owens to expound, sometimes cogently, on mating habits and the genetics of survival, linking her protagonist’s story to evolution, a clever conceit.

But much of the novel feels contrived. I never sense that Kya, who undergoes great hardship and takes brutal, yet often predictable, knocks, is ever really in danger. Terrible things happen, but just as the marsh protects her from outsiders who don’t know its waterways or approaches, the narrative cocoons her, in a way.

Start with how a child grows to her twenties in perfect health, without ever having seen a doctor or dentist. But if that sounds like nitpicking, consider the split time frame, which puts you in 1969 right away, undermining the tensions of 1952 and the immediate years afterward. Also, the kind strangers often appear at just the right moment, sometimes bearing a bounty too good to be true. After a while, I get the idea that whatever trouble comes her way, luck will favor her.

Further, Kya’s voice goes all over the map, which jars me and pulls me out of the story. Owens seems eager to get to the age where Kya speaks and thinks like an autodidact biologist offering thoughtful commentary about evolution (itself a stretch), rather than stay with the bewildered, frightened child who doesn’t know where her next meal is coming from, or how to prepare it. Since I want to hear the child and don’t always believe the self-trained scientist, the struggle between the voices is very distracting, especially when one intrudes on the other. The paragraph quoted above, about the heron, supplies an example; Kya wouldn’t know what “concentric circles” means, let alone “bridesmaid” or “lock-and-load.” So who’s watching the heron?

Finally, the year 1969 witnessed turmoil and great events, but I don’t recognize them here, or little about the Sixties, for that matter. The Vietnam War barely makes an appearance, and though Jim Crow seeps around the edges, it’s as if Martin Luther King and the civil rights movement had gone unheard of in South Carolina. Moon landing? Nary a mention, even among the inlanders.

Despite a terrific premise and beautiful prose, Where the Crawdads Sing is one of those novels that would have appealed to me more had the author crammed less in it.

Disclaimer: I obtained my reading copy of this book from the public library.

Family Snapshots: Summer of ’69

24 Monday Feb 2020

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Review: Summer of ’69, by Elin Hilderbrand
Little, Brown, 2019. 418 pp. $28

For Kate Foley Levin, the annual family pilgrimage in summer 1969 to her mother’s home in Nantucket will feel sparse and lonely. Her only son has been drafted and is an infantry grunt in Vietnam; any moment, she expects the telegram announcing his death. Kate responds by withdrawing to finds solace in the bottle. Meanwhile, her eldest, pregnant daughter can’t leave Boston to join the family, for her due date is weeks away, and she’s too uncomfortable to travel. Said daughter also suspects her geeky MIT husband, who consults for the Apollo space program, is cheating on her. The next eldest daughter, a contentious soul, has annoyed Kate by making a mess of college and getting arrested at protest marches. But she won’t be there to bother anyone, because she has a job on Martha’s Vineyard, where, unbeknownst to Mom, she falls for a Harvard man who happens to be black.

Jessie Levin, half-sister to these siblings (her father, David, is Kate’s second husband) needs her mother more than ever. Just turned thirteen, she feels utterly bereft without her family, especially her half-brother, to whom she’s very close. She’s also fighting several losing battles, most notably with her bigoted, vicious grandmother, Exalta, which Kate might have helped with, but forget that. One firefight concerns Jessie’s identification with her (purely cultural) Jewishness, a link she shares with her father; she’s freaked out that Exalta’s an anti-Semite.

So we’ve got the Vietnam War, to which the Levins and Foleys are opposed, and a son at risk. We have possible marital infidelity, alcoholism, political protest, interracial romance, and anti-Semitism. As if that weren’t enough, we have sexual and physical abuse, feminism, Jessie’s sexual awakening, and abortion. And oh, yes, Jessie’s reading The Diary of Anne Frank for school. Summer of ’69 purports to be beach reading, but that’s one hell of a load.

Neil Armstrong’s photograph of Buzz Aldrin on the lunar surface, July 21, 1969 (courtesy NASA, via Wikimedia Commons)

What we don’t have is the Sixties — the lingo, the vibe, the sense that this was an unusual decade, the belief that so much was possible yet so much was wrong, and that you felt compelled to take sides and make a statement. Hilderbrand shows none of that. She’s strong on fashion, issues, and headlines, but those are period details, museum exhibits. The summer of 1969 was my last before my senior year of high school, so we share a fascination for that moment (she was born that July). But, much as I enjoy re-creations of that time and salute her attempt, I don’t think she gets it.

In her favor, she can keep the pages turning. She’s a keen observer of family dynamics, and she manages to thread several narratives without missing a stitch. In her world, people don’t talk to each other, and the closer they are by blood, the less they say, because they have secrets to hide. She also has a friendly, drop-in-for-a-chat-dear-reader tone that makes her narrative pleasant company, like an easy-listening radio station.

But Hilderbrand’s ease cuts two ways. Despite the pain the characters suffer and the issues she raises, which couldn’t be more momentous, the treatment feels one-dimensional, like posed family snapshots. Everything seems too far away to hurt anybody for real. With so much simmering conflict and so little honesty, you’d think more would explode, and that’s why I finished the book. I wanted to know how Hilderbrand would resolve these conflicts—and I now know I wandered into Never-Never Land.

One problem’s the characterization. Kate’s controlling and craven by turns, and it’s not clear why. David’s a good guy with no depth, and the older sisters represent themes but lack compelling internal lives. Jesse’s the only character who seems reflective about what matters:

Jessie thought all grown-ups lived in a different atmosphere, one that was like a cool, clear gel. Adults had problems, Jessie knew — money and their children — but one of the benefits of reaching adulthood, she thought, was that you outgrew the raw, hot, chaotic emotions of adolescence.

Yet this girl, intelligent and emotionally tuned in, gets upset that Anne Frank dies; she thinks the book shouldn’t have ended like that. The Holocaust! Who knew? Hilderbrand warps her narrative up, down, and sideways to let her characters find redemption and forgiveness and throws in the world’s most famous Holocaust victim, as though Anne defined those values. But don’t get me started on writers who co-opt a Jewish girl as a Christian saint, a Joan of Arc who turned the other cheek–a travesty encouraged, in part, by Anne’s father, who sanitized his daughter’s diary for publication.

Let’s stay with Jessie, a perceptive, nominally Jewish child whose brother’s in the Viet Cong’s crosshairs. Her heart’s been broken, and she has a sense of painful reality, even if she doesn’t always understand the why or how. Maybe she unconsciously connects her brother’s fate with Anne’s. They’re both so good; how can they die?

That’s a worthy question, but Hilderbrand doesn’t stay there. Having shown how bad things can almost happen to good people, she bails them out by snapping her authorial fingers, relieving them of the hard work of living. Maybe that’s what a beach book is supposed to do, keep you at a distance from work. But in relying on that illusion of substance, Summer of ’69 trivializes its subject matter.

Disclaimer: I obtained my reading copy of this book from the public library.