Friday, October 28, 2022

Treasures among discarded books - a reflection more than a review

I just finished a book I picked up in one of the book exchange boxes we now find in many residential neighborhoods these days, a wonderful addition to modern life. They reflect the fact that used books now have little value. I once imagined that I could unload the 1500+ books I brought back with me from Japan, but soon learned I can't even give them away. Libraries won't take them. School libraries might, but you will have to look around. In any case, these book boxes can hold some nice surprises. Can't tell you how many books I've found in one of about six of these book box stands within a few blocks of my house. And, of course, I regularly drop off books there myself.

The most recent book I brought home with me is one that had been sitting there for some time. Apparently nobody wanted it. It's titled, On Hitler's Mountain: Overcoming the legacy of a Nazi Childhood. No surprise there. With all the misery in the daily news, who needs to dredge up the Nazis? In fact, I suspect unless you're a history buff with a special interest in mid-20th Century history, you'll probably want to avoid this topic like the plague. If I were to make a "been there, done that," list of topics I've dealt with in my life, Germany from 1933 to 1945 would be at the top of my list. I grew up in a German-speaking home and had to ride the question how it was that the Germans I had around me as a kid were the people who taught me the meaning of love and security and the difference between right and wrong, while at the same time "the Germans" was a concept that often led a lot of people to freeze up and look like they wanted to spit.

By the time I started school in 1946 I had learned from my German grandmother that "there are good people and bad people everywhere you go," and that was all anybody thought I needed to know at that age. It then took many years to work through - to phrase the issue in the theatrical terms I've heard all my life: "how it was that the people who created Bach, Beethoven, and Brahms were also able to generate Hitler, Himmler and Goebbels?"

As a professional academic I devoted myself to the study of culture, defined as the "values, attitudes and beliefs of a people with a common identity and the practices and products derived from them." There, too, I moved from the initial oversimplifications - French make good lovers, Germans like to march, when Americans form groups the first thing they do is pick a president, vice-president and a secretary-treasurer - to an ever more nuanced understanding of diversity. We still operate with a lot of those simplifications. Like all generalizations, they make it easier to talk about the world without having to hedge all the time. "Of course, I don't mean all Japanese drink green tea, but most clearly do and not all Italians eat pasta, but most clearly do." Today one of the big questions that hang in the air is how it is that Putin is able to pull the wool over so many Russian eyes and get them to believe he is "liberating" the Ukrainians from Nazism. Often the answer you hear is "Well, Russians have no history of democracy; they are used to accepting the word of whoever is in charge. There is a powerful consistency between following the czars, following Stalin, and following Putin. It's in the Russian blood." The reason we fall for such generalizations is that there is a lot of obvious truth in them. You have to reduce a large complex of people to a single representative, but that comes naturally. Babies are cute, teenage girls giggle, Scandinavians are blonde. And Democrats are disorganized and Republicans have lost their soul.

On Hitler's Mountain is the story of a little girl - her name is Irmgard Paul - who grows up in Berchtesgaden in the shadow of Hitler's Eagle's Nest, his retreat in the far south of Germany. It's actually about half an hour south of Salzburg, Austria, by car - where Hitler met with fellow Nazis to work out some of the Third Reich's most important policies. As one of the kids from the neighboring village, she even gets to have her picture taken on Hitler's lap. 

The memoir has four parts, tracing her childhood in the shadow of Adolf Hitler from her birth in 1934 until Germany's defeat in 1945 in the first three. Barely eleven at war's end, the tone changes with her life circumstances. She writes of challenges during the war, such as the moment where she has to choose between outing her anti-Hitler grandfather, whom she is not particularly fond of, to her Hitler-loving teacher, who is responsible for brainwashing the children in her charge and getting them to put the state and their Führer above all else. And of an awareness that while her family has to scrounge for food, she's luckier than the kids flooding in from the cities to her mountain village to avoid the British and American bombs now raining down on their homes. I read the book in bits and pieces, reflecting on such things as her having to live at times on potato peels while I regularly sat down to delicious curries and salmon and pasta with bottarga, the roe of the mullet - the fish, not the haircut - that Taku and I discovered in a restaurant some years ago in Florence, and which has remained one of my favorite things in the world. There but for the grace of God, go I, the saying goes. The absolute randomness of God's grace has always puzzled me. How do some of us get to feast on bottarga or salmon or T-bone steaks while others of us have to make do with potato peels?

My inbox fills with e-mails and my cell phone would ring every fifteen or twenty minutes, if I left the ringer on: Adam Schiff, Martin Sheen, Stacey Abrams, and a dozen others, all asking me for money and threatening the end of democracy if I don't come up with $55 immediately to split between them and the DCCC. It will be matched, doubled, tripled, I'm told, and as we get closer to election day I won't be surprised if that increases to quadrupled or quintupled. The only way we get to save democracy from the Trumpists, the tails wagging the Republican dogs, we are given to understand, is to spend billions of dollars on ads to scare the shit out of independents and habitual non-voters, scare them to the polls to keep the election deniers out of office. The majority of Republicans running for office deny that Biden won the 2018 election. In Arizona, all but one of the candidates are deniers. And nearly one third of Republican voters now tell us they're fine with using violence to keep themselves in power.  Among election deniers, that figure is 39%.

I have sent money to John Fetterman and to a few others, feeling like my widow's mite contribution is money down the drain when Republicans have so many superrich in their donor base. But what is one to do? The game is money and that's how it is played. The cost is expected to soar to $9.3 billion before it's over.

This little memoir of a girl from Bavaria who once sat on Hitler's knee brings home the question of what happens when too many people share my concern that I'm just tossing money down the drain or believe the whole game is a losing business and tune out. I don't listen to Trump any more. I'm way past disgust at this lying narcissist, disgusted at the people who believe they can ride the tiger and come out on top financially, disgusted at how easy it is to blame the guy, blame his enablers, blame the media for keeping him front and center and his name fresh in the minds of so many who boast they are apolitical and will go with the crowd. I will vote, but even if I gave hundreds of my retirement savings dollars to the people I think can save democracy, that 9.3 billion dollar figure feels like a kick in the gut.

Irmgard Paul eventually met an American, married him and came to live in New York where she wrote her memoir under her married name, Irmgard A. Hunt. When asked one time whether she thought a Hitler could happen here in America, her response was:

(Y)es, an American Hitler is possible. But it would arrive largely unnoticed and insidiously, with the pretense of a free democracy intact. The first prerequisite is having the executive, legislative, and judicial functions in the hands of one very strong party with media either largely controlled by that party or under sympathetic ownership.

For the longest time now, ever since we began using the word fascism openly to describe the Trumpist phenomenon - the unabashed lying, the cult of the leader, the lowered resistance to the idea of public violence - we have been warned that any comparison to Hitler is a surefire way to weaken your argument. You become accused of being the boy who cried wolf, of overstating your case.

The caution is appropriate. We are not living in a fascist state. Our press is still largely uncontrolled; our problem is less about media control than it is about gullibility. I have blamed it on the American propensity for giving faith equal billing with reason. Once you open yourself up to the notion that what you believe to be true is as valid as what can be demonstrated to be true, you're an easy mark for anybody in the indoctrination or propaganda business - preachers of organized religion I'm talking about you - to grab you where you are vulnerable - your fears, your doubts, your prejudices against "others," particularly others you can be convinced are unseating you from a position of privilege. Our problem is multifaceted. It's part fear - of violence, of change - part ignorance of the big picture. And part simple inability to see ourselves as living in a national community and the ever-present inclination to revert to tribalist impulses.

Unless you're particularly interested in Nazi history or unless you're in the mood to read a wonderfully told memoir of a woman looking back over her life lived through the greatest changes in modern times, On Hitler's Mountain is not going to jump at you as a "must-read." But I'll drop a spoiler on you. Irmgard Hunt becomes an international environmental consultant for such clients as the World Bank and USAID.  Her daughter volunteers as a doctor in Nepal. Her son teaches classics at the University of Colorado. 

Unfortunately, she contracts Alzheimer's, so the end of her life was not easy. It was, however, from all appearances, a life lived well. For anybody in search of happy endings, or looking for light in the darkness, if you come across the book at one of your local book exchanges, take it home and give yourself a good read. One that grows on you, as it sinks in that it is good history, and not simply a gripping memoir.

The box on the left is similar to the ones in my neighborhood. I understand, incidentally, that in Britain, rather than remove those wonderful red phone boxes, they are being converted into free book exchange libraries.



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book box

Saturday, October 22, 2022

Vatican Girl - a film review


It used to be fun to beat up on the Catholic Church.  You know, those folks who tell you all about how important it is to follow Jesus?
Quo audito, Iesus ait ei: Adhuc unum tibi deest: omnia quæcumque habes vende, et da pauperibus, et habebis thesaurum in cælo: et veni, sequere me.

That's from the Vulgate version of the Bible, Luke 18, Verse 22.

In God's native language, English, the Vulgate version translates to:

And when Jesus heard this, he said to him: “One thing is still lacking for you. Sell all the things that you have, and give to the poor. And then you will have treasure in heaven. And come, follow me.”

Of course, elsewhere in the Bible, God demonstrated that he's not merely mighty; he can also be witty. His church-builder, Saint Peter, whose name in Latin, Petrus, actually means Rock, provided God with a play on words he evidently couldn't pass up:

Et ego dico tibi, quia tu es Petrus, et super hanc petram aedificabo ecclesiam meam...

and I say to you, who art Rock, and upon this rock I shall build my church.

Clever, don't you think? Tie it together with Matthew 18:18

Amen dico vobis, quæcumque alligaveritis super terram, erunt ligata et in cælo: et quæcumque solveritis super terram, erunt soluta et in cælo. 
Amen I say to you, whatever you will have bound on earth, shall be bound also in heaven, and whatever you will have released on earth, shall be released also in heaven.

It took a while - until 1870, to be precise, when the First Vatican Council, under Pope Pius IX, declared that when popes speak ex cathedra, i.e., "from the papal throne," they are infallible. Hypocrisy, meet arrogance.

It's like shooting fish in a barrel to beat up on the Catholic Church these days. The proclaiming of itself as infallible in matters of truth and morality is echoed in the prayer asking God to deliver Jews "from their darkness." In fact, the pope is the director of an institution that is not merely fallible, but chock full of corruption.  You don't have to go back to the Crusades or the impetus to the Protestant Reformation that was the sale of indulgences in order to pay for the construction of St. Peter's. In just the past couple of decades we've seen the scandals of the Vatican Bank.  Which looks, in retrospect, like just a warm-up to the priest abuse scandals. And which have pretty much shredded the integrity of the church, in the way it put on full display its willingness to put the appearance of propriety ahead of the welfare of catholic children for all the world to see - over and over again in country after country.  

But just as I don't want to give up on America because so many of us are willing to give up on democracy, I don't want to reduce the church to its bad apples. I'll grant you that believing that there is a God who built a very fallible human institution called the church on a rock doesn't work for me. There's too much evidence it's built on shifting sand. But at the same time, even though its doctrines leave me cold, I know it provides a whole lot of people a place to put their best intentions. It's a big tent.

Netflix came out this week with a film which many will see as yet more proof of the church's fallibility, in the way it ignores the two most basic pillars of morality, the avoidance of violence and deceit, pillars which non-Christians and Christians alike tend to agree on.

Vatican Girl: the Disappearance of Emanuela Orlandi is a four-part series based on the disappearance of a fifteen-year-old girl who lived with her family inside the Vatican and who was lured away by still unidentified kidnappers on June 22, 1983. Her whereabouts and her fate are unknown to this day. 

Vatican Girl is a story very much worth telling. A heartbreaking tale of a girl torn from her family which starts out as a simple kidnapping and ends up a multi-faceted story of international intrigue involving Mehmet Ali Ağca, the guy who got a life sentence for shooting Pope John Paul II, but got out early and now feeds stray dogs and cats in Istanbul, shady mucky-mucks within the Vatican hierarchy, all the popes since JP II, the Vatican Bank, Russia and the KGB, and the Italian Mafia.

Somehow Mark Lewis, who wrote and directed the docuseries, and Chiara Messineo, its producer, managed to get access to Emanuela's brother, Pietro Orlandi, and the journalist Andrea Purgatori, both of whom have devoted much of their lives these past nearly forty years keeping the search going and the story alive. It's a powerful combination of agonizing frustration, as one conspiracy theory after another takes center stage, and fury-making disbelief at how badly such a great story can be butchered. Long before you reach the end of the fourth episode, you're ready to throw a shoe at the TV screen or computer monitor you're watching this slipshod misadventure on. How many times are the shots of people getting into a green car or putting a coin in a payphone recycled?  Fifteen? Twenty? Help!

Even if you don't mind being jerked around by one conspiracy theory after another, each one poo-pooed in turn, you will still smart at the fact that the best they can do after all this time is tell you the church is full of secrets.

What do the popes know that they are not telling?

I'm sorry.  If you think the church is covering up yet another scandal, you should say so outright.  Bash away, if you must. But don't turn this whole thing into a thriller that goes nowhere in the end.  And don't suggest that every pope, even Francis, plays the mafia game of omertà (silence) like a pro without more to go on. You make me want to turn in my church-bashing credentials and come to its defense. OK, so you did line up virtually all of the witnesses in the various conspiracy tangents and have them all, one after another, lay the blame on the church. But, as at least one critic has pointed out, this series bears more resemblance to Dan Brown's DaVinci Code than it serves the cause of investigative journalism.

Emanuela's mother appears only at the very end, possibly because the filmmakers didn't want the audience to miss the thrill of the roller-coaster ride by being reminded this is a story about a family's never-ending tragedy.

Vatican Girl is mostly in Italian, with English here and there.

It's not a flop despite its annoying repetitiveness - the series is worth watching for its depiction of life in Rome, аnd for the reminder that the Vatican hierarchy can give master classes in how to play your cards close to your chest.

I give it a C-minus.  OK, a C.



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Wednesday, October 12, 2022

Firebird - a film review

The gay liberation movement, like other social and political efforts to secure freedom from discrimination, is a long and painfully slow process. You don't change people's convictions overnight, and breakthroughs like giving women the same rights as men and blacks the same rights as whites and LGBT people the same rights as straights are not single events. People like to place them in a historical context. It's common to speak of the Stonewall Riots as the starting point of the world-wide gay liberation movement, even though it actually began with countless smaller events many years earlier. Consider the efforts of Magnus Hirschfeld in Weimar Germany, for one. Liberation is a not a single event, but a long laborious process.

In a number of places around the world they still throw gay people off of roofs. Torture and jail them. Expose them to ridicule. The degree of hostility varies with the degree to which the need arises in sexually insecure people to demonize other people's ways of expressing sexual and emotional feelings.  The gay liberation movement has met with tremendous success around the world. Some thirty countries already grant the right to same-sex couples to marry, and more are added to this list every year. At the same time, at the other end of the spectrum, there are countries - remember Iran's former president Mahmoud Ahmadinejad's hilarious statement: "In Iran, we don't have homosexuals like in your country. In Iran, we do not have this phenomenon. I don't know who has told you we have that."

I bring this up not because it's new information - it's anything but - but because I want to talk about Firebird, a film I came across yesterday which I think deserves recognition as one of these many markers of the progress of the international gay liberation movement. It has been around for a year and made the rounds of 60 LGBT film festivals, and has appeared in some 500 theaters already, but has only now been released on Amazon Prime. Despite its boosters' claims that it's up there with Moonlight and Brokeback Mountain, it's not. It lacks the wallop and the brilliance. But I hope that won't deter you from giving it a chance.

For starters, it's an Estonian movie, and that alone should catch your attention. Actually, it's a British/Estonian co-production which came into being thanks in large part to British actor, Tom Prior, and the Estonian producer and director, Peeter Rebane. Somebody brought to Rebane's attention the story of Sergey Fetisov, an Estonian soldier in the Soviet Army in the late 70s who falls in love with a pilot he is assigned to show around the base. Rebane, gay himself, was carried away by the story and eventually teamed up with Tom Prior to write the screenplay. Rebane would produce and direct; Prior would co-author as well as act the role of Sergey.

It takes time, but they eventually find Ukrainian actor, Oleg Zagorodnii, to play the role of the pilot, and Russian actress, Diana Pozharskaya, to play the role of Luisa, close friend and fellow soldier to Sergey, whom everybody expects he will marry one day. He doesn't, and to say any more is to spoil the plotline.

How well you relate to this movie will depend on how important it is to you that movies be free of "message," a political or other didactic agenda pushing some cause. If you're like most who believe art only suffers when weighed down by some school ma'arm's finger wagging at you, trying to teach you something, this film will be nothing more than a few moments spent with beautiful people and a full-on romantic gay love story - a little flesh - not too much - all pretty run-of-the-mill these days. IndieWire gives it a B-.

If you're like me, though, you will likely appreciate the stunning progress of the Baltic States (I understand that what is happening in Estonia is happening in Latvia and Lithuania as well, if not quite as fast), now free from the chokehold of the Soviet Union and its successor state, Russia, and becoming more like its European neighbors with each passing day. Where once Sergey's dreams included going to Moscow to study acting, these days Estonians are a whole lot closer to their Finnish cousins and neighbors, and other westerners cheering on Ukraine's attempt to break free of Russian clutches. For the record, I have no personal knowledge of whether LGBT people in Estonia still experience greater hostility than in the west because of holdovers from Soviet times, but stepchild adoption became legal in 2016, gender change is recognized by law, and gays, lesbians and bisexuals are allowed to serve openly in the military. Actually, same-sex activity (between consenting males, at least) was decriminalized in Estonia as early as 1929, almost a century ago.

And a gay Estonian can get wind of a memoir about a love story between two Russians stationed in Estonia and make it into a movie non-gay Estonians can incorporate into their cultural heritage.

But I don't want to leave you with the impression that the film is lacking in value except as a polemic for gay liberation. There are moments of genuine passion, times when the tears are real and the fears of being found out are palpable. And the side story - of a sophisticated slightly older cultured man fostering and bringing a kid from the farm into the life of theater and ballet - is a real treat. They actually brought in a ballet troop and choreographed a scene from Stravinsky's Firebird Suite to show the powerful impact of the older (in his 30s - not that old!) gay man on his younger lover. Also fascinating were the Estonian landscapes and the dull Soviet architecture of the time. One scene is even filmed in Moscow.

In the end, the story has the power of all love stories which make us go to extraordinary levels to keep that love alive. In the end, the location is a distraction to what makes the world go around. Besides money, I mean.


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