Happy 200th, Herman!

Herman Melville, 1870

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Happy 200th, Herman!

The first of August 2019 is the 200th anniversary of the birth of Herman Melville, author of Moby-Dick or, the Whale (1851), as well as numerous other novels, short stories and much poetry.

Because of the depth of his thought as well as the range of his invention, Herman Melville (1 August 1819 – 28 September 1891) remains America’s greatest writer of literary fiction, and also one of its superior poets. I consider Mark Twain (Samuel Langhorne Clemens, 1835-1910) the quintessential American novelist because his masterwork, the novel Adventures of Huckleberry Finn (1885), is such an exquisite encapsulation of anti-slavery and anti-bigotry moral principle within a widely popular coming-of-age boy’s adventure story. But Melville is America’s deepest literary artist, his novels are metaphors for long-running threads of reality entwined as the American experience.

While Mark Twain’s facile humor and droll prose made him very popular with his 19th century audiences — both through publications and with live appearances — Herman Melville remained largely neglected during the last forty years of his life, by a reading public that was alienated by the complexity of his art. That complexity resulted from the combination of his literary sophistication, strongly influenced by the poetic language and moral insights of both William Shakespeare and the King James Bible; his personal philosophical thought as the fundamental source for his writing; his morally enlightened (non-racist) attitude about the world’s people; and the wit of his continuing critique, embedded in his fiction, of Americans’ myopic for-profit utilitarianism and obsessive hucksterism and con-artistry, which continues to this very day.

Herman Melville, 1860

I am no amateur scholar of Herman Melville and his literature, nor do I pretend to be. I am just one of millions of readers who since 1851 have been entranced by Melville’s masterpiece, Moby-Dick. I have read this book at least three times since 1961. With each reading I was older, more experienced, and was able to gain more insight about and appreciation for the literary use of the American language, and 19th America, out of the richness of Melville’s prose. I used the image of Captain Ahab’s monomaniacal and fatal obsession to hunt down and kill the white whale Moby Dick, in a recent article of my own, as a metaphor for humanity’s current obsession to continue racing with its self-destructive fossil-fueled capitalism, which is the profligate source of greenhouse gas emissions causing anthropogenic global warming climate change.

Many readers today would find Melville prolix, abstruse, convoluted, and with a confounding multifarious vocabulary. This obviates Melville’s work from achieving instant contemporary mass pop-appeal. However, that prolixity, abstruseness, convolution and wide-spectrum vocabulary we grumble about now could reflect the devolution of Americans’ thought processes and language from a measured 19th century pacing of consideration to a hurried jittery 21st century attention-deficit superficiality: the shorn American language of today, our no-brainer “New Speak.”

Herman Melville, 1861

Herman Melville gained popular success as an author with his initial novel Typee (1846), a romantic account of his experiences of Polynesian life, gathered during his time as a whaler and seaman in the South Pacific between early 1841 and late 1844. Typee was followed by a sequel, Omoo (1847), which was also successful and paid him enough to marry and start a family. His first novel not based on his own experiences, Mardi (1849), was not well received. His next fictional work, Redburn (1849), and his non-fiction White-Jacket (1850) were given better reviews but did not provide financial security. (1)

Moby-Dick (1851), although now considered one of the great American novels, was not well received among contemporary critics. His psychological novel, Pierre: or, The Ambiguities (1852) was also scorned by reviewers. From 1853 to 1856, Melville published short fiction in magazines which were collected in 1856 as The Piazza Tales. In 1857, he traveled to England and then toured the Near East. The Confidence-Man (1857) was the last prose work that he published. He moved to New York to take a position as Customs Inspector and turned to poetry. Battle-Pieces and Aspects of the War (1866) was his poetic reflection on the moral questions of the American Civil War. (1)

In 1867, his oldest child Malcolm died at home from a self-inflicted gunshot. Clarel: A Poem and Pilgrimage in the Holy Land was published in 1876, a metaphysical epic. In 1886, his son Stanwix died of apparent tuberculosis, and Melville retired. During his last years, he privately published two volumes of poetry, left one volume unpublished, and returned to prose of the sea. The novella Billy Budd was left unfinished at his death but was published posthumously in 1924. Melville died from cardiovascular disease in 1891. The 1919 centennial of his birth became the starting point of the “Melville Revival” with critics rediscovering his work and his major novels starting to become recognized as world classics of prominent importance to contemporary world literature. (1)

Most of Melville’s works can now be found on-line. (2)

Herman Melville, 1868

A most interesting and knowledgable commentator on Herman Melville’s works is Louis Proyect, both because of his familiarity with Melville’s texts, and because of his discussions of how Melville’s themes are critically reflected in the social contexts of both the 19th century and today, and of how Melville’s anti-racist attitudes contrasted favorably with the “utilitarian” consensus of his times, and even ours. (3), (4), (5).

To end this commemoration of Herman Melville and his literature, on the occasion of his 200th birthday, I borrow the following paragraphs from Louis Proyect (3). Mark well what ye read here, for we need slake our forgetfulness and remember this conviction today.

Melville’s Redburn is one of his lesser-known books, but it comes as close to a conscious expression of the world we are trying to build as will be found in all of his works. He writes:

There is something in the contemplation of the mode in which America has been settled that, in a noble breast, would forever extinguish the prejudices of national dislikes. Settled by the people of all nations, all nations may claim her for their own. You cannot spill a drop of American blood without spilling the blood of the whole world. . .Our blood is as the flood of the Amazon, made of a thousand noble currents all pouring into one. We are not a nation, so much as a world. . .Our ancestry is lost in the universal pageantry; and Caesar and Alfred, St. Paul and Luther, and Homer and Shakespeare are as much ours as Washington, who is as much the world’s as our own. We are the heirs of all time, and with all nations we divide our inheritance. On this Western Hemisphere all tribes and peoples are forming into one federated whole; and there is a future which shall see the estranged children of Adam restored as to the old hearthstone in Eden.

Herman Melville, 1885

Notes

(1) Herman Melville
https://en.wikipedia.org/wiki/Herman_Melville

All images of Herman Melville here are from Wikipedia.

(2) The Life and Works of Herman Melville
http://www.melville.org/

(3) Deconstructing cannibalism
5 January 2016
https://louisproyect.org/2016/01/05/deconstructing-cannibalism/

includes Louis Proyect’s articles:

Shakespeare’s Tempest and the American Indian
6 December 1998

Herman Melville’s Typee: a Peep at Polynesian Life
18 October 2004

(4) The Confidence Man
23 December 2013
https://louisproyect.org/2013/12/23/the-confidence-man/

(5) Herman Melville and indigenous peoples
16 February 2008
https://louisproyect.org/2008/02/16/herman-melville-and-indigenous-peoples/

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I Learn About F. Scott Fitzgerald

Scott and Zelda Fitzgerald, with daughter Scottie

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I Learn About F. Scott Fitzgerald

After decades of resisting the writings of F. Scott Fitzgerald (1896-1940), thinking him and them as inconsequential and passé, I finally fell under their spell. He was a literary genius, a great romantic and perceptive and fundamentally tragic writer. His novel, The Great Gatsby, is shimmering, transcendental (beyond the powers of cinema to capture), and – from the perspective of our limited human lifetimes – eternal. A collection of his short stories compiled in 1960, Babylon Revisited, is fascinating, showing how inventive he was at devising characters and plots detailing the intertwining of the psychologies of those characters. And he would present it all with fluidly lyrical prose of amazing compactness. What has drawn me to his stories is his implicitly deep understanding of the human heart, which he conveys from behind the casual facade of both manic and faded Jazz Age settings. What I see from his own personal story is that every true artist must constantly struggle to be able to do the work that expresses their art and gives their life meaning, despite the enervating drag of the many demands heaped on one by the needs of economic survival, exhibiting sufficient conformity for social acceptance, and the emotional needs – and illusions – of close family. I think that is the great heroic epic of each artist’s personal life: somehow producing the work held deep in the heart and soul and mind, despite both the intentional and indifferent impediments placed before that artistic drive by life’s banalities. Some succeed better than others, and some are broken and fail in that they themselves are lost to life and their unknown art stillborn. With all that F. Scott Fitzgerald wrote, I think that we are only seeing fragments of his potential, even given that he was one of America’s supreme literary artists. I appreciate his decades of struggle to produce those gems. It can be very hard to be an ordinary, imperfect human being gifted to be an instinctive channel to a primordial artistic insight and creative drive. His gift to us is the wider awareness we may gain by reading his stories, and immersing ourselves in his enthralling lyricism. I’ve now embarked on Tender Is The Night, which he called “a confession of faith.” In the last year of his life, F. Scott Fitzgerald earned $13.13 in royalties. Since his death in 1940, more than 10 million copies of his books have been sold throughout the world.

Winter Dreams: F Scott Fitzgerald’s Life Remembered (PBS, 2001)
https://youtu.be/XnEO8yT_ApM

Sincerely, F. Scott Fitzgerald (BBC, 2013)
https://youtu.be/cCfUsaX5F10

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The Ultimate Great American Novel

“The Great American Novel” is an idea difficult to define yet clear in every American mind, or at least in the minds of some of America’s readers. It is that ideal book that captures some universal quality of American life and popular aspiration, and especially of quintessential patterns of American thought and speech at a particular time and place during the nation’s history. For a truly timeless work, it would give an insight into enduring universalities of Americanness as perceived through a compelling story cast in idiomatic and ephemeral particulars.

It is impossible for any one novel to achieve this ideal for any length of time, or even at all. But, a few do ascend artistically far above the accumulated mass of published and unpublished American novels. Here are eight that I think qualify as being contenders for the unattainable title of “The Great American Novel.”

First, they are listed by publication date:

Moby-Dick
(Herman Melville, 1851)
(1820s-1840s New England whalers at sea)

The Adventures of Huckleberry Finn
(Mark Twain, 1884)
(1830s-1840s, rafting down the Mississippi River)

The Great Gatsby
(F. Scott Fitzgerald, 1925)
(1922, love longing, triangles and betrayal in wealthy suburban New York)

The Grapes of Wrath
(John Steinbeck, 1939)
(1930s homeless Oklahoma farmers on the road in California)

The Catcher In The Rye
(J. D. Salinger, 1951)
(1950, a prep school boy’s New York City)

To Kill A Mockingbird
(Harper Lee, 1960)
(1933-1935, in a rural Southern town)

Catch-22
(Joseph Heller, 1961)
(1942-1944, US Army Air Force men in Italy)

Slaughterhouse-Five
(Kurt Vonnegut, 1969)
(1944-1945, 1968, 1976, US Army survivor of the Dresden fire-bombing).

Secondly, they are listed by the time periods of their stories:

Moby-Dick
(1820s-1840s)

The Adventures of Huckleberry Finn
(1830s-1840s)

The Great Gatsby
(1922)

The Grapes of Wrath
(1930s)

To Kill A Mockingbird
(1933-1935)

Catch-22
(1942-1944)

Slaughterhouse-Five
(1944-1945, 1968, 1976)

The Catcher In The Rye
(1950).

Thirdly, they are listed in my rank order:

The Adventures of Huckleberry Finn

Moby-Dick

The Great Gatsby

The Grapes of Wrath

The Catcher In The Rye

Catch-22

Slaughterhouse-Five

To Kill A Mockingbird.

I would group the eight novels thematically as follows:

Moral defiance versus obedience to the avaricious and vengefully obsessed, before the Civil War:
– The Adventures of Huckleberry Finn
– Moby-Dick

The soulful poets among the materialistic urban elite, as social failures by definition:
– The Great Gatsby
– The Catcher In The Rye

Prejudice against the wretched dispossessed in a time of economic depression:
– The Grapes of Wrath
– To Kill A Mockingbird

The sanity of being creatively insane to try surviving the random heartless cruelties of war, and of life:
– Catch-22
– Slaughterhouse-Five

So, perhaps an Ultimate Great American Novel would offer us the compelling attraction of seeing strong individual moral character successfully defy the social strictures that direct people into lives of soulless materialistic gain and obsessive and even vengeful ambition; and, by artful indirection rather than polemics, it would lead us to condemn those aspects of our society by which the most wretched and dispossessed are inflicted with the cruelest forms of exclusion, exploitation and persecution; and it would show us how to recognize those morally insightful and artistically apt observers of our unappealing and often denied social realities, despite the casting off of such poets by materialism’s powerful. Finally, such a novel would delight us with a realization of good triumphing over monolithic indifference, by showing how its good-hearted empathetic poet-observers and realists, who captivate our attention, escape monstrous injustices and random fatal cruelties by their own artful nonconformities. Seeing such escapes would give us a lightening hope: perhaps we could do it too.

The Adventures of Huckleberry Finn

Mark Twain (Samuel Langhorne Clemens, 1835-1910) wrote that “a sound heart is a surer guide than an ill-trained conscience,” and Huckleberry Finn is “a book of mine where a sound heart and a deformed conscience come into collision and conscience suffers defeat.” Because of his innate good character and his beneficial friendship with Jim, an escaped slave, the adolescent Huckleberry Finn comes to see black slavery and its enabling racism as morally wrong despite their being treated as upright and legally essential to American society, by the white adults of his time. It is important to note that Jim, the runaway black slave, is the noblest adult in this story. This is the quintessential American novel, scintillating and funny, still fresh, still relevant, still controversial.

Moby-Dick; or, The Whale

Herman Melville (1819-1891) wrote “one of the strangest and most wonderful books in the world” and “the greatest book of the sea ever written” (D. H. Lawrence). It tells of Captain Ahab’s obsessive quest, aboard the whaling ship Pequod, for revenge against the white whale, Moby-Dick, for having bitten off his leg at the knee on a previous voyage. Melville gives detailed and realistic descriptions of whale hunting, the extraction of whale oil, and life aboard ship among a culturally diverse crew. Mixed into this narrative are explorations of class and social status, good and evil, and the existence of God.

The Great Gatsby

In 1923, Francis Scott Key Fitzgerald (1896-1940) wanted to write “something new – something extraordinary and beautiful and simple and intricately patterned.” That effort produced his masterpiece, The Great Gatsby. The story centers on the young and mysterious millionaire, Jay Gatsby, and his quixotic and obsessive passion for the beautiful former debutante Daisy Buchanan. Gatsby’s main problem is Daisy’s oafish, wealthy husband, Tom Buchanan. Because of their inherited wealth, Tom and Daisy are spoiled and thus careless people, and that causes damage to others of humble origins who have their own great aspirations: the American Dream. The story is told by lyrical observer and incidental participant Nick Carraway. Fitzgerald’s artful, fluid prose conveys not only the interesting plot of the social drama, but a sense of the times, the nature of the characters, and – very subtly – his own judgments about each of these.

The Grapes of Wrath

While preparing this novel, John Steinbeck (1902-1968) wrote: “I want to put a tag of shame on the greedy bastards who are responsible for this [the Great Depression and its effects],” he also said “I’ve done my damnedest to rip a reader’s nerves to rags.” The Grapes of Wrath is the story of the Joads, a poor family of tenant farmers driven from their Oklahoma home by drought, economic hardship, changes in the agricultural industry, and bank foreclosure. Down and out and on the road during the Dust Bowl, the Joads set out for California along with thousands of other “Okies” in the hopes of finding jobs, land, dignity, and a future. Steinbeck’s sympathies for people like the Joads, and his accessible realist prose style, brought him a large following among the working class worldwide, and recognition with the Nobel Prize in Literature for 1962.

The Catcher In The Rye

Jerome David Salinger (1919-2010) matched Mark Twain’s achievement in Huckleberry Finn, of presenting the story of a rebellious and kind-hearted teenager, Holden Caulfield, in the very specific idiomatic speech of the protagonist, his peers, time and place. This novel presents an unparalleled view into the angst and alienation filling a perceptive teenage boy’s mind, trying to unravel the complexities of innocence, identity, belonging, loss, and connection. James Joyce had said that he wanted his own book, Ulysses, to be so richly detailed in describing Dublin on 16 June 1904 that one could thereafter recreate the entire city of that time out of his novel. Salinger did just that, with The Catcher In The Rye, for the New York City of a prep school lad during Christmas week, 1950.

Catch-22

Joseph Heller (1923-1999) mined his experiences as a U.S. Army Air Corps B-25 bombardier, who flew 60 combat missions on the Italian Front during World War II, to write his best novel, Catch-22. This satiric novel unfolds in a non-chronological manner, and it centers on Captain John Yossarian, a B-25 (a twin engine, medium bomber) bombardier, who along with his companions attempts to maintain his sanity during his time at war, despite its continuous undercurrent of deep dread, which is punctuated by random instances of explosive terror. The great hope is to return home alive. There are many comical elements in this book, and Yossarian is a serious nonconformist, a wise ass, but all these laughs are forms of gallows humor to help these men trapped in war to momentarily release their tightly knotted tensions. This is an anti-war book. In the novel, the Catch-22 itself is a circularly constructed Air Corps rule that makes it impossible for an airman to arrive at a valid excuse – except being killed – for being relieved of combat duty. Milo Minderbinder, one of the characters in Catch-22, is the quintessential icon of a capitalist, a parody that is so exquisite because it is so realistically accurate.

Slaughterhouse-Five, or The Children’s Crusade: A Duty-Dance with Death

To write Slaughterhouse-Five, Kurt Vonnegut (1922-2007) drew on his experiences as an American prisoner of war, captured by the Germans in 1944 during the Battle of the Bulge, who witnessed the destruction of the city of Dresden by an incredibly intense firestorm created by four British and American aerial bombing raids, dropping high explosive and incendiary devices, between 13-15 February 1945. At least 25,000 Germans, mainly civilians, died as a result of the indiscriminate area bombing of an ancient city with scant military installations. Slaughterhouse-Five is an overt anti-war novel published during the height of the Vietnam War. It presents the science fiction-infused story of Billy Pilgrim, an innocent Everyman-type who is a chaplain’s assistant in the U.S. Army and survives the firebombing of Dresden as a prisoner of war. This experience forms Billy into the not-so-usual individual he becomes by his maturity in present-day 1968 upstate New York, and the guru-seer he becomes thereafter, “unstuck in time” and in out-of-his-control contact with the Tralfamadorians, aliens from deep outer space. Vonnegut’s prose is almost child-like, and his science fiction episodes are whimsical, but the essence of this book and the drive behind it are very serious.

To Kill A Mockingbird

Nelle Harper Lee (1926-2016) reflected on her observations of her own father, a lawyer, to write this warm, Southern Gothic novel about the rape trial of a black man, Tom Robinson, by a white court and jury, in a small Alabama town during the Great Depression, in 1936. The rape victim-accuser is an unmarried white woman whose father is a rabid racist; Tom Robinson is a married man with children: a black family. This story unfolds as the observations of two young white children, primarily Jean Louise Finch (nicknamed Scout), and her older brother Jeremy (nicknamed Jem), who live with their widowed father Atticus Finch, a highly principled, anti-racist and quietly brave man. Atticus Finch is Tom Robinson’s defense attorney. About this novel, the critic J. Crespino wrote in 2000 that “In the twentieth century, To Kill a Mockingbird is probably the most widely read book dealing with race in America, and its protagonist, Atticus Finch, the most enduring fictional image of racial heroism.” To Kill A Mockingbird was Harper Lee’s only published book from 1960 until 2015 (seven months before her death), when her publisher, J. B. Lippincott & Co., issued Go Set A Watchman, an inferior novel based on an earlier draft of To Kill A Mockingbird. I suspect this was an act of pure exploitation by Lee’s publisher.

Are The Movies Any Good?

Nothing equals the experience of reading these books, and having their artistry unfold intimately in your own mind and at your own pace. Do yourself a favor and read each completely before you see any movie or even movie clip of it (actually, a movie of somebody’s interpretation or even misrepresentation of it).

Also, make sure to avoid all introductions, prefaces, essays about and critiques on any of these stories before actually reading the full texts that the authors labored to gift us with. Don’t allow the blather of others to pollute the purity of your own first impressions and – just as good as any critic’s and English teacher’s – your own analysis and artistic appreciation of what the authors have given us.

The nature of American society and the American cinematic industry makes it impossible to create accurate and meritorious movies of three of these novels: The Adventures of Huckleberry Finn, The Great Gatsby, and The Catcher In The Rye. The barriers to making good movies of these three stories are, respectively: the inability to face Mark Twain’s searing frankness about 19th century American racism; the inability to produce a movie as elegant, layered, lyrical and subtle as Fitzgerald’s novel; and similarly with Salinger’s novel, which he anticipated by stipulating that movie rights to his stories never be sold.

There are good movies of Moby-Dick (in 1956, by John Huston and Ray Bradbury), The Grapes of Wrath (in 1940, by John Ford, Nunnally Johnson and Darryl F. Zanuck), Catch-22 (in 1970, by Mike Nichols and Buck Henry), Slaughterhouse-Five (in 1972, by George Roy Hill and Stephen Geller), and To Kill A Mockingbird (in 1962, by Robert Mulligan, Horton Foote and Alan J. Pakula). But read the books first!

Other Great American Novels

Obviously, there can be as many different nominees for inclusion in lists of “great American novels” as there are enthusiastic and opinionated readers of American literature. A listing of often cited works for inclusion among the “American greats” is given by Wikipedia (https://en.wikipedia.org/wiki/Great_American_Novel).

Remember, readers come in two sexes (and varieties of sexual orientation), of all ages, and from the wide multi-cultural spectrum of the American people, and beyond. So, the type and period of American novel that would captivate any given reader, as a “great book,” can be quite different from the novels I have listed.

I’m not arguing, just gratefully enjoying and appreciatively learning from the sincere and varied literary artistry of the dedicated authors cited here. Enjoy!

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Anti-War and Socialist Psychology Books and Movies

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Anti-War and Socialist Psychology Books and Movies

On 24 November 2017, Amanda Almanac McIllmurry posted a request for: “Any suggestions for ‘socialist’ psychology books that are easily digestible [for a young student interested in becoming a psychology major]? Also, any suggestions for books with a leftist analysis of the military, which a teenage boy that’s super into the idea of joining the Army could read” [and reconsider such a choice.]?

Here, I have pasted together my various answers (from 27 November 2017 and 22 January 2018) to Amanda’s query (which I think is very important).

ANTI-WAR:

“Dispatches” (1977) by Michael Herr. This book was called the best “to have been written about the Vietnam War” by The New York Times Book Review; novelist John le Carré called it “the best book I have ever read on men and war in our time.” Michael Herr co-wrote the screenplay to the movie “Full Metal Jacket” (1987) by Stanley Kubrick. (See the wikipedia article on “Michael Herr”). I would also recommend the movie “Sir, No Sir!” (2005) about the anti-war movement (resistance!) within the armed forces during Vietnam War. You can find it on-line. The ultimate anti-war movie of my lifetime is “Hearts and Minds,” (1974), which is a masterpiece by Peter Davis (and won an Academy Award in 1975!). You could ramble through my huge web-page called “Haunted by the Vietnam War,” which is on my blog (manuelgarciajr.com), and which lists many links to books and videos (and probably gives links to the movies mentioned here).

“All Quiet On The Western Front,” a classic of 20th century world literature, and also made into a great movie, starring Lew Ayres (a pacifist). Another world-treasure movie to put you off war is Jean Renoir’s “Grand Illusion.” Both these movies are from the 1930s, when the bitter memories of WWI were still very fresh. Since both are masterpieces, they have been restored in recent times, and look and sound good (and on DVD). Modern movies that could put you off war are MASH (1970), but it has so much humor that some might miss the anti-war basis of the film (I sure didn’t in 1970!); and “Full Metal Jacket” by Stanley Kubrick (about the Vietnam War), but the violence in it might be a bit too much for the young. For Americans today, I think the all-time best anti-war film is the documentary “Hearts and Minds.” It is THE BEST film about the Vietnam War, and was released in 1974, while the war was still in progress. I just saw it again a few weeks ago; incredible. What is so compelling about it is that almost all of it is the telling of first hand experiences of soldiers who survived (not always intact). It just so happens I took a Vietnam Vet friend of mine to the V.A. hospital today, for a pre-op medical visit. There were numerous patched-up survivors of military “service” (use) in the hallways. For a combination of humanizing psychology and overt anti-war basis, see the movie “Captain Newman, M.D.,” (1962) which stars Gregory Peck, Angie Dickinson, Eddie Albert, Tony Curtis, and Bobby Darin (in an amazing performance). Capt. Newman tries to heal soldiers from PTSD, and he hears about what gave them PTSD. Once “cured,” they’re shipped back out into action. This is a great film, a total anti-Rambo.

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SOCIALIST-PSYCHOLOGY (E-Z):

This is harder for me to find. Reading numerous titles by Chomsky, Balzac, Alan Watts, Hannah Arendt and C. G. Jung would be a bit much for a teenager or young college student. I would suggest “Man’s Search For Meaning” (1946) by Viktor E. Frankl, one of the supremely inspiring books of the 20th century – easy to read, yet causes much thinking; written by a psychiatrist based on his personal experiences in survival. I wrote an essay on this idea of “socialist psychology” and survival, called “Epiphany On The Glacier,” which is also posted on my blog. I give references to a number of books (including Frankl’s) that helped me present the main concept. My essay is presented as an adventure story of survival in the snowy wild.

The psychology book I enjoyed most is more of a philosophy-autobiography book, “Memories, Dreams, Reflections,” by Carl Gustav Jung. It’s not hard to read, nor too long, nor preachy nor text-booky, and it has the virtue of being quite different than the usual orthodox psychology books. But I can’t say it’s overtly leftist, though it is intended to be very humanizing. I, personally, found it fascinating and have read it several times. With Jung, it helps a lot if you also have a very strong interest in Taoism and Buddhism (and Asian philosophies, generally).

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The photo is of John F. Kennedy’s grave in 1964. I took this photo while on a class (school) trip.

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ADDENDUM (17 June 2018):

ANTI-WAR FILMS:

What are your favorite anti-war films? Such movies are focused on showing the harm, damage (physical and psychological) and stupidity of war, and are intent to deglorify war, and turn the audience against blind patriotism and war-making as “solutions” to political and international conflicts.

Anti-war movies are NOT movies that use war situations JUST TO:

(1) present stories of adventure and heroic personal actions (almost exclusively of violence) by attractive, sympathetic and “patriotic” characters;

(2) show dramatic and exciting stories of admirable personal endurance, survival and self-sacrifice by individuals trapped in situations of overwhelming danger (though this particular variety of war movie can approach being fully and openly anti-war);

(3) be patriotic morale-boosters for “your side” during a war (or before an anticipated war);

(4) entirely be comedies that use war situations as the settings and backdrop.

Anti-war movies CAN have elements of: adventure, heroism, “exciting’ violence, stories of personal endurance and self-sacrifice, and comedy, but they cannot be conventionally patriotic, and the center-of-gravity of these films must be fully and overtly the anti-war intent. All war films use war in an effort to make commercially successful mass entertainment, but true anti-war films are intentionally using film-making art to motivate a mass audience to be deeply anti-war, anti-violence, pro-peace, pro-diplomacy, and to divorce patriotism from unthinking jingoism, belligerence, violence and obedience to militarism.

The following is a list of movies I see as anti-war (18+, listed chronologically). They vary, some being very grim while others are very comedic, yet all are full-fledged anti-war films (to my way of thinking). I recommend them all and would be interested in your comments about them, and also about other films you would nominate as committed anti-war movies.

All Quiet On The Western Front (1930)

La Grande Illusion (1937)

Lost Horizon (1937)

The Day The Earth Stood Still (1951)

Paths Of Glory (1957)

The Bridge On The River Kwai (1957)

On The Beach (1959)

Captain Newman, M.D. (1962)

The Americanization of Emily (1964)

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

The Russians Are Coming! The Russians Are Coming! (1966)

Catch-22 (1970)

MASH (1970)

Slaughterhouse-Five (1972)

Hearts And Minds (1974)

Apocalypse Now (1979)
Apocalypse Now Redux (2001)
[“Redux” is an expanded version, and I prefer it.]

Full Metal Jacket (1987)

Sir, No Sir! (2005)

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“On The Beach” is a post-apocalyptic (nuclear war), end-of-the-world novel written by British-Australian author Nevil Shute after he emigrated to Australia. It was published in 1957. The novel was adapted for the screenplay of this 1959 film featuring Gregory Peck, Ava Gardner, Anthony Perkins, and Fred Astaire.

The “answer” for the best way to face certain doom is the same answer for how to gain a fulfilling life and create a good society: helping and comforting one another, and having compassion for all. Because this movie shows this clearly, it has not aged even by 1 second – we could learn from it now. SEE IT!!

https: // www. youtube. com / watch? v= EMzEWpKKOZs
[close the spaces to spell out the functional web-link]

 

 

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Mangogarcia Poem Books (2016)

This web-page describes the availability of poems and poetry books by Manuel García, Jr.

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My poems all come out of my thinking and experience. I use a bit of art (artifice?), and fiction (but not lies) to etch my images into sharp relief. But, I also use some ambiguity, and/or “fuzzy logic,” to keep the works open enough for the reader to fill my voids with their imaginations. I always say that in my scientific (technical, and/or for the public) and political writing I aim for logical, crystal clear, unambiguous, well-defined writing. But, in my “poetic” writing I aim to transmit insights “trans-logically” to hopefully make possible “experienced truth” for the reader. My poetry is all honest. But I know it is not schooled (“correct”), and even within my own parameters it can be spotty (clumsy). I make no claims about my poetic writing, beyond that I say what I want how I want, and I am ultimately only concerned that I understand it. I like Zen, and poetry inspired by it, so that is a big influence.

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I began this blog in November 2011. The poems I wrote prior to November 2011 were collected into a book (a PDF file), which can be copied (“downloaded” – at your own risk) from a web-link at this blog page:

Mango Garcia Poems
(before November 2011)
https://manuelgarciajr.com/2011/11/09/mango-garcia-poems/

and/or directly from this specific web-link:

Mangogarcia Poems (< November 2011)
https://manuelgarciajr.files.wordpress.com/2011/11/mangogarcia-poems.pdf

The poems I wrote from November 2011 to November 2016 have just been collected into one volume. There are two versions of this volume (both PDF files): one is a list of web-links to the poem blog pages (which also have photos), and the other is a book with all the poem texts (61 pages). I have put links to these two volumes (for downloading) at the bottom of the “About” page on this blog. The direct web-links appear below:

Mangogarcia Poems 2011-2016
(5 page PDF of web-links to poem blog pages, with photos)
30 November 2016
https://manuelgarciajr.files.wordpress.com/2011/11/mgjr-poems-2011-2016.pdf

Mangogarcia poems 2011-2016
(61 page PDF of poem texts, no photos)
30 November 2016
https://manuelgarciajr.files.wordpress.com/2011/11/mgjr-poems-2011-20161.pdf

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Some blog rants and exegeses are not labeled (tagged) “poetry” or “poems,” but instead “personal reflection” or some other vague label. It’s possible I have some prosy poetry in some of these.

My blog has many translations (somewhat poetic) of Spanish language (numerous Cuban) songs. Each such blog web page also lists YouTube examples (that I liked) of the given song. A complete list is given in the “About” page of my blog. This project is mainly for me, but also to try to connect my children to my parents’ music and culture. These are the perennially popular items on my blog.

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My Favorite Classics (Books, Music, Films)

Swans has just published a Special Summer Edition with recommendations on books, music and films, by fourteen authors including yours truly. Each author lists and comments on about 5 or 6 recommended books, 5 or 6 works of music, and 5 or 6 favorite movies. In total about 230 works are reviewed, a wide and interesting array from which you might easily find a few that would add to your summer enjoyment. I was the editor of this special issue of Swans. My own particular article in it is:

My Favorite Classics (Books, Music, Films)
30 July 2012
http://www.swans.com/library/art18/mgarci51.html

Culture is a refuge in times when the individual has little temporal power. Enjoy it and it may reward you with fresh inspiration.