When Private Detectives, Shamuses, Gumshoes, Key-Hole Peepers Stepped Up In Class-“The New P.I.” Circa 1950s-Ross MacDonald’s “The Ivory Grin” (1952)-A Book Review

Book Review

By Sarah Lemoyne

The Ivory Grin, by Ross MacDonald, 1952

Well the battle lines are finally drawn, the dirty underbelly of this cutthroat business can see the light of day. Sam Lowell, who used to be the official senior film critic in the days when Allan Jackson, recently returned as a contributing editor or some such make-shift title pressed upon Greg Green by the Editorial Board conveniently headed by on Sam Lowell, ran the show, was the site manager which meant that he doled out the assignments to friend and foe alike, has laid down the gauntlet or whatever you call it when you are challenged to a no holds barred unto death duel. It seems Sam, as my good friend and mentor Seth Garth, warned me would happen, has finally blown his gasket, has in his words “had enough.” Had enough of being challenged on his “cred,” his term, on the issue of his expertise in the film noir world. Has taken umbrage, my term, on my continual reference to his so-called definitive tome on the genre The Life And Times Of Film Noir:1940-1960 as so much eyewash, so “retro” and out of date and geared to the hoary Dashiell Hammett- Raymond Chandler-Phillip Larkin trio who allegedly took the, Sam’s expression, “parlor pink amateur detective” and made him, and it was solely hims in that world of blood and guts hard-nosed avenging angels with angles seeking rough-edged justice in this wicked old world.

Yawn. Yawn to threadbare theory and yawn, double yawn to a nine hundred, maybe I had better write the number in numerical form so you too can have your eyes boggled 900, paged volume which by my estimation could have been done in say three hundred pages. The use of the word estimation no accident since try as I might I lost interest about the time I got to 1953 when he dribbled on and on about one Mike Hammer and how despite his ardent anti-communism and bull in a china shop manner was a hard-boiled lady’s man of a detective in the mold of  Chandler’s Phillip Marlowe, Hammett’s Sam Spade (notably absent was his Nick and Nora Charles except by indirection), and Larkin’s Jack Logan.

A reviewer, a conscientious reviewer, can only be expected to take so much, take a volume loaded with plenty of book and film reviews allegedly written by Mr. Lowell in his salad days which formed the bulk of the work so he essentially double-dipped getting paid, I hear, by the word from Jackson and getting whatever royalties from the pricey in those days twenty-five dollars from the book publisher Wainwright Press. (I would be remiss, would be taken to task, and continually chuckle and continue to write every chance I get as well if I didn’t mention Seth Garth’s reaction when I asked him if he had read all 900 plus pages of Sam’s volume. Seth, who has known Sam since Hector was a pup, Seth’s expression, gave me his patented Seth smirk and said are you kidding nobody, not even Sam could read that thing, a real snorer was the way he put. Seth also insinuated what is now common knowledge around here on the question of authorship of his reviews that Sam surely had not written the whole thing himself given his skirt-chasing drunken revels in those days and that Seth had written half or at least gave lots of input into the project.]

I have made it clear for a while now, at least since I got my own by-line, thanks Seth, after surviving about six different onslaughts from Sam on noir and young Will Bradley on Marvel Comic so-called heroes, that I intend to be the diva for the 21^st film noir world. Sam balked at that idea when I first presented it in print-and Seth said go for it. What has Sam really in a lather is that after he finished his tome he never updated the damn thing so that all the neo-noir, all the films that came after those based on his work are sealed with seven seals to him. Like any good reviewer I saw my spot, my place in the vacant landscape and I am going to make my mark. I have decided to deal with an expose of Sam’s omissions and neglect (like as I mentioned given short shrift to Nick and Nora Charles despite almost two hundred pages on Hammett’s Spade and fifty alone on his early nameless Continental Op in Red Harvest) by starting with a classic writer, film adapter, who Sam gave short shrift to since his career spanned well past the 1960s benchmark, Ross MacDonald (Ken Millar real name). Sam barely mentions him, barely mentions his central private detective Lew Archer although Lew had all of the balls of Marlowe and Spade and about twenty times more psychological insight in what drove up against the wall “perps” over the edge.       

Properly speaking Lew Archer, at least in this first book, The Ivory Grin, that I picked at random out of the twenty-plus books in the Archer series, despite the his short height, or at least that is what is known about his physical stature moves away from the really bull by the horns, knock heads and let God separate out the guilty from the innocent at his leisure, skirt-chasing of Spade-Marlowe-Logan trio much touted by Sam as the epitome of the post-parlor pink detective world. Those guys except when they actually wrap up a case, beating the public coppers with a gong while they are still scratching their heads, to take down some cruddy criminals best gotten off the streets leave me cold, could have better gone back to key-hole peeping before say Chandler, for example, let them handle cold cases, got them out of the threadbare offices waiting around sucking up low-rent whiskey from the bottom desk drawer. Archer used his wits and deductive powers to bring a little rough justice to the world, what Seth, citing a guy from his youth named the Scribe, called this wicked old world.

I am sure, well maybe not sure but I hope, when Sam, or whoever he has read other’s reviews and write his reviews these days finally realizes that his balloon has been burst he will drag up some escapade of Marlowe’s saving an old dowager with wild daughters some grief or Spade busting up a stuff of dreams con or Logan outwitting the dragon king by stealth to counter my contentions about Mr. Archer. Let him do his best. Meanwhile Lew, short or tall, chain-smoker or dope head, drunk or sober will by guile and indirection solves his mysteries without bang-bang and sucker punches every two pages. Here is how he figured out what happened to Charles Singleton when he went slumming among the plebes and got nothing but that ivory grin in the end for his troubles.

Yes, that is the Charles Singleton of the very, very Singleton family that came over with John and Priscilla on the merry Mayflower who made a name for himself in World War II as a pilot, a lady’s man in full uniform and a guy who after the war knew how to turn a dollar-if he had to. But see Charles, and maybe it was that too much inter-breeding among too close cousins which destroyed many old-line families, had a kinky side, liked to go down in the mud with whores, or as the term was used then maybe now too loose women of no known address. As long as they were Helen of Troy beautiful and willing to succumb to his kinky side, to the wild side. That is what tripped him up in the end, what caused Lew to lose some sleep because Charles picked up some tramp, some round-heeled beauty with no vocabulary but who gave good head (unspoken but assumed in 1950s dime store detective literature) in some gin mill out in California when he was stationed in the Air Force and winning fistfuls of medals.

This woman, let’s give her a name beyond her “profession,” Alicia was nothing but a mantrap, was nowhere but from hunger grabbing onto whatever safe harbor she could grab onto. Problem, very big problem, whatever her feelings for Charles and all was that she had been a second level gangster’s moll back in the Midwest, a nice nest but dangerous especially if somebody else takes something from a gangster-then bang-bang and no questions asked. Oh, another little problem she was married out West, out in the California valley to a Walter Mitty-type doctor who was running a low-rent medical practice which was not giving dear Alicia the kind of life she had expected. The long and short of it was Alicia had three guys on her string.

That would be the undoing of one Charles Singleton, he of mansions and Mayflowers, once her gangster man who was getting a bit screwy came West and found out she was shacking up with a Mayfair swell. Bang-bang poor Charles. That was where Lew came in first as a replacement for a corrupt private detective looking for the main chance by Charles’ blue-haired mother and subsequently by one of those too closely related female cousins who was in love with her flyer boy. Mission: find out where the hell Charles had disappeared to. To pose the question was to give the answer. Along the way a young black woman who was trying to help Alicia got murdered as did that self-serving private eye. In all three murders and a few twists and turns.

Here is where human nature as it has evolved thus far gets a big workout.  Everybody and their sister were trying to cover up the fact that our gangster with a screw loose had shot and killed Charles. The helpful black woman, the gangster’s ill-disposed sister, Alicia who in desperation brought the seemingly mortally wounded Charles to hubby doctor’s clinic to see if he could survive.  He didn’t but not due to that gangster fusillade. Old Walter Mitty doc loved his Alicia, wanted to protect her in his own way. Yeah, Doc blew his Hippocratic Oath and did bleeding from all pores Charles in. Moreover, to cover his tracks he dissected the guy and left him a skeleton in a closet where nobody but Lew could figure out what happened. Nice work Lew and the public coppers are still scratching their heads having been out-classed by a new breed of private eye.                               

He’s Been A Bad Boy, He’s Been A Bad Boy-Again-The Very Loosely Film Adaptation Of Homer’s “The Iliad” Bad Boy Brad Pitt “Troy”(2004)-A Review

DVD Review

By Alden Riley

Troy, Brad Pitts

That dude, that max daddy poet who wrote in weird meter indeed, some hex hexameter thing only poets and English Lit majors would understand Homer (no known last name or place of residence although assuredly not homeless in the modern sense) knew how to tell a story, kept the crowds humming, kept the boys and girls fixated to see what they could learn about allure and love trampling power, glory and a side order of hubris which is after all a Greek word. Yes, that daddy, oops, max daddy poet whose works were only slightly shorter than the late Professor Alan Ginsberg, he of Howl angel hipsters and homoerotic fantasies got the whole thing about the ten major themes in Western literature right-especially the boy meets girl idea, the hubris of the gods (God in latter day mono speak) defining some ill-thought out fate for mere mortals, the mortals taking their own bad ass  fates with grains of salt, the hubris and rage, fury maybe a better word and the seemingly never-ending wars for power, glory, etc. maybe love in the mix too if Helen was as beautiful as the man said, the tormented life of the hero-heroine and the like. Good job brother, good job indeed. How old Homer’s idea translate to the big 21^st century screen is another question as the Bad Boy Brad Pitt-led cast of the film adaptation of Homer’s epic Troy bring to a crude point what our max daddy was trying to say on his way to numero uno in the Western literary canon, the now doomed old white men canon which has been given short shrift of late. (For no known academic reason except style and politics because after all you could in my humble opinion may world literature a “big tent” including all the unjustly forgottens-but later on that since we are into the roots today).

Here’s the play as old time film reviewer Sam Lowell a man locked in his own literary battles with Sarah Lemoyne, a young up and coming reviewer, was fond of saying in his salad days. Needless to say, love drove things batty back then, back three thousand years ago just like today if you can believe the news, fake, alternative, truthful or otherwise and take a look at what is going on around you. Paris, excuse me if I don’t run the litany of other aliases he went under especially after he went down to infamous and unmanly defeat at the hands of his girlfriend’s husband, Menelaus, king hell king, another Sam Lowell expression, of virtuous and manly Sparta who was full of that rage, maybe fury is a better word, and swore to kill the bastard who took his woman away without so much as a by your leave had eyes for one Helen. Helen, hellion, formerly of Sparta and now address unknown but suspected to be in a place called Illium and hence the Illiad but who in those days when men, women, gods (God in that damn mono-speak) worked like seven dervishes to keep the place safe from infidels, greedy kings and warlords, con men and priests under the name Troy, not Troy, New York which was only a Dutch sailor’s wonder dream back then if anybody was living in Dutch land.

The presiding dignity of the fortress unbreachable King Priam, played in the film, remember to follow the bouncing ball because we are reviewing a film along the way, by the oldest brother of Peter O’Toole or maybe father because he had lost a step or seven since he played Lawrence of Arabia in another war is hell film and Henry some number in The Lion In Winter going mano a mano with Eleanor of Aquitaine speaking of salad days. Priam father to ninety-eight pound weakling Paris who was totally outmatched by old man Menelaus and his mega-death brother and heir apparent Hector who as older brothers often have to do finished off Menelaus just in a nick of time.  So Hector he-man and Paris light on his feet match up in the sibling contest to bring some excitement to Illium town.  

Funny this older brother had it right when he heard Paris had bewitched Helen, that beauty so they say who would go on to launch a thousand ships-and not in a good and jovial way like at a ship’s christening. War ships and plenty manned by rough-hewn sailors who took their love anyway they could get it under the whip just like Carl Solomon of hipster dreams and madness. This kidnapping, some say the whole thing was an early high-end wife-swapping but those harpies have malicious tongues, of Helen was bad news, was predicted by Mr. Hector, also no known last name or abode, except that silly Illium, of bringing down everlasting hell and damnation on the town, would make guys, gods, like Apollo go crazy with ire, maybe fury is a better word. Proved right but at what cost when senile and nerve-deadened Priam indulged his freaking younger son and who knows maybe had twilight designs on her himself if she really was that beautiful. (The gal who played her Diane Kruger no question an ice queen beauty was built for sweaty nights and silky sheets but who would soon wear on a man’s nerves with her damn harping about that bloody lost to her ex-husband now mercifully dead by the hand of Hector mentioned already).

War, war to the death, like half of the Western literary canon that would follow this path-breaking epic was all that could resolve this deadly dispute. Not surprising the leader of the war party in Greek was Menelaus’ older brother Agamemnon, king of flea-bitten Mycenae and a guy who lived to breath everlasting hell and damnation on anything that breathed over in Illium town-wanted power glory and a few good wenches, slaves to keep his bed warm. Naturally this is only the barest outline of what got the conflict going and be assured that no way could Hollywood dole out enough dough to do the whole Trojan War, Trojan remember the other name for residents of wacky Illium. The cost for the billion extras alone would break Universal or Paramount. The war lasted years as one might expect of guys who fought with axes, spears, and arrows so this film will only detail the last gripping episodes where Troy is burned to the ground by the greedy Greek governors led by brother-less child Agamemnon and that cast of thousands who roiled the Aegean finding love wherever they could-savage rapine if the occasion called for it and wenches and shipboard romances if they hit an lively port.   

While the boy meets girl story drives the film, has to since after all Helen’s face launched that one thousand ships and the guys who played the Greek kings except the pretty boy kind of Ithaca who seemed to have some sway over him, the real focus is on the warrior class, on guys like one Achilles, later in history as predicted by myopic mother to be known as painful Achilles heel but then a stone-cold killer, a warrior to put every Marvel Comic cinematic character in the shade, even Captain America if you can believe that. This Achilles is ranked number one in the world, the known world which was basically the Greek city-states, Troy, Dutch lands if inhabited by static dreamers and maybe bloody England since many of the actors had distinctive British accents and had that sun never sets on the Empire demeanor. The problem with being Achilles, warrior for hire to the highest bidder or if he like the taked, remember played by modern day bad boy, and bad boy again Brad Pitt, is some ass is always looking to knock you down, take you down a peg. Or have some hireling do the dirty work. No question Achilles, another guy with no known last name or address except the battlefields of whoever has the best deal, had a long run at number one stone cold killer maybe the legendary Greek psycho but he also had his sensitive side, that brooding philosophy king in waiting Plato was always dogging us mere mortals with. Worried maybe about his strange obsession with bedding vestal virgins especially those who served one Apollo, a god among gods (God in mono-speak), also with no known last name or place of residence. Emphatically not worried about his fate, knowing what dear mother had spun her crystal ball around, knowing too a soldier’s destiny but ready to throw the dice that glory would come with living fast, dying young and making a good ashen-strewn corpse. And we still speak his name, speak of the warrior king if not of his vestal virgin with the unpronounceable first name, also with no last name although her former residence was One Temple Of Apollo Place. Yeah, that max daddy Homer sure knew how to tell a story-even in weird meter.              

Once Again, When ABBA Exploded The Known Musical Universe And Put It On A Small Greek Island- Amanda Seyfried s “Mama Mia!-Here We Go Again” (2018)-A Film Review

DVD Review

By Intern Josie Davis

Mama Mia! Here We Go Again  (When I reviewed the original version of this film I was told by Greg Green the site manager to use this title to both avoid confusion with the earlier film since they both have the same theme and most of the same cast and to replicate the way the film has been publicized), starring the divine Meryl Streep in essentially a cameo role, Amanda Seyfried up close and personal on this one, Pierce Brosnan at one time the dashing James Bond in a few films in that series, Colin Firth who somebody told me used to be to be the King of England and gave it up for his boyfriend,  Stellan Starsgard who used to be a guy named Terry with a junkie wife who owned a glass house in Malibu but got too greedy and got wasted for his troubles, Julie Walters and Christine Baranski two members of the famous doo wop, no, disco, trio Donna and the Dynamos who tore up the stage when I saw them in New York City one night with my girlfriends from high school several years ago, music by ABBA, 2018         

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I mentioned in my review of the 2008 version of Mama Mia!  that I was thrilled to be writing my first film review for this publication, for Greg Green and now as agreed since he was happy with my first production I am reviewing the sequel. (Once again I should mention that Greg said the way things are in the publication business today that I had better mention that I was Greg’s daughter Elsa’s roommate in journalism graduate school at NYU-something about transparency otherwise the whole thing will stink of nepotism, so I have again written what he has asked me to do). I am working here as a paid intern to learn the journalism trade and right off the bat Greg had assigned me this Mama Mia! Here We Are film which I had just seen and loved. Not only that but since Elsa already told me that her father was very thorough I got to do a review of the first one as well which he told me was to get a fresh look from new eyes about the relative merits of the two. Zack James one of the friendly older writers here who wrote the review of the original helped me with his perspective although he said musicals were not his thing and he thought there were too many musical and dance interludes something I thought was great since the storyline was pretty simple. The conditions that an intern works under here are that, since we are not covered by Guild regulations, we are paid by the word so I was doubly thrilled to have two reviews to do since my rent would be coming up and I could use the money since my parents had told me after paying for graduate school I have to fend for myself. “Learn to fly” as my father put the matter in his usual gruff way.         

Maybe the reader did not need to know that last part again, the rent money and parent abandonment part but from the last review I mentioned  a funny, wise, kind of looking like a modern version of  Merlin the Magician older writer, Sam Lowell, told me that writers getting paid by the word went out with the Pony Express and it is a shame that they are calling what he called stringers “interns” to get slave labor to do the work otherwise assigned to active Guild members. Here is where he was wise-Sam, he told me to call him Sam, said to play the game for all it is worth, to write like he did when he was starting out say, 10, 000 words when everybody knew that the space available for the piece was maybe 3000 words. They had to pay for the former number no matter how much they edited the piece down once it had been assigned. Again I will write like crazy including what Sam me told to include that I have already written since Greg likes, allows his writers, I still like how that word sounds regarding me, to let the readership know some of the “inside” stuff about the publishing business, the hard-hat water cooler stuff so I will again oblige.      

Sarah Lemoyne, who went to NYU journalism school a few years before Elsa and me, told me before I finished my first review to avoid Sam Lowell like the plague and went out of her way to warn me again after Sam told Greg that I had “the right stuff.” Told me, again that it was only a matter of time before he would have me writing his reviews for him under his by-line and would keep me a stringer, intern I told her again like the category was brand new in the business, forever again using the example of what almost happened to legendary break-through by-line writers Leslie Dumont before she got her big break with Women Today once she saw the writing on the wall here. Sarah said I would probably, if Sam was in a rush, grab some studio press release and have me doll it up. Funny, Sam still seems like a kindly old man, for the old school who knows how to pay a colleague a compliment and give good advice and encouragement,  a little wizard and while Sarah seems to be the star amount the younger up and coming writers and is being championed by the legendary Seth Garth whom I first heard about at NYU I haven’t been here, haven’t been as Sam says around the water cooler long enough to get an idea of who the players are and what they have in mind. All I know is that I want to be a film reviewer, maybe books and music later, and that Sam has been nice to me and gave me this additional information once again and which has in the Sarah business proved true-this is a cutthroat business so keep your own counsel. Listen to what everybody who has something to say have their say and then discard most of it and just write that pure, fine high white line you studied about in school. And forget the fossil “pyramid” lead nonsense which went out with the pharaohs although they still teach that stuff like it was the new dispensation in the journalism schools.

I have heard from more than one source, actually several since the last review, that Sarah is “sweet” on Seth, he told me to call him Seth although I feel funny calling these older guys by their first names since in grad school when some high-blown journalist came through it was Ms. This or Mr. That, even though she has a partner, a woman, whom she is having an affair with. I still don’t know how to take what she has said about Sam, about him maybe taking dead aim at me which is ridiculous since he has his long- time companion Laura Perkins who also writes here (and who when I met her watched him like a hawk and still does especially after his water cooler praise of me to fellow writers). I see what this cutthroat stuff is all about more clearly now regarding people cutting people but I am just going to write my brains out so Greg can still say he made the right decision taking Elsa’s recommendation.

Here is the “skinny” a cute word that Sam said he coined way back when he was also young and hungry to let people know a little bit about the plot and whether they should bother to see the film if is a “dog.”  I had already telegraphed that I liked the sequel  so I was prepared despite Zack to like the original and I did although now I wished I had seen them in the correct order because I had not been   aware that Sam, played by Pierce Brosnan, had actually made Donna an honest woman, had married her which makes his grieving in the sequel make more sense.

Sam Lowell, actually Sarah Lemoyne said the same thing before I wrote my first review but I will still give Sam the credit since he has been so helpful, said that musicals don’t let plot get in the way of the Tin Pan Alley songs and the dancing when dancing is part of the project as here in a couple of spectacular episodes. And Sam was right on the face of it. The boy and girl had already met so that was no real factor-the real part was that young Sophie, played by Amanda Seyfried was desperate to get married and get the hell off the island prison of a hotel that her single-parent Mom, Donna, played by very versatile Meryl Streep, had dwelt in since she was born. She loves her beau but doesn’t want to wind up like her mother who drifted to the island after a whirlwind spree with three lovers when she was younger. That three lovers will again anchor the “controversy” central to the film-which one in pre-DNA times is the father she never knew taking a cue from Jack Kerouac among others in the unknown fathers pantheon (this courtesy of Sam who is something of an expert on the “beats” from the 1950s who I have heard of in passing but really don’t know anything about).       

Motivated by the desire to know who her father is, and to gain some peace of mind, she had invited the three likeliest candidates, Sam, Harry and Bill to the island to see “what is what” and also to have her “father” give her away in the time-honored tradition. Fine, except dear mother, dear Donna who as I mentioned in the cast line-up I saw with her group Donna and the Dynamos in New York City when I was in high school, who has raised her alone is pissed off that the three guys are around. That produced angst, alienation and a few heart-felt songs and dances between the two before the wedding bells ring but seemed to be resolved nicely by having Mom give daughter away-which seemed right. Hold the cameras though just as Sophie and her man, her Sky are about to tie the knot and unleash who knows what song and dance cascade at the reception Sophie calls the whole thing off after deciding that like any thoroughly modern Millie they should live together and see the world. In any case that new decision brings forth a cascade of song and dance so all is well that ends well. Except Sophie never does find out who her father is and the three guys are just as happy to cut her in thirds-metaphorically. And guess what as I have already mentioned Sam and Donna get married in Sophie and Sky’s place.

Fast forward five, six years, same freaking isolated hillside Greek island hotel with one big exception-Donna as passed through the shades, has died. Now Sophie is ready to seriously tie the Sky knot and have the wedding and reception at the slightly refurbished inn. Then the deluge as three suspect papas, and two Donna dynamos show up to get the kid and her beau through the freaking nuptials. And in the end they will but not before another round of doubt and wonder about what Mama would say, another bout on who Papa is, attempts to placate grieving Sam-stepfather- and plenty of singing and dancing at the drop of a hat. Like I said I did like this film, did like the singing and dancing but after two musical reviews I can see where Zack James might be right that a little goes a long way. In the interest of completeness there we are. (I hope that in 2028 there is not yet another sequel where I will have to tutor some young stringer about my take on the first two like I had to with Zack on the first one.     

Yeah, Put Out That Fire In Your Head-With Patti Griffin’s Song Of The Same Name In Mind   

By Fritz Taylor 

[Sam Lowell and I have known each other for a long time, since a time back in the 1970s when our paths met at an anti-war veterans’ conference in New York (a conference which would wind up setting up a Vietnam Veterans Against the War [VVAW] chapter in his hometown area in Boston and mine in my hometown Atlanta, Georgia area. We would see each in places we were protesting one or another egregious acts of the American government, the American military against some poor benighted country that got caught in the cross-hairs of some fool president. Later, after the ebb tide of the anti-war, the Vietnam anti-war had happened we connected in other ways via our veteran connection and I would, at his request, write something veteran-related that he could not put a handle on. Something that Allan Jackson, who was the editor then when this publication was in hard-copy form, would accept and for when I needed some ready cash.

The subject matter of this piece, Sam’s not being at peace with himself is done with his permission since it is such a personal and emotional matter. None of us men from the Vietnam era, soldier or civilian, political activist or not, have been as forthcoming as the younger men who have come after us, our children and now grandchildren (I dare not say great-grandchildren but I know some of us ae in that category). We were all about change and seeking a newer world as a guy named Markin, also a vet, who didn’t make it through used to say but we were more like our World War II fathers when it came to speaking of personal matters. A shame. This piece while not a breakthrough since we have been mulling things over the past few years, is a big step for Sam and me, Sam to narrate and me to write about such matters.

The conversations we had around putting this piece together actually happened a couple of years ago just after, as will be noted below, his long-time companion, Laura Perkins, not wife, for he had had three of those and they both agreed they were better off just living together since she had been married twice had left their house (Sam had made us laugh one time when he mentioned that it was cheaper too between alimony and child support). This piece was, is something of a therapy session for Sam’s angst at Laura’s leaving and his inability to put out the fire in his head. We decided to put it aside for a while until it made sense to publish the results of those conversations. Better Sam and Laura have been talking again since both recognized that the bonds between them were very strong and they both, frankly, my frankly, missed each other’s company. Sam is really sending Laura a bouquet on this one.  And I am glad to play the florist. Fritz Taylor]       

************    

Sam Lowell was, is a queer duck, an odd-ball kind of guy who couldn’t stop keeping his head from exploding with about seventeen ideas at once and the determination to do all seventeen come hell or high water. And not seventeen things like mowing the lawn or taking out the rubbish but what he called “projects” which in Sam’s case meant political projects and writings and other things along that line. Yeah, couldn’t put out “the fire in his head” the way he told it to his long-time companion, Laura Perkins, one night at supper after she had confronted him with her observation, and not for the first time, that he was getting more irritable, was more often short with her of late, had seemed distant, had seemed to be drifting into some bad place, a place where he was not at peace with himself. That not “at peace” with himself an expression that Laura had coined that night to express the way that she saw his current demeanor. That would be the expression he would use in his group therapy group to describe his condition when they met later that week. Would almost shout out the words in despair when the moderator-psychologist asked him pointedly whether he felt at peace with himself at that moment and he pointed responded immediately that he was not. Maybe it was at that point, more probably though that night when Laura confronted him with his own mirror-self that told Sam his was one troubled man.  

Yea, it was that seventeen things in order and full steam ahead that got him in trouble on more than on occasion. The need to do so the real villain of the piece. See Sam had just turned seventy and so he should have been trying to slow down, slow down enough to not try to keep doing those seventeen things like he had when he was twenty or thirty but no he was not organically capable of doing so, at least until the other shoe dropped. Dropped hard.      

It was that “other shoe” dropping that made him take stock of his situation, although it had been too little too late. One afternoon a few days after that stormy group therapy session he laid down on his bed to just think through what was driving him to distraction, driving that fury inside him that would not let him be, as he tried to put on the fire in his head. That laying down itself might have been its own breakthrough since he had expected, had fiercely desired to finish up an article that he was writing on behalf a peace walk that was to take place shortly up in Maine, a walk that was dedicated to stopping the wars, mostly of the military-type but also of environmental degradation against Mother Nature. 

Sam, not normally introspective about his past, about the events growing up that had formed him, events that had as he had told Laura on more than one occasion almost destroyed him. So that was where he started, started to try to find out why he could not relax, had to be “doing and making” as Laura called it under happier circumstances, had to be fueling that fire in his head. Realized that afternoon that as kid in order to survive he had learned at a very young age that in order to placate (and avoid) his overweening mother he had to keep his own counsel, had to go deep inside his head to find solace from the storms around his house. For years he had thought the driving force was because he was a middle child and thus had to fend for himself while his parents (and grandparents) doted on respectively his younger and older brothers. But no it had been deeper than that, had been driven by feelings of inadequacy before his mother’s onslaught against his fragile head.        

As Sam traced how at three score and ten he could point to various incidents that had driven him on, had almost made him organically incapable of not ever having an active brain, of going off to some dark places where the devils would not let him relax, that kept him going around and around he realized that he was not able to relax on his own, would need something greater than himself if he was to unwind. Laura had emphatically told him that he would have to take that journey on his own, would have to settle himself down if he was to gain any peace in his whole damn world. Sam suddenly noticed after Laura had expressed her opinion that she had always been the picture of calm, had been his rock when he was in his furies. Funny he had always underestimated, always undervalued that calmness, that solid rock. He, in frustration, at his own situation asked Laura how she had maintained the calm that seemed to follow her around her world.         

Laura, after stating that she too had her inner demons, had to struggle with the same kind of demons that Sam had faced as a child and that she still had difficulties maintaining an inner calm, told Sam that her daily Buddha-like meditations had carried her to a better place. Sam was shocked at her answer. He had always known that Laura was drawn to the spiritual trends around their milieu, the “New Age stuff” he called her interest since it seemed that she had taken tidbits from every new way to salvation outside of formal religion (although she had had bouts with that as well discarding her Methodist high heavens Jehovah you are on your own in this wicked old world upbringing for the communal comfort of the Universalist-Unitarian brethren). He had respected her various attempts to survive in the world the best way she could but those roads were not for him, smacked too much of some new religion, some new road that he could not travel on. But he was also desperate to be at peace, a mantra that he was increasing using to describe his plight.    

Then Laura suggested that they attend a de-stress program that was being held at Massachusetts General Hospital in Boston as part of what was billed as HUB-week, a week of medical, therapeutic, technological and social events and programs started by a number of well-known institutions in the Boston area like MGH, Harvard, MIT and others. Sam admitted to being clueless about what a de-stress program would be about and had never heard of a Doctor Benson who a million years before had written a best-selling book about the knot the West had put itself in trying to get ahead and offered mediation as a way out of the impasse. Sam was skeptical but agreed to go.

At the event which lasted about two hours various forms of meditative practice were offered including music and laughter yoga. Sam in his skeptical mind passed on those efforts. The one segment that drew his attention, the first segment headed by this Doctor Benson had been centered on a simple technique to reduce stress, to relax in fact was called the relax response. Best of all the Doctor had invited each member of the audience to sample his wares. Pick a word or short phrase to focus on, close your eyes, put your hands on your lap and consecrate, really try to concentrate, on that picked term for five minutes (the optimum is closer to ten plus minutes in an actual situation).          

Sam admitted candidly to Laura that while attempting fitfully focusing on one thing, in his case the phrase “at peace,” he had suffered many distractions but that he was very interested in pursuing the practice since he had actually felt that he was getting somewhere before time was called. Laura laughed at Sam’s response, so Sam-like expecting to master in five minutes a technique that she had spent years trying to pursue and had not been anywhere near totally focused yet. He asked her to help him to get started and they did until Sam felt he could do the procedure on his own.

We now have to get back to that “other shoe” dropping though. Although Sam had expressed his good intentions, had felt better after a while Laura had felt that he needed to go on his journey without her. She too now felt that she had to seek what she was looking for alone in this wicked world despite how long they had been together. So Laura called it quits, moved out of the house that she and Sam had lived in for years. Sam is alone on his journey now, committed to trying to find some peace inside despite his heartbreak over the loss of Laura. Every once in a while though in a non-meditative moment he curses that fire in his head. Yeah, he wished he could have put out that fire in his head long ago.       

The Magnificent Seven- Potshot-A Spenser Crime Novel by Robert B. Parker-A Review 

Book Review

By Sam Lowell

Potshot, Robert B. Parker, G.P. Putnam’s Sons, New York, 2001 

Of late I have been on something of a Spenser crime detection novel run, you know those sagas of the Boston-based P.I. with the big burly  physique and the no nonsense grit and determination to see a case through to the end, the bitter end if necessary, written by the late Robert B. Parker. I started out several reviews of those books by explaining that most of the year when I review books I review high-toned literary masterpieces or squirrelly little historical books fit for the academy. I also said that come summer time you never know will turn up on your summer reading list and why. So blame this run on the summer heat if you must.  I confessed that like any other heated, roasted urban dweller I was looking for a little light reading to while away the summer doldrums. Then I went into genesis about how I wound up running the rack, or part of the rack, after all there were some forty Spenser books in the series before Parker passed away in 2010.  I will get to the review of his 2001 effort Potshot in a minute after I explain how I came to read yet another Parker crime novel for crying out loud.

See, as I have mentioned elsewhere of late in reviewing some of the other Parker-etched books every year when the doldrums come I automatically reach for a little classic crime detection from the max daddy masters of the genre Raymond Chandler or Dashiell Hammett from my library to see the real deal, to see how the masters worked their magic, in order to spruce up (and parse, if possible) my own writing. This summer when I did so I noticed a book Poodle Spring by Raymond Chandler and Robert B. Parker. This final Philip Marlowe series book was never finished by Chandler before he died in 1959. Parker finished it up in 1989.

Robert B. Parker, of course, had been a name known to me as the crime novel writer of the Spenser series of which I had read several of the earlier ones before moving on to others interests. That loss of interest centered on the increasingly formulistic way Parker packaged the Spenser character with his chalk board scratching to my mind repetition of his eating habits, his culinary likes and dislikes, his off-hand racial solidarity banter with his black compadre Hawk, his continually touting Spenser’s physical and mental “street cred” toughness and his so-called monogamous and almost teenage-like love affair with Susan. They collectively did not grow as characters but became stick figures serving increasingly less interesting plots.

Checking up on what Parker had subsequently written in the series to see if I had been rash in my judgment I noticed and grabbed another Chandler-Parker collaboration or sorts reviewed in this space previously  Perchance To Dream: Robert B. Parker’s Sequel To Raymond Chandler’s The Big Sleep. Since I was on a roll, was being guided by the ghost of Raymond Chandler maybe, I decided to check out Spenser again. And because we still have several weeks left of summer and crime novels have the virtue of not only being easy on the brain in the summer heat but quick reads I figured to play out my hand a little and read a few other Parker works. Now we are all caught up on genesis.

An Encore Presentation-“Searching For The American Songbook” With New Introductions By Allan Jackson-Smokestack Lightning, Indeed- With Bluesman Howlin’ Wolf In Mind

Allan Jackson Introduction

I have been around the publishing, editing, writing business a long time so I know when the dime drops it can drop for thee. Know first-hand having been the subject of a vote of no confidence by the younger writers at this publication aided and abetted by my long-time hometown high school friend Sam Lowell who cast the deciding vote for my ouster based on his notion that “the torch had to be passed.”  Naturally I was pissed off although maybe in the end Sam was half-right to do what he did. In any case that is politics in this cutthroat business and it comes with the territory. After the purge and my exile Sam sent out an olive branch to me in what he too called my “exile” and got me back here to do a plum job doing the Encore Introductions to the very successful and sweated out The Roots Are the Toots rock and roll series which I fathered and which I claim was the best job of editing, cajoling, whipping, nagging, etc. I ever did in my long career.

That assignment though whetted my appetite to do more encore introductions (although definitely not looking to get back the site manager’s job which fell to Greg Green whom I actually brought in to do the day to day operation which I was heartily sick of and who wound up with the whole ball of wax) and I was fortunate enough to get Sam, now head of the Editorial Board put in place after my exile to ensure that there would not be a return to “one man” rule, to get me an assignment doing the encore intros for the Sam and Ralph Stories about the improbable life-long friendship and political activism of two very different working-class guys who met on the “battlefields” of the struggle against the Vietnam War.

 Then, apparently, I pressed my luck when I asked to do the encore presentations for the Film Noir series which really was my baby despite the fact that Sam Lowell did all the heavy lifting and Zack James most of the best of the writings. I tussled with both Sam and Greg over this to no avail. Sam for obvious reasons wanted to do what he considered his baby and Greg because I don’t think he though it was a good idea for me to be continuing to work here even as a contributing editor. I proved to be wrong and I should have slapped my hand to my head when I thought about it in this damn cutthroat business. Sam pulled rank, pulled his chair of the Ed Board card and Greg fell down and payed homage to his request. As the next best thing in the universe today I got this highly regarded assignment which Si Lannon was supposed to do but begged off of having been ill for a while and passed off to me.

Of course Searching for the American Songbook, the idea behind it anyway was, is very far from the devotion that we of the Generation of ’68, those who came of age in the mid-1950s paid to rock and roll, now called the classic age of rock and roll, the age begat by Elvis. Chuck Berry, Buddy Holly, Jerry Lee Lewis and a ton of other talent that got us on our dancing feet. Frankly, as Sam mentioned in one of his introductions, we were rebelling, naturally rebelling looking back on the times, against our parents’ slogging through the Great Depression and World War II music from the likes of Frank Sinatra and the Andrews Sisters heard wafting (Sam’s forever-etched in the brain word) through the early 1950s house on the family radio). Having now gone through a couple of generations of changes in musical taste, guess what, those latter generations have up and rebelled against our “old fogie” music. What age and experience has taught though is that the mystical mythical American Songbook is a very big tent, has plenty for everyone. Even that music from our parents’ generation that sounded so “square” has made a big “comeback” even if the emotional roller-coaster for a lot of us who used that musical uprising as a big step toward our own understandings of the world have never quite calmed down, the battle of the generations never quite settled at anything but an “armed truce.” (Truth to tell the passing on of that parental generation has left many of us with things that now can never be resolved.)          

Which brings us to the idea behind the idea. This series for the most part was Bart Webber’s “baby” since he was the first guy to “break-out” of the classic rock and roll music we lived and died for in the 1970s. No, that is not true, not true as many things are not true in dealing with events and personalities of guys from the old neighborhood, the old Acre section of North Adamsville. The driving force toward the big tent look at the American Songbook was done by one Peter Paul Markin, forever known as the Scribe, who was the first guy out of the blocks to make the connection between ancient blues and the roots of rock and roll. Was the first guy who caught the whiff of that “folk minute” from the early 1960s and dragged some of us in his wake. All Bart did was expand of those understandings to visit jazz, Cajun music, Zydeco, be-bop, and a host of other musical genre including those World War II pop hits that used to drive us crazy. Two things you need to know going forward-the sketches will be very eclectic as the big tent idea implies and the reason that Bart Webber was tagged with this assignment originally was the still bitter fact that the Scribe had given up the ghost long ago murdered through his own hubris and delusions down in Mexico on a busted drug deal in the mid-1970s. A big fall from grace, a very big fall which we still mourn today.

**********

From The Pen Of Bart Webber   

Sometimes a picture really can be worth a thousand words, a thousand words and more as in the case Howlin’ Wolf doing his Midnight Creep (the capitals no accident since we always reverently used that term once we had heard in one of his songs) in the photograph above taken from an album of his work but nowadays with the advances in computer technology and someone’s desire to share also to be seen on sites such as YouTube where you can get a real flavor of what that mad man was about when he got his blues wanting habits on. In fact I am a little hesitate to use a bunch of words describing Howlin’ Wolf in high gear since maybe I would leave out that drop of perspiration dripping from his overworked forehead and that salted drop might be the very thing that drove him that night or describing his oneness with his harmonica because that might cause some karmic funk.

So, no, I am not really going to go on and on about his midnight creep but when the big man got into high gear, when he went to a place where he sweated (not perspired) profusely, a little ragged in voice and eyes all shot to hell he roared for his version of the high white note. Funny, a lot of people, myself for a while included, used to think that the high white note business was strictly a jazz thing, maybe somebody like the “Prez” Lester Young or Duke’s Johnny Hodges after hours, after the paying customers had had their fill, or what they thought was all those men had in them, shutting the doors tight, putting up the tables leaving the chairs for whoever came by around dawn, grabbing a few guys from around the town as they finished their gigs and make the search, make a serious bid to blow the world to kingdom come. Some nights they were on fire and blew that big note out in to some heavy air and who knows where it landed, most nights though it was just “nice try.” One night I was out in Frisco when “Saps” McCoy blew a big sexy sax right out the door of Chez Benny’s over in North Beach when North Beach was just turning away from be-bop “beat” and that high white note, I swear, blew out to the bay and who knows maybe all the way to the Japan seas. But see if I had, or anybody had, thought about it for a minute jazz and the blues are cousins, cousins no question so of course Howlin’ Wolf blew out that high white note more than once, plenty including a couple of shows I caught him at when he was not in his prime.         

The photograph (and now video) that I was thinking of is one where he is practically eating the harmonica as he performs How Many More Years (and now like I say thanks to some thoughtful archivist you can go on to YouTube and see him doing his devouring act in real time and in motion, wow, and also berating the father we never knew Son House for showing up drunk). Yes, the Wolf could blast out the blues and on this one you get a real appreciation for how serious he was as a performer and as blues representative of the highest order.

Howlin’ Wolf like his near contemporary and rival Muddy Waters, like a whole generation of black bluesmen who learned their trade at the feet of old-time country blues masters like Charley Patton, the aforementioned Son House who had his own personal fight with the devil, Robert Johnson who allegedly sold his soul to the devil out on Highway 61 so he could get his own version of that high white note, and the like down in Mississippi or other southern places in the first half of the twentieth century. They as part and parcel of that great black migration (even as exceptional musicians they would do stints in the sweated Northern factories before hitting Maxwell Street) took the road north, or rather the river north, an amazing number from the Delta and an even more amazing number from around Clarksville in Mississippi right by that Robert Johnson-spooked Highway 61 and headed first maybe to Memphis and then on to sweet home Chicago.  

They went where the jobs were, went where the ugliness of Mister James Crow telling them sit here not there, walk here but not there, drink the water here not there, don’t look at our women under any conditions and on and on did not haunt their every move (although they would find not racial Garden of Eden in the North, last hired, first fired, squeezed in cold water flats too many to a room, harassed, but they at least has some breathing space, some room to create a little something they could call their own and not Mister’s), went where the big black migration was heading after World War I. Went also to explore a new way of presenting the blues to an urban audience in need of a faster beat, in need of getting away from the Saturday juke joint acoustic country sound with some old timey guys ripping up three chord ditties to go with that jug of Jack Flash’s homemade whiskey (or so he called it).

So they, guys like Howlin’ Wolf, Muddy Waters, Magic Slim, Johnny Shines, and James Cotton prospered by doing what Elvis did for rock and rock and Bob Dylan did for folk and pulled the hammer down on the old electric guitar and made big, big sounds that reached all the way back of the room to the Red Hat and Tip Top clubs and made the max daddies and max mamas jump, make some moves. And here is where all kinds of thing got intersected, as part of all the trends in post-World War II music up to the 1960s anyway from R&B, rock and roll, electric blues and folk the edges of the music hit all the way to then small white audiences too and they howled for the blues, which spoke to some sense of their own alienation. Hell, the Beatles and more particularly lived to hear Muddy and the Wolf. The Stones even went to Mecca, to Chess Records to be at one with Muddy. And they also took lessons from Howlin’ Wolf himself on the right way to play Little Red Rooster which they had covered and made famous in the early 1960s (or infamous depending on your point of view since many radio stations including some Boston stations had banned it from the air originally).

Yes, Howlin’ Wolf and that big bad harmonica and that big bad voice that howled in the night did that for a new generation, pretty good right.