AMERICAN LEFT HISTORY

This space is dedicated to the proposition that we need to know the history of the struggles on the left and of earlier progressive movements here and world-wide. If we can learn from the mistakes made in the past (as well as what went right) we can move forward in the future to create a more just and equitable society. We will be reviewing books, CDs, and movies we believe everyone needs to read, hear and look at as well as making commentary from time to time. Greg Green, site manager

Friday, June 10, 2011

In Honor Of The Centenary Of Tennessee Williams' Birth- Playwright's Corner-"Cat On A Hot Tin Roof"

Thursday, January 15, 2009
Playwright's Corner- Tennessee Williams’ Cat On A Hot Tin Roof

Click on the headline to link to a "Wikipedia" entry for American playwright Tennessee Williams' "Cat On A Hot Tin Roof."

Play/DVD Reviews

Enough Mendacity To Sink A Ship

Cat On A Hot Tin Roof, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955

The first couple of paragraphs here have been used as introduction to other plays written by Tennessee Williams and reviewed in this space. This review applies to both the stage play and the film versions with differences noted as part of the review

Perhaps, as is the case with this reviewer, if you have come to the works of the excellent American playwright Tennessee Williams through adaptations of his plays to commercially distributed films you too will have missed some of the more controversial and intriguing aspects of his plays that had placed him at that time along with Eugene O’Neill and Arthur Miller as America’s finest serious playwrights. Although some of the films have their own charms I want to address the written plays in this entry first (along with, when appropriate, commentary about Williams’ extensive and detailed directing instructions).

That said, there are certain limitations for a political commentator like this reviewer on the works of Williams. Although his plays, at least his best and most well-known ones, take place in the steamy South or its environs, there is virtually no acknowledgement of the race question that dominated Southern life during the period of the plays; and, for that matter was beginning to dominate national life. Thus, although it is possible to pay homage to his work on its artistic merits, I am very, very tentative about giving fulsome praise to that work on its political merits. With that proviso Williams nevertheless has created a very modern stage on which to address social questions at the personal level, like homosexuality, incest and the dysfunctional family that only began to get addressed widely well after his ground-breaking work hit the stage.

“Cat On A Hot Tin Roof” is a prime example of the contradiction that a radical commentator is placed in. The themes of duplicity, latent homosexuality, adultery and dysfunctional families topped off by more than enough mendacity to sink a ship are the stuff of social drama that NEED to be addressed as outcomes in the modern capitalist cultural sphere. However, in the end nothing really gets resolved truthfully here. Old 1950’s-style All-American boy Brick, the ‘great white hope’ of the family, may or may not sober up after the ‘lost’ of his dear friend and fellow football player, Skipper. Saucy and sexy wife Maggie (the cat) may or may not really get pregnant by Brick and save the family heritage for him, or die trying. The only certainty, despite all that above-mentioned mendacity, is that Big Daddy is going to die and that 28,000 acres of the finest land in the Delta is going to need new management, either by Brick, brother Goober (along with his scheming wife and their ‘lovely' brood of children) or some upstart. Off of these possible outcomes, however, I would not get too worked up about the final outcome.

In the movie version, done in the 1950’s as well, which starred the recently departed excellent actor Paul Newman as Brick and a fetching Elizabeth Taylor as Maggie the question of Brick’s possible homosexual relationship with Skipper is far more muted than in the play. The implicit question seems to concern Brick’s fading youth, his search for perfect meaning to life in Mississippi and that one’s existential crisis can be eliminated by reliance on the bottle. The relationship between the dying Big Daddy and his ever suffering wife, Big Mama, is less dastardly than in the play as well. The scheming Goober and wife and family and those ‘lovely’ children, however, run true to form. My sense of the movie, unlike the deeper issues of the play, is that a few therapy sessions would put old Brick back on the right track. The play was far less hopeful in that regard.
********

***From The Archives (2011)- On The Centenary Of Tennessee Williams' Birthday-Homage To The Outsider- Some Of The Work Of Playwright Tennessee Williams

Play/DVD Reviews

Enough Mendacity To Sink A Ship

Cat On A Hot Tin Roof, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955

The first couple of paragraphs here have been used as introduction to other plays written by Tennessee Williams and reviewed in this space. This review applies to both the stage play and the film versions with differences noted as part of the review

Perhaps, as is the case with this reviewer, if you have come to the works of the excellent American playwright Tennessee Williams through adaptations of his plays to commercially distributed film you too will have missed some of the more controversial and intriguing aspects of his plays that had placed him at that time along with Eugene O’Neill and Arthur Miller as America’s finest serious playwrights. Although some of the films have their own charms I want to address the written plays in this entry first (along with, when appropriate, commentary about Williams’ extensive and detailed directing instructions).

That said, there are certain limitations for a political commentator like this reviewer on the works of Williams. Although his plays, at least his best and most well-known ones, take place in the steamy South or its environs, there is virtually no acknowledgement of the race question that dominated Southern life during the period of the plays; and, for that matter was beginning to dominate national life. Thus, although it is possible to pay homage to his work on its artistic merits, I am very, very tentative about giving fulsome praise to that work on its political merits. With that proviso Williams nevertheless has created a very modern stage on which to address social questions at the personal level, like homosexuality, incest and the dysfunctional family that only began to get addressed widely well after his ground-breaking work hit the stage.

“Cat On A Hot Tin Roof” is a prime example of the contradiction that a radical commentator is placed in. The themes of duplicity, latent homosexuality, adultery and dysfunctional families topped off by more than enough mendacity to sink a ship are the stuff of social drama that NEED to be addressed as outcomes in the modern capitalist cultural sphere. However, in the end nothing really gets resolved truthfully here. Old 1950’s-style All-American boy Brick, the ‘great white hope’ of the family, may or may not sober up after the ‘lost’ of his dear friend and fellow football player, Skipper. Saucy and sexy wife Maggie (the cat) may or may not really get pregnant by Brick and save the family heritage for him, or die trying. The only certainty, despite all that above-mentioned mendacity, is that Big Daddy is going to die and that 28,000 acres of the finest land in the Delta is going to need new management, either Brick, brother Goober (along with his scheming wife and their ‘lovely brood’ of children) or some upstart. Off of these possible outcomes, however, I would not get too worked up about the final outcome.

In the movie version, done in the 1950’s as well, which starred the recently departed excellent actor Paul Newman as Brick and a fetching Elizabeth Taylor as Maggie the question of Brick’s possible homosexual relationship with Skipper is far more muted than in the play. The implicit question seems to concern Brick’s fading youth, his search for perfect meaning to life in Mississippi and that one’s existential crisis can be eliminated by reliance on the bottle. The relationship between the dying Big Daddy and his ever suffering wife, Big Mama, is less dastardly than in the play as well. The scheming Goober and wife and family and those ‘lovely’ children, however, run true to form. My sense of the movie, unlike the deeper issues of the play, is that a few therapy sessions would put old Brick back on the right track. The play was far less hopeful in that regard.

The Fickle Bird Of Youth

The Sweet Bird Of Youth, Three Plays of Tennessee Williams, New Directions Books, New York, 1959

“Sweet Bird Of Youth” is a case in point. Not for the first time, a seemingly 1950’s style All- American boy Chance who has left his hometown, his home town girl and his roots behind to drift in that endless spiral toward fame- Hollywood and the movies, naturally- comes back to claim what is his by right. On this little hometown reunion Chance is in the service of one aging and fretful actress who has her own issues with that elusive ‘bird of youth’. On return to town it appears that Chance has stirred up a hornet’s nest with the local political establishment in the person of one red-neck preacher turned politician in order to better do “god’s work”, old Tom Findley. The object of this dispute is one Heavenly Findley, old Ton’s daughter and Chance’s left behind paramour who is now the subject of some scandal (due to the amorphously stated need for female-related medical treatment due to Chance’s irresponsibility). Along the way we get to see how political power is distributed in a small Southern town as well as the inevitable tempting of the fates by Chance in order to win the ‘brass ring’ before it is too late (apparently somewhere over thirty, by my reckoning). At play’s end though, where he is between a rock and a hard place, Chance may not get the chance to be Chance at thirty. Oh, that fickle bird of youth. Still, Chance, go for it.

In the movie version the recently departed excellent actor Paul Newman, a classic example of a 1950’s All-American boy type (among his other acting talents), as the movie star ‘wannabe’ and Geraldine Page as the aging actress recreated their stage performances although with a greater screen presence for Ms. Page. Moreover, Chance’s strivings to reconnect with Heavenly are more central to the plot. More importantly, the endings differ in that, despite some mauling by Tom Findley’s boys Chance takes my advice from the play version and runs, with Heavenly, just as far and as fast as his now aging legs can carry him.

Waiting For A Sign

The Rose Tattoo, Three Plays of Tennessee Williams, New Directions Books, New York, 1959

“The Rose Tattoo” is a little different look at the family. Although the geography of the play is still the American South this play is not peopled with Williams’ usually WASPy characters but rather a little conclave of immigrant Italians who have somehow made a beachhead in the Gulf Coast area. The central character is a previously abandoned but now widowed Italian seamstress trying to survive, mainly through her hopes for her daughter, on her wits, her memories of youth, her integrity and her fierce instinct to survive in alien territory. A philandering husband the obsessive subject of her adoration, a daughter trying to learn to fly on her own in the love game, and an incidental encounter with a fellow, younger Italian truck driver come together to give her the sign she needs to start over. Maybe. This play, more than most of Williams’ efforts, depends on the strength of the dialogue and not the plot line. That is what gives its dramatic edge as Williams explores yet another tangled up dream gone awry story.

In the movie version, the role of the young Italian truck driver as played by Burt Lancaster and the seamstress as played by the fabulous Anna Magnini is more central to the unfolding story from the beginning. The dramatic tensions between this pair and the ‘waiting for a sign’ by the seamstress are still fairly similar. It is however Lancaster’s enhanced role that really makes this a visual treat and gives one hope that this new family ‘aborning’ can survive.

Take A Walk On The Wild Side

Orpheus Descending, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955

On reading “Orpheus Descending”, Williams’ take on the old Greek legend in modern grab I was struck by the similarity in the character of the Orpheus figure, Val ,and Nelson Algren’s Dove Linkhorn in “ A Walk On The Wild Side. Both are loners, outsiders, have checkered pasts and are ready for anything from deep romantic love to murder and mayhem. And because they are capacity of that range of emotions and reactions they are also as capable of getting burned by a complacent society that does not take kindly to those that it cannot control. Val drifts into town, gets a job at a store by the enigmatic Lady and then the wheels begin to turn and to deal out his fate. Could he have stopped and turned away? Although that is a question that drives many dramatic efforts it is not always resolvable in a play- or in life. Lady’s terminally ill husband lurks in the background with nothing to lose, once the romantic sparks start to fly. I do not understand why this play was not more successful in its earlier manifestations as was pointed out in the introduction, especially as this is a culture that has made space, if only grudgingly, to for the outsider to tempt the fates if only symbolically.

The Sweet Bird Of Youth Gone Awry

Suddenly Last Summer, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955

“Suddenly Last Summer is an odd little beauty of a play. Odd in that the appetites of the main (unseen in the play) character Sebastian seem to be both beyond the pale and obsessive. Odd, also that his protective monster of a mother is determined to keep the truth about her “genius” son from the world even after his ‘untimely’ death ……last summer. As if to add fuel to the fire of an already bizarre tale of exploitation, sexual and otherwise, Sebastian’s beautiful lure of a cousin used as bait for Sebastian’s appetites is to be permanently taken out of the picture in order to keep this world beautiful. Nobody believes the sordid tale she has to tell about dear cousin Sebastian. The play ends with the ‘hope’ that there may actually be someone to believe the girl’s story before she becomes one more sacrifice to ‘beauty’ in the world. Frankly, old Sebastian got what was coming to him over in the islands.

In the movie version, the stories that have to be told verbally in the play get told as flashbacks as well. Katherine Hepburn is in high dudgeon as Sebastian’s mother and ‘keeper of the flame’. Montgomery Clift is a more sober, somber and searcher for the truth psychiatrist than the one in the play and Elizabeth Taylor is the beautiful lure cousin is a mass of confusions whose memories of last summer have to be erased ….some way. Old Sebastian and his twisted sense of life and his place in history is still a guy who had it coming to him. Well, he did, didn’t he?

Thursday, June 09, 2011

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Oscar López Rivera

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- Maliki Shakur Latine

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- The Omaha Three’s-Mondo We Langa, (David Rice)

Click on the headline to link to more information about the class-war prisoner honored in this entry.

Make June Class-War Prisoners Freedom Month

Markin comment (reposted from 2010)

In “surfing” the National Jericho Movement Website recently in order to find out more, if possible, about class- war prisoner and 1960s radical, Marilyn Buck, whom I had read about in a The Rag Blog post I linked to the Jericho list of class war prisoners. I found Marilyn Buck listed there but also others, some of whose cases, like that of the “voice of the voiceless” Pennsylvania death row prisoner, Mumia Abu-Jamal, are well-known and others who seemingly have languished in obscurity. All of the cases, at least from the information that I could glean from the site, seemed compelling. And all seemed worthy of far more publicity and of a more public fight for their freedom.

That last notion set me to the task at hand. Readers of this space know that I am a long time supporter of the Partisan Defense Committee, a class struggle, non-sectarian legal and social defense organization which supports class war prisoners as part of the process of advancing the international working class’ struggle for socialism. In that spirit I am honoring the class war prisoners on the National Jericho Movement list this June as the start of what I hope will be an on-going attempt by all serious leftist militants to do their duty- fighting for freedom for these brothers and sisters. We will fight out our political differences and disagreements as a separate matter. What matters here and now is the old Wobblie (IWW) slogan - An injury to one is an injury to all.

Note: This list, right now, is composed of class-war prisoners held in American detention. If others are likewise incarcerated that are not listed here feel free to leave information on their cases in the comment section. Likewise any cases, internationally, that come to your attention. I am sure there are many, many such cases out there. Make this June, and every June, a Class-War Prisoners Freedom Month- Free All Class-War Prisoners Now!
********
The Case of Mondo we Langa (formerly known as David Rice) and Ed Poindexter

On August 17, 1970, the Omaha, Nebraska Police Department received a 911 emergency phone call. The caller reported that a woman was screaming for help from a vacant house. The address given for the house was 2867 Ohio Street. The police arrived at the scene and started to investigate. No screaming woman was found. Near the doorway of the house was a suitcase. The officers stepped over the suitcase to get into the house. As a search of the house was being conducted, an explosion occurred. Police officer Larry Minard, who was near the suitcase, was killed instantly. Investigation showed that the suitcase contained dynamite and was set to explode when moved. Arrested for placing the bomb was Duane Peak, age 15. Peak was charged with first degree murder for planting the bomb. In an attempt to lighten his sentence, Peak implicated Mondo we Langa and Edward Poindexter.

Mondo we Langa was a known member of the NCCF (National Committee to Combat Fascism) This group consisted of Black Panther Party members who were working to protect the black community from police brutality. Mondo we Langa was Minister of Information in the NCCF and Ed was its Deputy Director. Mondo's and Ed’s political beliefs and actions were the principal reason that they were convicted. There are documents confirming that the FBI helped to suppress evidence in this case that would have completely discredited the key witness against the convicted men. At the time of the bombing, the FBI had implemented an operation known as COINTELPRO (counter intelligence program) to spy on U.S. citizens and to "neutralize" individuals and groups who were working to advance the human and constitutional rights of African Americans and Native Americans as well as any other individuals and groups deemed by the FBI to be a "clear and present danger to the security of the United States." The documents were obtained from the FBI through the Freedom of Information Act.

The goal of this website is to shine some light on this dark chapter in the history of the state of Nebraska and the United States. A grave injustice was perpetrated on two individuals because of their political beliefs. Under international conventions for the humane treatment of human beings, this makes Mondo and Ed Political Prisoners. In the 32nd verse of the 8th Chapter of John, the New Testament of the Bible records these words of Jesus Christ, "Ye shall know the truth, and the truth shall make you free." This very quotation can also be found on the wall of the headquarters building of the United States Central Intelligence Agency. It is the desire of those associated with the contents of this website that the truth will eventually set Mondo and Ed free from their unjust and illegal incarceration, an injustice that has been suffered by them since 1970.

Mondo we Langa sought redress through the appellate process in the United States judicial system and Ed Poindexter is currently (2002) seeking his "post-conviction relief". Mondo’s appeals have been unsuccessful. At one point, the United States Supreme Court even re-wrote the law on police searches and seizure of "evidence" retroactively to ensure that Mondo’s illegal conviction would not be overturned. A major obstacle in the judicial appellate process is that the Court of Appeals may not consider any issue other than whether the appellant was given a "fair" trial, as the legal system defines "fair." They may not consider whether the initial trial resulted in the correct verdict. Evidence that comes out after the trial that indicates innocence (like the fact that the FBI admitted in writing that the tape of the 911 emergency tape should be withheld from the defense attorneys because it would be prejudicial to the prosecution’s case) is very difficult, if not impossible, to get into the record of the Court of Appeals.

The role of the Nebraska Governor (who is a member of the Board of Pardons) should be to correct mistakes that the court has made. In recent years, it has become commonplace for a state’s governor to commute the sentences of women who were convicted of killing their husband after years of physical and emotional abuse and, in the case of the governor of Illinois, to stop the killing of all death row inmates until a determination is made regarding the fairness of the judicial processes that led to the convictions in the first place. Norman Krivosha, Chief Justice of the Nebraska Supreme Court during the 1980’s, commissioned a study of the fairness of the Nebraska judicial system. He wanted to make sure that a person in one part of the state was being treated similarly to a person in another part of the state, all other things being equal.. So the researchers looked at the offense, the decision of the police to make the arrest, what crime, if any, the person was charged with, whether there was a plea bargain, the outcome of any trial, the sentence that was imposed, and the like. The researchers compare persons who had similar demographics (first time or repeat offender, age, race, sex, etc.) The study resulted in the conclusion that the Nebraska judicial system was "fair" in all regards EXCEPT one. The researchers could explain all of the differences in judicial outcomes based on all of the demographics EXCEPT race. Persons of non-European ancestry were more likely to be arrested, more likely to be charged with a crime, more likely to be tried, more likely to be found guilty, more likely to be given a longer sentence, more likely to be sentenced to death, than persons of European ancestry who had committed the same acts and who were otherwise similarly situated as the persons of non-European ancestry. That study helps to explain why African Americans, who comprise approximately 3 percent of Nebraska’s population, comprise more than 40 percent of Nebraska’s prison inmate population.

In our Republic, the executive branch of the federal (the President) as well as the state government (the Governor) have a responsibility to act as a "check and balance" on the judicial branch as well as the legislative branch. This principle was borrowed from Montesquieu and has served the Republic well for more than 200 years. There is a great deal of evidence in this case that indicates that Mondo we Langa and Ed Poindexter had nothing to do with the horrific murder of Officer Larry Minard.

In a country where the government is "of the people, by the people, and for the people," we are all responsible for the innocents who go to prison. Courts make mistakes, and the law is not perfect. It is our job as citizens to make sure that justice is done. We are all only as free and secure as the innocents who languish in our prisons and those innocents who are killed by the state in our name.

© Copyright 2003 Wopashitwe Mondo Eyen we Langa and Ed Poindexter. All Rights Reserved. E-mail Webmaster
Last Updated: 05/09/2010

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Richard Mafundi Lake,

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Mohamman Geuka Koti

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Kevin Kjonaas

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- Maumin Khabir,( aka Melvin Mayes)

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- Sekou Kambui, (William Turk)

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- Abdullah Ka'bah, (aka Jeff Fort)

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Larry Hoover

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Freddie Hinton

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Gerardo Hernández

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Alvaro Luna Hernández

http://www.thejerichomovement.com/prisoners.html

Click on the headline to link to more information about the class-war prisoner honored in this entry.

Make June Class-War Prisoners Freedom Month

Markin comment (reposted from 2010)

In “surfing” the National Jericho Movement Website recently in order to find out more, if possible, about class- war prisoner and 1960s radical, Marilyn Buck, whom I had read about in a The Rag Blog post I linked to the Jericho list of class war prisoners. I found Marilyn Buck listed there but also others, some of whose cases, like that of the “voice of the voiceless” Pennsylvania death row prisoner, Mumia Abu-Jamal, are well-known and others who seemingly have languished in obscurity. All of the cases, at least from the information that I could glean from the site, seemed compelling. And all seemed worthy of far more publicity and of a more public fight for their freedom.

That last notion set me to the task at hand. Readers of this space know that I am a long time supporter of the Partisan Defense Committee, a class struggle, non-sectarian legal and social defense organization which supports class war prisoners as part of the process of advancing the international working class’ struggle for socialism. In that spirit I am honoring the class war prisoners on the National Jericho Movement list this June as the start of what I hope will be an on-going attempt by all serious leftist militants to do their duty- fighting for freedom for these brothers and sisters. We will fight out our political differences and disagreements as a separate matter. What matters here and now is the old Wobblie (IWW) slogan - An injury to one is an injury to all.

Note: This list, right now, is composed of class-war prisoners held in American detention. If others are likewise incarcerated that are not listed here feel free to leave information on their cases in the comment section. Likewise any cases, internationally, that come to your attention. I am sure there are many, many such cases out there. Make this June, and every June, a Class-War Prisoners Freedom Month- Free All Class-War Prisoners Now!

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Robert Seth Hayes

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- Antonio Guerrero

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Rene González

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Avelino González Claudio

Those Oldies But Goodies…Out In The Be-Bop ‘60s Song Night- Betty Everett’s “It’s In His Kiss”

Click on to the headline to link to a YouTube film clip of Betty Everett performing her classic, It's In His Kiss.

It’s In His Kiss- Betty Everett

Does he love me?
I wanna know!
How can I tell if he loves me so?

(Is it in his eyes?)
Oh no! You need to see!
(Is it in his size?)
Oh no! You make believe!
If you wanna know
If he loves you so
Its in his kiss!
(That's where it is!)

(Oh yeah! Or is it in his face?)
no girls! It's just his charms!
(In his warm embrace?)
no girls! That's just his arms!
If you wanna know
If he loves you so
It's in his kiss!
(That's where it is!)
yeah!! Its in his kiss!
(That's where it is!)

Oh, oh, oh, honey !
Squeeze him tight!
Find out what you wanna know!
promise love, and if it really is,
It's there in his kiss!

(How 'bout the way he acts?)
no no no! That's not the way!
You're not listenin' to all I'm sayin'!
If you wanna know
If he loves you so
It's in his kiss!
(That's where it is!)
Oh, yeah! Its in his kiss!
(That's where it is!)

Oh, oh, oh, hold him !
Squeeze him tight!
Find out what you wanna know!
promise love, and if it really is,
well It's there in his kiss!

(How 'bout the way he acts?)
no no no! That's not the way!
You're not listenin' to all I'm sayin'!
If you wanna know
If he loves you so
It's in his kiss!
(That's where it is!)
Oh, yeah ! Its in his kiss!
(That's where it is!)
mmmm ! Its in his kiss!
(that's where it is)
mmmm is in his kiss

Well everyone knows by now that Jenny Dolan and John, John O’Connor, the running back gridiron hero of the North Adamsville football team, the one who almost single-handedly won them their state class championship are postponing their plans to be married now that John has been given a football scholarship to Boston College. See the love-bugs want to wait to see how that pans out, and besides they have each other through thick and thin so to wait is no big deal. But just in case that is not in the cards they are together more these days and so John is not to be seen around Salducci’s Pizza Parlor as much as in his old single days, or even as much as in his “married” days, the days since he and Jennie became an item a couple of years back.

For that matter Frankie Riley, the leader of the pack, hasn’t been seen lately either, ever since his 247th “break-up" with flame, Joanne, Joanne Doyle. That can only mean one thing, old Frankie is out catting around before Joanne reins him in again. And Chrissie knows, Chrissie McNamara knows damn well that Frankie is on the prowl because about twenty minutes after he got his “walking papers” from Joanne this time he was on the phone to Chrissie seeing if she was ‘available.’ “No dice,” said Chrissie and not because she wasn’t interested in Frankie. A lot of girls were, a little. Except “ball and chain” Joanne history meant that this was just Frankie lark time. Besides Chrissie and Joanne had been friends longer than Joanne had known Frankie and Chrissie liked Joanne, which is not what you could say about most girls who knew Joanne. But this is not about Joanne and so it need not be gotten into here.

What needs to be gotten into though is why Chrissie is ambling into Salducci’s Pizza Parlor at ten o’clock at night, a Thursday school night ten o’clock all by herself. Well, it ain’t for the pizza, although the way Tonio, the zen master pizza maker and owner of the parlor, makes those pizza slather and slither is worth coming in for almost any time. And it ain’t for Peter Paul Markin’s company, no way, not for a long time. Peter Paul is “holding down the fort” just now while his “boss” Frankie is, as is already known, out catting around. He probably already has made a note, a mental note, that Frankie for the 27th time has “struck out” with Chrissie and so maybe she wants his company. No way, no way that way, anyway. Peter Paul and Chrissie have gotten friendlier, or Chrissie has, every since Peter Paul started getting into the be-bop folk music scene now growing by leaps and bounds in Boston. They actually went to some coffeehouse over on Joy Street in Boston one night with Frankie and Joanne. The latter pair couldn’t wait to leave (probably because Frankie’s calling card, flannel shirt, jeans, work boots, and ya, midnight sunglasses didn’t raise an eyebrow. Half the guys in the place looked just like him, except maybe the sunglasses). But Chrissie and Peter Paul thought it was fantastic. Just no romance, no way, got it.

What does have Chrissie’s attention is one James Joseph Kelly, Fingers Kelly, who is sitting right next to Peter Paul at the moment. Now Fingers Kelly used to have the moniker of "Five Fingers" Kelly and for the squares out there that meant he was a clip artist and for the real squarey squares that meant he took things from stores…without paying. In other words he swiped things. But a couple of juvenile court appearances and some manhandling by James Joseph Kelly, Sr. shorten his moniker to Fingers, fast. Now what Chrissie wants to talk to Fingers about is why, why just a couple of hours ago, did Fingers state to the best of his recollection that he did not want to see one Christine Anne McNamara on Saturday night. And on that night take her to the annual North Adamsville High School “Hi-Jinks” dance.

Now Fingers, Fingers Kelly, is wise enough to the ways of the world, to know that if he doesn’t grab Christine Anne McNamara with both arms when she is “after” him then some other guy (or guys) will be more than happy to do so. See Chrissie, besides being the head cheerleader at North is nothing but a fox. And Frankie, Fingers, hell even Peter Paul know this fact. Tall, brownish blonde hair, a few freckles, nice legs, and a very nice personality (has to be if Peter Paul thinks so) to go with that physical description. And she is interested in lots of things besides corn-ball cheer leading like that folk music stuff that was just mentioned. But Fingers has the freeze on for her.

Fingers is not bad looking, kind of tall, somewhat athletic (you had to be in his former career), not bad to talk to, but is nothing if not just an okay guy. So the number one question, well, really the number two question after how many days will it be before Joanne reins her lover boy, Frankie, in, is why Chrissie is after Fingers so bad. And why Fingers, knowing what he knows about North Adamsville high school guys, is not waiting with bells on to take Chrissie to the dance. Well, you have not been paying attention on that Finger’s part (Chrissie we will get to in a minute). Finger, when he was Five Fingers, always had kale (cash, money, dollars, okay) and was not afraid to spent it. But in his new life as just Fingers he is broke more than not. And see, he cannot go back to the five fingers way of life because one Senior Kelly will bop him good. And old Senior, while we are at it, is not lending sonny boy any dough (kale, okay) after forking put a ton of money to keep one James Joseph Kelly, Junior out of reform school. So that is the skinny, pure and simple. So if you have any loose change hanging around ship it over Finger’s way, and thanks.

Now Chrissie is another matter. As already mentioned Fingers is okay but just okay so it has to be something else. And it ain’t dough (although she does not know that Fingers is broke, totally broke). And it ain’t the no car for a Saturday night date. She said that she would borrow her father’s car. Even Peter Paul is puzzled by this situation and usually he is clueless about such “high” romance. The only thing anybody has come up with is something that people noticed after Chrissie first’s heavy “parking” date (you know what that is right, nobody is that square) with Fingers (a double date because of Finger’s car-deprivation so its not what you think). For a couple of days after that she was all dreamy-faced, all glowy and stuff. Humm.