Happy Birthday Bob Marley-A Coming of Age Story for Generation X (I Think)

BOOK REVIEW

Rule Of The Bone, Russell Banks, HarperPerennial, New York, 1996

Okay, every generation X, Y or Z (including my generation, the generation of '68) has to have its own coming of age stories, male or female. For this reviewer, always full of a sense of the necessity to understand his own misbegotten youth, J.D. Salinger's Catcher in the Rye explored the longings for understanding, companionship (female variety in my case) and power in that strange modern experience of growing up absurd- the teen years. Well, after reading Brother Banks Holden Caulfield better move over because he has company, very good company, in the coming of age field.

Strangely, my first exposure to the name Russell Banks was in a review that Larry McMurtry (he of Lonesome Dove, and a million other good novels, fame) did for The New York Review of Books. But at that time it was just a name. Then, as I was recently re-reading Nelson Algren's Walk on the Wild Side, I found that in the edition that I had Brother Banks had done the Foreword. Now I rank Algren right up there with Hemingway, Fitzgerald and Dorothy Parker in my literary pantheon so when Banks does a review that hits almost exactly all the points that have caused me to admire Algren I have one question. Isn't it about time to see what this writer is all about? And, friends, off a reading of this my first book of his I was not mistaken in my instinct.

Bank's young `searcher for truth' Bones, of dysfunctional family (sound familiar?), dope smoking and all set in upstate New York in the 1990's (and then switches somewhat erratically halfway through to Jamaica, the only weakness in the story) is exactly the kind of character one needs to explore in order to understand Generation X (I think that would be the correct designation, right?).

Using the currently fashionable literary trope of magical realism Banks goes through the whole catalogue of coming of age experiences as Bones looks for companionship (not necessarily automatically sexual, like in my youth), longings and personal power. Hey, didn't I just talk about those questions concerning Catcher in the Rye's Holden Caulfield. I guess that is the point. Read this book if you want the current `skinny' on this perplexing issues of growing up absurd in modern society written with a very nice literary flair for a sense of time, place and class. Kudos, Brother Banks.

*Not Ready For Prime Time Class Struggle Songs- The Beatles' "When I'm Sixty-Four"

Click on the headline to link to a "YouTube" film clip of the Beatles's performing "When I'm Sixty-Four" from the animated movie "Yellow Submarine."


Markin comment:

Many of those from the Generation of '68 will, if you can believe this, be turning sixty-four this year. So be it. But, so be the will to continue to struggle against the imperial "monster" as well.

When I'm Sixty-Four - The Beatles

When I get olded, loosing my hair,
Many years from now
Will you still be sending me the Valentine,
Birthday greetings, bottle of wine

If I stay out till quarter to three
Wold you lock the door
Will you still need me, will you still feed me
When I'm sixty-four.

You'll be older too,
And if you say the word I could stay with you.

I could be handy mending a fuse
When your lights have gone
You can knit a sweater by the fireside
Sunday morning go for a ride

Doing the garden, digging the weeds,
Who could ask for more
Will you still need me, will you still feed me
When I'm sixty-four.

Every summer we can rent a cottage in the Isle of Wight,
if it's not too dear
We shall scrimp and save
Grandchildren on your knee
Vera, Chuck & Dave

Send me a postcard, drop me a line
Stating point of view
Indicate precisely what you mean to say
Yours sincerely, wasting away

Give me your answer, fill in a form,
Mine for evermore,
Will you still need me, will you still feed me
When I'm sixty-four.

*Coming Of Age In The 1950s, Period- Oldies But Goodies - An Encore

Click on the headline to link to a "YouTube" film clip of Betty Everett performing here classic rock number,"It's In His Kiss". Oh, ya.

CD Review

Oldies But Goodies, Volume Three, Original Sound Record Co., 1987

I have been doing a series of commentaries elsewhere on another site on my coming of political age in the early 1960s, but here when I am writing about musical influences I am just speaking of my coming of age, period, which was not necessarily the same thing. No question that those of us who came of age in the 1950s are truly children of rock and roll. We were there, whether we appreciated it or not at the time, when the first, sputtering, musical moves away from ballady Broadway show tunes and rhymey Tin Pan Alley pieces hit the radio airwaves. (If you do not know what a radio is then ask your parents or, ouch, grandparents, please.) And, most importantly, we were there when the music moved away from any and all music that your parents might have approved of, or maybe, even liked, or, hopefully, at least left you alone to play in peace up in your room when rock and roll hit post- World War II America teenagers like, well, like an atomic bomb.

Not all of the material put forth was good, nor was all of it destined to be playable fifty or sixty years later on some “greatest hits” compilation but some of songs had enough chordal energy, lyrical sense, and sheer danceability to make any Jack or Jill jump then, or now. And, here is the good part, especially for painfully shy guys like me, or those who, like me as well, had two left feet on the dance floor. You didn’t need to dance toe to toe, close to close, with that certain she (or he for shes). Just be alive…uh, hip to the music. Otherwise you might become the dreaded wallflower. But that fear, the fear of fears that haunted many a teenage dream then, is a story for another day. Let’s just leave it at this for now. Ah, to be very, very young then was very heaven.

So what still sounds good on this CD compilation to a current AARPer and, and perhaps some of his fellows who comprise the demographic that such a 1950s compilation “speak” to. Of course, Come Go With Me by the Dell Vikings, Betty Everett’s It’s In His Kiss and the savage drum line of Frankie Ford’s Sea Cruise. But what about Jerry Butler’s gospel-tinged For Your Precious Love? Yes, I know, this is one of the slow ones that you had to dance close on. And just hope, hope to high heaven that you didn’t destroy your partner's shoes and feet. Well, one learns a few social skills in this world for no other reason that to “impress” that certain she (or he for she) mentioned above. I did, didn’t you?

************

It's In His Kiss


Does he love me, I wanna know
How can I tell if he loves me so
Is it in his eyes, oh no you'll be deceived
Is it in his eyes, oh no he'll make believe
If you wanna know, if he loves you so
It's in his kiss
That's where it is, oh yeah
Or is it in his face, oh no it's just his charm
In his warm embrace, oh no that's just his arm
If you wanna know, if he loves you so
It's in his kiss
That's where it is, oh it's in his kiss
That's where it is, oh-oh
Kiss him and squeeze him tight
And find out what you wanna know
If it's love, if it really is
It's there in his kiss
How 'bout the way he acts, oh no that's not the way
And you're not listening to all I say
If you wanna know, if he loves you so
It's in his kiss, that's where it is
Oh yeah it's in his kiss, that's where it is

Oh-oh, kiss him and squeeze him tight
And find out what you wanna know
If it's love, if it really is
It's there in his kiss
How 'bout the way he acts, oh no that's not the way
And you're not listening to all I say
If you wanna know, if he loves you so
It's in his kiss
That's where it is, oh yeah it's in his kiss
That's where it is, oh it's in his kiss

Welcome To Thalia- The Early Work of Larry McMurtry

BOOK/DVD REVIEW

The Eyes of Texas

Hud, starring Paul Newman, Patricia Neal and Melvyn Douglas, directed by Martin Ritt, UA, 1963

The last time I have had a chance to mention the work of Larry McMurtry, whose novel this movie is adapted from, was a recent review of his The Last Picture Show trilogy (a must read, by the way) concerning the coming of age, mid-life crises and struggles with mortality of a cohort of small town Texas characters, especially one Duane Moore. As usual when I get ‘high’ on an author I like to run through most of his or her work to see where he or she is going with it. Thus, this review of a lesser work turned into an exceptional film is something of an introduction to themes that McMurtry likes to give a work out in his literary efforts. Apparently, when it comes to bring to life the Texas of the 1950’s and 1960’s either cinematically or in book form your first (and maybe last stop, although I would give Horton Foote some play) is at Mr. McMurtry’s doorstep.

Okay, so what is the big deal? Take one young, world weary, cynical handsome and well-built ne’r-do-well 1950’s cowboy Paul Newman, complete with Cadillac and cowboy hat (and an eye for the ladies, needless to say). Take one old-time rancher father of said Hud, Melvyn Douglas giving the performance of his life as a man out of step with the times as oil-rich Texas is passing him by. Take one sultry (yes, sultry in a country sort of way) substitute mother as the household cook and drudge. Add, for generational purposes, a young teenage grandson the prototype for later characters that we shall see again in other Texas scenarios by McMurtry. Put them all together with all kinds of family, personal and social tensions and a ranch crisis brought on by an epidemic of cattle hoof and mouth disease. Film it in black and white (a natural medium for 1950’s- 1960’s modern cowboy movies-think the Misfits) and place it in small town Texas with all its pride, prejudices and customs. Then take a couple of hours to see how a well-written novel and a well-thought out film can mesh as one. This is the Texas of Larry’s dreams and ours. Kudos.

Horseman, Pass By, Larry McMurtry, University of Texas Press, 1961

I will concede that I have been on something of tear concerning the works of Larry McMurtry lately. That is just the way I operate when I find that rare novelist that “speaks” to me. Gore Vidal, the great American historical novelist, is another whose works you will be seeing reviewed more in this space. That said, the particularly purpose here is to compare McMurtry’s Horseman, Pass By with Hud, the cinematic version of this novel, that starred the recently deceased Paul Newman as a misbegotten, angry modern cowboy, a very talented actor from my youth. I, frankly, like to make such comparisons to see how close the film comes to the novel.

Some films, as I recall from an article that Joan Didion wrote in the New York Review of Books concerning one of her books, move very far away from the author’s intent. That happened in her case and she had to abandon the screenwriting of the film version of one of her books in the interest of her own artistic integrity. Some cinematic presentations, even more egregiously, pay bare homage to their source. That occurred in Ernest Hemingway’s To Have and To Have Not. Here the situation is something of a happy mix between the need to highlight the 1960’s blue-eyed heart throb Newman’s role as the errand, self-centered cowboy “angel” Hud and the coming of age story of his teenage nephew Lonnie that McMurtry is trying to portray here.

Naturally, as McMurtry’s intent is to show not only the ruthless way that the modern cowboy, Hud, has to deal with the world in order to survive but the vagaries of his nephew Lonnie’s coming of age in rural West Texas in the 1950’s (in the mythical town of Thalia the scene of more than one of his efforts) the screenwriting must reflect director Martin Ritt’s concerns to keep the story moving. Thus the book, unlike the movie, concentrates not on the action of the various events in ranch (the problem with the cattle that have to be destroyed) and small town life (the booze, dances and Last Picture Show movie house) that drive the film but the sheer struggle against loneliness and meaningless that every teenager goes through but more so here. Those feelings, described so well here (and in The Last Picture Show) do not translate well onto the screen.

There are a number of other characters and events in the book that do not make it to the screen. The family relationship between Grandpa Homer Bannon and Hud is different (although the generational tensions are still present). Grandma Bannon is still alive (as Homer’s second wife and Hud’s mother) and the housekeeper is black not white like in the film. Needless to say Newman’s sexual assault of the housekeeper (played by Patricia Neal) in the early 1960’s era film subject to more taboos than today is much less graphic than in the book. But a good suggestion here is to watch the film for the performances of Newman, Neal and Melvyn Douglas (as Homer) AND read this novel. This is McMurtry’s first effort at being the “king” of Texas story tellers (New West version and Old West version, as well). The pair of efforts compliment each other. That is a rare feat.