Summer People: A Novel
Open Road Media (April 12, 2016), 477 pages
originally published by Summit Books, a Simon and Schuster imprint (June 1, 1989)
Kindle edition $10.99
After finishing my previous nonfiction book I was looking for something countercultural. I knew I could find that by turning to Marge Piercy. I selected Summer People and was not disappointed. Now this was not sixties counterculture. The narrative in the novel takes place roughly contemporaneous with the publication of the book in 1989. Piercy mentions the amber screen of a computer. Many computer screens running the good old DOS operating system (yes, I know that’s redundant) in those days had black-and white or blue-and-white screens, but my computer at home in 1989 had an amber screen.
This counterculture existed (in the novel) on Cape Cod. Susan and Willie were married. Susan was a seamstress and fashion designer. Willie was a sculptor and carpenter. Dinah, a musician and composer, moves into the house next door, which shared the driveway with Willie and Susan’s house. They quickly ended up in a three-way relationship. All went well until Susan, with her misperceptions and inflated sense of self-importance, insisted that the arrangement end. That triggered a domino effect that drives much of the novel’s action.
I wouldn’t refer to Piercy’s work as literary fiction, but she knows how to develop a plot and create believable, three-dimensional characters. The women are strong and not dependent on men. Piercy’s novels have always had a strong feminist tone, and her women take ownership of their own sex lives and responsibility for birth control. (One male character, in fact, provides his own condom).
The title Summer People is a bit of a misnomer, as the book is not about the people who arrive at Cape Cod in time for Memorial Day and leave right after Labor Day, although they do play a role. It’s the year-round residents, Willie, Susan, and Dina that are central to the novel.
So while not great literary fiction, Summer People is enjoyable reading with a serious message about how people treat each other, even if the conclusion ties things together just a little too neatly.
I love Indian food, as you may know if you’ve been reading this blog for a while. Sadly, my options are limited these days. Our local Indian restaurant here in Hemet was short-lived, though Terry and I did all we could to support it. We could drive thirty minutes south to Temecula and go to an Indian restaurant there called Mantra, but their primary business is buffet, and such service is, as you well know, not currently allowed in California. (Besides, neither Terry nor I are comfortable with restaurant dining right now.) And then, to add insult to injury, some time back my favorite brand of frozen Indian lunches, Tandoor Oven, disappeared from the freezer cases of the two stores here that carried it.
So what’s left? Right. Fix it yourself.
I have a lot of Indian dishes in my recipe database, and multiple versions of some, such as Chicken Tikka Masala and Butter Chicken (two recipes that are hard to distinguish from each other). Last week I decided I had gone too long without Indian food and planned Butter Chicken for Friday. I chose a version that recently appeared in Food Network Magazine.
I didn’t follow the recipe exactly; I rarely do. The recipe called for sautéing an onion while adding some of the spices, but I can’t do that as Terry is allergic to onions. The recipe called for tomato, so I blanched and peeled a fresh one. I threw the tomato into our Dutch oven along with tomato paste (in the recipe), and a small can of tomato sauce (not in the recipe). I then added all the specified spices.
I had previously browned the chicken with the indicated spices. I cooked the tomato mixture down, threw it in the Vitamix, and put it back in the Dutch oven. I put the chicken back in and let it simmer for a while. At the last minute I added heavy cream and butter.
Meanwhile, I had been cooking a cup of Basmati rice on another burner.
The result? I was happy. Terry was pleased. If you can’t go out for Indian food you can certainly make it at home. It is a lot of work, but the finished product is well worth it.
Dusk, Night, Dawn: On Revival and Courage
Riverhead Books (March 2, 2021), 223 pages
Kindle edition $11.99, Amazon hardcover $15.61
Reading an Anne Lamott book is like reading a book by an old friend. I have been reading her books for many years, and she was a regular guest on the late, lamented West Coast Live radio program in San Francisco.
She wrote this book before the change of administration in Washington, so perhaps there is a bit of a pall over it that wouldn’t have been there had she finished the book after January 20. Nonetheless, Lamott is not about negativity; she writes about hope and help.
If you’re familiar with Anne Lamott you know she is a recovering alcoholic, and she speaks honestly about addiction and recovery. She writes about how she has been helped, about she has helped others, and about how we can help each other. Lamott (who is less than a year younger than me) was married for the first time in 2019, and she worries her husband may discover that she’s not the person he thought he married. He seems to not be troubled by that.
Anne has a way of putting things in perspective, even when the world seems impossibly difficult:
The search for the holy grail has been called off. No grail to find, no code to break. All along, it turns out that there was only the imperfect love of a few trusted people and that in troubled times, like heat waves, epidemics, and blackouts, most people bring their best selves. No ultimate answers, only the blessings of friendship and service; silence and music, the beauty of the seasons and skies, creation, in art and life’s phases—birth, death, new life. Sigh.
Lamott tells us, “Maybe the poet was wrong when he said the center cannot hold. Maybe it can and does hold. Maybe the center paradoxically holds everything, like the gravity well in which our teeny galaxy is held.”
She writes, “Terrible losses befall those we love, and yet we are saved again and again by a cocoon of goodwill, evolution, and sweet milky tea. That is plenty of center for me.”
And for me too.
A History of European Art
William Kloss, M.A.
Independent Art Historian
Instant video purchased on sale at $69.95
If the course is not on sale, check back. A sale price will come around again.
This is a very long course at forty-eight lectures. Most Great Courses packages are twenty-four or thirty-six lectures. But then it covers a lot of territory. The survey begins with Carolingian and Ottonian art in the late Middle Ages and goes all the way through to art in the twentieth century between the two world wars.
There was a lot of interesting material in this course. It was amazing to learn how much art moved around. Works that were designed as altarpieces were taken down and moved elsewhere, sometimes simply to the museum on the site of the church, sometimes to another country. If the altarpiece was made of multiple panels it was often cut up into its separate components.
I had learned bits and pieces about European art here and there, but I’ve never taken a comprehensive course. I had never thought about how much of late medieval and Renaissance art was on one of two themes: either classical history and mythology or biblical material. I noticed that the art in that period bore a stronger resemblance to the physical world than that beginning in the late nineteenth century with the advent of impressionism. The subject matter also changes as artists began to paint based on their own inner ideas rather than on commonly known topics. As Professor Kloss says, “We have left the world of shared meaning behind.”
Kloss is knowledgeable but has an odd manner of presentation. He almost never looks at the camera, but looks at his notes or computer monitor, or seems to peer off into the middle distance. Nonetheless, he knows his stuff and is well qualified to present this engaging material.
Terry and I celebrate our twenty-seventh anniversary today, and we’re still as crazy about each other as ever.
Celebrating our anniversary the last couple of years has been interesting. Two years ago, for our twenty-fifth, I had just gotten out of the hospital after a setback following my surgery, and was very limited in what I was allowed to eat. Last year we were in the early days of the pandemic, but as I recall what got in our way was the weather. We had planned on going to Dattilo’s, the first-class Italian restaurant on the other side of town. We had ben hit with some heavy rain, however, and didn’t want to drive across town with flooded streets and intersections. So we had dinner at the bistro in the lodge here at Four Seasons. It was a Thursday, which just happens to be their Italian night, so that worked out.
This year, still in the midst of the pandemic, we are limited to outdoor dining if we want dinner in a restaurant, and it’s too wet and cold for that. Our plan is to have dinner from Dattilo’s at home courtesy of Grubhub. Terry found a marvelous decadent dessert at the grocery store. That will work well.
The Jewish Passover Seder contains the words, “Next year in Jerusalem!” My thought for our anniversary: “Next year in Cambria!” (With dinner at the Sea Chest, of course.)
Always a Song: Singers, Songwriters, Sinners, and Saints: My Story of the Folk Music Revival
Narrated by Janina Edwards
Chronicle Prism, January 26, 2021
$24.91 for Audible members, more for nonmembers
purchased with an Audible credit
I follow my alma mater, Pitzer College, on social media. One recent post mentioned an interview on NPR’s Fresh Air with Terry Gross that featured Ellen Harper and her son Ben Harper. Ellen married Leonard Harper, who was an administrator at Pitzer College in the seventies. He was in some respects a pioneer, as an African American in a college administration role early in that decade. Ellen is a graduate of Pitzer through the New Resources program, which offers a degree path to people who are past traditional college age. Her son Ben is a famous musician (of whom I had never heard until listening to the interview). Ben’s younger brother Joel is a Pitzer graduate as well. Ellen and Ben were on the show to promote Ellen’s new book, Always a Song. There were so many familiar names and places mentioned in the interview I knew I had to get the book.
Ellen’s childhood began in Massachusetts in the fifties when the House un-American Activities Committee was active and people were busy trying to root out Communists. Her father was a schoolteacher who had associations with the Communist Party. He eventually lost his job because of that. Both parents had lives focused on music. Her father repaired musical instruments and her mother gave banjo and guitar lessons. Family friend Pete Seeger (yes, that Pete Seeger) suggested that they move to California and set up a shop to repair musical instruments. They did just that. Thus the Folk Music Center in Claremont, a place with which I was quite familiar during my years there, was born.
It amazed me to read about the prejudice in Claremont in the late fifties and early sixties. Ellen’s mom went looking for a house to rent with the kids and found one place that looked ideal. The landlady looked at them and said that she had rented it. When her dad called the landlady on the phone she said, “Oh, you’re Jewish, that fine. I thought they were Mexican.” The family had an African American neighbor who was a doctor. He faced a great deal of prejudice. When he was renting a house in town he was barely tolerated, but when he bought a lot on which to build a house he received serious threats. Scripps College, the women’s liberal arts school of the Claremont Colleges, expelled a stellar student in the early sixties simply for having a same-sex relationship with a graduate student. Not the Claremont that I loved so much in the early and mid-seventies.
Ellen eventually married Leonard Harper. What I didn’t know, what very few if any of us knew at the time, was that Leonard was an alcoholic and abused Ellen. They had three sons together, but she eventually left him and raised the kids on her own. The Leonard Harper we knew at Pitzer was a popular administrator who was well-liked by the students. Sadly, he died an alcohol-related death at a young age.
Music pervades this book. Ellen herself played the guitar and gave lessons. Growing up she worked the front counter at the Folk Music Center. Well-known musicians regularly showed up there and were guests in the home of Ellen’s parents. Ellen never knew what well-known musician she might find in her in her living room when she came home from school. Perhaps a traditional folk musician in the lineage of Lead Belly, or perhaps the likes of Jackson Browne. Joan Baez’s father taught at the Claremont College’s science and engineering school, Harvey Mudd, for one year. One day a high school-aged Joan showed up at Ellen’s doorstep wanting to see her parents. She was upset because traditional Dad wouldn’t let her boyfriend spend the night with her at their house.
When her sons were grown, after getting her B.A. at Pitzer Ellen did the additional work to get her teaching credential. She was successful and popular as a schoolteacher. Ellen went on to get an advanced degree and moved into teacher training. She describes her frustration at dealing with the bureaucracy in the Bush II administration’s No Child Let Behind program. Ellen doesn’t use the term, but I can’t help but thinking that she would appreciate the label the late, incisive Molly Ivins gave to the program: “No Child Left Untested.”
Janina Edwards reads the book capably and effectively. After the first hour I felt I was listening to Ellen herself. I found Always a Song to be a delightful listen.