The purpose of art is to delight us; certain men and women (no smarter than you or I) whose art can delight us have been given dispensation from going out and fetching water and carrying wood. It's no more elaborate than that. — David Mamet

One of my favorite holiday-weekend activities is to read a conference volume about an interesting and active topic that is far, far outside my field. This is a delightful collections of studies of tourism in the American West, written by professors of Tourism. Some of those professors understand why, at parties, people laugh when they explain their vocation.

People have been traveling to see the mountains, the desert, the cowboys and (especially) the Indians for a very long time. This is problematic: everything is problematic, naturally, but all this is especially problematic because the underlying racial questions can neither be avoided nor cured.

There's little here that can be operationalized beyond a sensible consensus that it’s always wise to follow the money and the observation that, if you follow the money you will find it tends to wind up in distant and unexpected places. Leah Dilworth has a lovely paper on Fred Harvey, the company that provided food and souvenirs for the Santa Fe Railroad, and the Indians. Marguerite Shaffer also has a fascinating look at novels about tourism in the early 20th century, which seems to be the best way to capture not only what tourism does but also what it is trying to do. The evil that tourists do persists after they leave in mounds of litter and mountains of slights and injustices. Much of the good goes home with the tourists in the form of a wiser, better society and a more democratic nation.

September 10, 2020 (permalink)


Free Air
Sinclair Lewis

A neglected classic of which I’d never heard by the author of Babbit and It Can’t Happen Here. Claire Boltwood is a young Brooklyn woman whose wealthy, widowed father works far too much. In 1917, Claire takes matters into her own hands and undertakes to drive with her father from Minneapolis (where Dad was vacationing by running the Western branch of his company) all the way to Seattle. They are not even out of Minnesota when they meet a helpful small-town mechanic, Milt Daggett. He gets their car out of the mud, and instantly falling in love with Claire, decides to get into his own little car and head for Seattle as well. The farther West we go, the more Claire travels beyond her conventional gender role, and the more Milt transcends his class. This is, in short, an American sentimental romance.

What is striking here is the conviction that Americans are fundamentally (if not universally) good, decent, and sensible — and that small-town America in particular is — despite some bad and selfish apples — pretty good and tolerably smart. In this America, hardly anyone has much education but every country lawyer and small-town doctor is a missionary of enlightenment. This is not the rural, small-town America that inflicted Donald Trump upon the rest of the country and the world, or that persists in spreading COVID and destroying the planet.

September 10, 2020 (permalink)


Military journalist Thomas E Ricks (Fiasco) mentioned on Twitter that this is a novel that everyone in the military knows and that most admire. It follows small-town Nebraskan Sam Damon from his enlistment just before the First World War up through Vietnam.

It’s not a bad book, though it’s very long, and it indulges in lots of set-piece essays that pretend to be after-dinner dialogue. Indeed, we have (at least) two characters — one of them Sam Damon’s wife! — that serve primarily as a means to inject essays into the narrative. Sam Damon, once he gets going, is a fine characters; you can see why this would make an attractive assignment at West Point.

The obvious comparison is with W.E.B. Griffin and his serial novels on the Army and The (Marine) Corps. Griffin wrote later: Once An Eagle was published in 1968. The great subject for both writers is the soldier’s fight against stupid, greedy, and vain superior officers. Myrer’s book is bitterly anti-war and deeply mixed about the military; Griffin carefully sidesteps war as a subject. Myrer despises war profiteers and suspects that all rich civilians are either profiteers or parasites; Griffin is fascinated by wealth (and by the Old South). Both writers have a strange relationship with their Jewish officers. Griffin particularly admires the scrounging and chicanery that lets junior officers and non-comms get what their troops need; Myrer’s not really interested.

Unlike Griffin, Myrer’s conclusion is bleak. We aren’t going to settle down on the Carolina Shore; the war will never end.

August 21, 2020 (permalink)