Through a Glass, Darkly

I happened to read the other day that the public schools here were starting fall classes this week, and in fact, they began on Wednesday. It seems to me that the date of school opening has inched much closer to the beginning of August than it was when I was a student. It's not that I have any stake in it, but it goes against my grain to think of going back to school while summer is still in full flower. It seems a little cruel and unusual, but don't tell any school administrators I said so. It's just my personal opinion, which means little.

I tend to think that school should start, at the earliest, at the very end of August, or better yet, right after Labor Day. The Christmas holiday should be two weeks long, and there should be a full week of spring break or Easter recess, whichever you prefer to call it. Summer vacation should be three months long, and it should begin either right before Memorial Day or immediately after. Of course, my first elementary school experience was in Florida, where snow days never wreaked havoc with the school calendar, and a schedule like this was actually possible.

As much as I liked summer vacations as a child, I was usually a bit excited about going back to school in those early years. There would be new clothes, a new lunch box, and that wonderful smell of new composition books, pencils, and ink cartridges. When I was in school, I didn't mind it most of the time and sometimes quite enjoyed being there. It's just that vacations and the freedom that came with them were so much more fun, and sitting in a classroom all day is difficult even for a good student. In many ways, it was a more innocent time, though I know it's a truism to say so.

I reminded myself when out and about this week to be on the lookout for school buses and have, indeed, seen several. Yes, everything seems a bit muddled when school buses appear only a week and a half into August, but as muddled as the state of the world is generally, an anomaly like this is only a drop in the bucket. I pulled into the parking lot of a local Catholic Church the other day, purely on impulse, because I wondered if it might be open (it has wonderful light, which is great for meditation). In the parking lot was an expensive-looking SUV with dark tinted windows and the engine running, a slightly ominous sight that I'm pretty sure would have given me pause even as a child.

I went to Catholic schools where the church was next door to the school building and seemed a fairly benign place, even if you didn't exactly believe everything they told you. Church was a place where they had bingo and spaghetti dinners, not weird-looking SUVs that kept their windows rolled up and engines running for fifteen minutes at a time. I considered whether this was any of my business or not, as all kinds of strange things seem to happen these days without anyone taking notice, but in the end I decided to report it to the church. The woman I talked to seemed to take it in stride, though she did say they had noticed an uptick in the number of people pulling into their lot to check their cell phones.

OK, well, I'm old-fashioned, I believe in no school till Labor Day, watching out for school buses, and reporting suspicious activity--so I did my part. I hope someone would think it a little stranger if this happened in a school parking lot with kids around, but it does seem to take a lot to get people's attention these days, so I don't really know. I guess the truth is that I just don't like tinted windows.

Chasing Kings at Tintagel

There was a news item last night about excavations now taking place at Tintagel, the legendary birthplace of King Arthur on the Cornish coast. The ruins of a castle belonging to Richard, Earl of Cornwall, that still stand on the site are from the 13th century, too late for Arthur, who is usually placed in the sixth century or so. Archaeologists are now hard at work uncovering the walls of a palatial Dark Age structure, part of a larger complex of buildings yet to be excavated. The evidence of glass, pottery shards, and other artifacts at the site tells the story of wealthy inhabitants who must have had extensive commerce with the Mediterranean world and possibly with the Roman empire itself, which still existed in diminished form after the Romans withdrew from Britain.

The articles were fascinating and the videos and pictures equally captivating. The Cornish coast is very beautiful, and a more dramatic spot for a palace could hardly be imagined. I've always wanted to visit the West Country, and this news certainly does nothing to diminish that feeling. Although the presence of a Dark Age palace doesn't prove that Arthur lived there, the findings are provocative; no doubt many additional details will emerge as the work continues over the next five years. What an opportunity for an archaeologist--Indiana Jones has nothing on the Cornwall Archaeological Unit. It goes without saying that interest in this project, in which history intersects with British legend and myth, must be very keen.

As I looked at the photos, I naturally thought about my Grail story, which I published on this site last summer after being inspired by some readings in Arthurian children's fiction and Grail literature. Arthur's birthplace has never been synonymous with the Grail castle, but the Tintagel site, from my viewing of the photographs, is similar to what I imagined for Corbenic, even down to the detail of existing on an island. Although it is not as far out at sea as I placed my castle (my Grail knight had to ride over a causeway in a storm to reach it), the Tintagel headland, currently reached by a land bridge, will one day be connected to the mainland by a daring new structure soaring high above the old one, which should offer stunning views as well as an unforgettable approach to the site.

All of this is very exciting and has the potential to add much to the current understanding of the history and culture of the period, even if King Arthur himself remains elusive, as mythic figures often do. I was struck by the presence of a recently installed sculpture of a royal figure on the site, an eight-foot bronze by artist Rubin Eynon called Gallos (Cornish for "power"). Although it is up to the viewer to decide whether this kingly figure is Arthur or not, the sculpture itself is very commanding, though somewhat wraithlike in spite of the bronze. The face is partly hooded, and the kingly robe flows into panels that expose a somewhat slenderer figure than one would expect. The effect is startling; I don't know what the artist intended, but the figure speaks to me of the fragility of power, of the gap that lies between the role of ruler and the human dimensions of the individual who steps into the role.

I understand that many people are concerned that Cornish history be portrayed accurately at Tintagel, and I think it's good that this figure makes no claim to be Arthur but rather remains undefined and open to interpretation. That not only avoids historical inaccuracies but also provides, by virtue of anonymity, a more powerful meditation on leadership and power than it would be if tied to a particular personality. An official at the site remarked on what the experience of coming upon this figure in the mist would be like, and I agree: I'm guessing it's a bit of an unnerving experience, like coming across an archetype striding out there on the cliffs instead of a human being. It's not often that legends come to life like that, even if the name isn't Arthur.

When Light Summer Reading Gets Away From You

We've definitely had dog days of summer here this week. The heat index was 114 on Sunday, and I had to change my clothes immediately on coming in from an evening walk. Thunderstorms today eased things off a bit, but it's late July, so the air is still heavy even though it's a lot cooler now.

My reading habits have been as unsettled as the weather. I revisited my shelves the other day to find something I was in the mood for and picked up Jack Finney's Time and Again. I read this rather unusual time travel story some years ago and thought it might serve for some light summer reading this week. If you haven't read it, it's the story of a young ad agency artist who gets recruited for a secret government project that involves going back in time.

Yikes! The first time I read it, I enjoyed the suspense and build-up at the beginning of the story as the main character gradually learns what the project entails and what's being asked of him. This time, I confess that it struck me in a completely different way, namely, that I was horrorstruck at the deal that's offered to Si, who's only told that he's being given a rare opportunity to participate in the adventure of a lifetime. The catch is that he has to agree to participate and be sworn to secrecy before he learns what he's agreeing to. Sounds like something you'd just jump at, right? Drop everything, tell your family and friends you're going away for an undetermined period of time, and place yourself in the hands of government agents you'd never met the day before yesterday--yes? In the story, Si's handlers lament how few candidates actually make the grade and pass all the screening. To me, it's a wonder they find any, given the conditions.

Nonetheless, I kept reading, and found that I really enjoyed the passage in which Si and his friend Kate manage to go back together for a couple of hours to 1880s New York. Kate is not actually part of the project and has no business being there, so I liked the way she and Si decided to subvert the rules and jump in together. Their goal was just to observe and not do anything to bring attention to their presence, so this passage is basically a description of what it's like to stroll through Central Park and take a trolley ride late in the afternoon of a winter day in 1882. It's a charming sequence.

I've certainly wondered what it would be like to be able to go back in time just for a few minutes to see what my street looked like 200 years ago, say, or what the Great Plains looked like when buffalo still roamed there. Si and Kate get a chance to see what New York was like before the advent of skyscrapers, and to observe the dress and appearance of its inhabitants in the age of top hats and bustles. I was fascinated by Kate's observation that the people's faces were somehow different from those of modern New Yorkers in some indefinable way. Personally, a quick there and back like this ride down Fifth Avenue would probably have been enough for me, but for Si, the first subject to actually succeed in time travel, it's only the beginning.

I started to lose interest in the story when Si went back again, this time without Kate, and took up residence in a boarding house, where he started involving himself in the lives of the other residents and beginning a flirtation with the landlady's niece. I'm not actually that fond of time travel stories, and I kept thinking of what a mess things would likely end up being if such a scenario were actually played out. Far from the "We only want to try this to see if it can be done" attitude of Si's government employers, I can only imagine chaos ensuing if, for example, our government (or anyone else's) somehow managed to send an agent back in time. Undoubtedly, the real purpose would end up being to manipulate events to come out in somebody's favor, which would of course unleash a whole host of other consequences, with everything spiraling out of control before you could say "jackrabbit."

Mr. Finney's story was published in 1970, which may, perhaps, have been a more receptive time for this kind of thing. I'm thinking of the state of the world today and how much less faith many people have in the good intentions of government and in the ability of humans to bend nature to their will without making a mess of it. Also, I suppose I have a greater appreciation now for the law of unintended consequences. I know, I know . . . you're supposed to suspend disbelief to get into the spirit of an adventure like this, but somehow or another, the book kept seeming to mutate from an adventure into a horror story, so I put it back on the shelf and found something else. So much for a little light summer reading.

Whatever time we find ourselves in is going to have advantages and disadvantages. I might be more amenable to the idea of time travel if we seemed to be making more of a success of our own era, but I'm afraid the jury's still out on that one. It's a little bit like the way I feel about traveling to other planets: not a bad idea, but could we please do a better job of managing life on our own turf before packing our bags and hurtling out into the galaxy? Sounds like a plan.

The Drawing Room Marlowe

The other day I started reading Raymond Chandler when I couldn't find the book I had been looking for (an adventure-romance, and not at all noirish). Here's the thing about Chandler's Marlowe stories: when you read one, you enter a universe that seems not only amoral but also tawdry and cheap, albeit in a glamorous, Old Hollywood sort of way. Gangsters, thugs, cops on the make, spoiled rich kids, ruthless millionaires, shysters, confidence men--the first time I read Mr. Chandler, I was simultaneously impressed by his witty style and appalled at his characters.

That was more than 10 years ago. Today, I'm still rather horrified by the meanness and lack of honor one encounters in his pages, but I'm no longer able to view his world as a fiction I can leave behind simply by closing the book, because . . . well, don't some of these people seem oddly familiar? One of the many things growing up does for you is to remove some of the misapprehensions you may have entertained in your youth. While this is not altogether a cause for despair, it's certainly an eye-opener. Your first realization that you might have more in common with some of Shakespeare's characters than you ever dreamed of as a high school freshman is one thing; to realize that the world you know is not so very different from the gritty, hard-bitten L.A. underworld as seen by Philip Marlowe is quite another.

I remember being fooled by the first Chandler story I read into thinking initially that the Marlowe universe had no moral center. This is wrong, of course: Marlowe is the moral center. Because he himself has no illusions and blends so successfully into the jungle with his tough talk and willingness to play hard and fast, I mistook his coloration for something else. A similar thing happened the first time I saw Fargo; I thought the film was ridiculing not only the villains but also the police officer played by Frances McDormand. It was only on a second viewing that I realized how heroic, if unglamorous, McDormand's Marge Gunderson actually is. Likewise, in Marlowe's case, I had to learn to distinguish the manner from the man. Once I did that, it became easier to find my way through the story, as if I had suddenly found the thread in the maze.

If I asked you to stop right now and think of what legendary or mythological character Philip Marlowe reminds you of, what would you say? My breakthrough moment 10 years ago came when I realized that he is really the noir equivalent of a knight in armor, a Galahad, or, more likely, a Lancelot, operating under his own moral code rather than a knightly one. His chivalry might take very unusual forms, and his failings are much more apparent than those of a saint like Perceval, but like a knight errant wandering in the forest he is motivated, underneath it all, by ideals. If he loses his way, he always finds it again, though he may get little thanks for it.

The dispiriting thing about Chandler's world at first glance is that Marlowe's character appears to be operating in a vacuum. There is no Grail, no apparent center to the maze, and no apparent meaning to the struggle other than the will to survive. If you scratch a little deeper, though, it becomes apparent that there is something more, a determination Marlowe has made to live life on his own terms. If there's no justification for the brutal world he finds himself in, fine, he'll be his own justification. Like Childe Roland in Robert Browning's poem, he goes off to meet his adversaries in a bleak and somewhat joyless landscape with an attitude of defiance and a touch of style that really makes all the difference.

It's certainly possible to rail against one's fate and to feel that one would rather be living in a different book. I might picture myself more easily in, say, Jane Austen's world, where people are polite, conversation sparkles, there are plenty of picnics and dances, and behavior is constrained by certain expectations and mores. That's the upside. The downside, of course, is that after a while, all of that dancing and drawing room conversation is bound to get a little old and some of those societal expectations a little confining. Don't you imagine that, if you had been sitting around the fire with your needlework for years and spent one too many evenings making polite conversation with the vicar that you might welcome the sudden appearance of a Philip Marlowe, cynical, unapologetic, and unreconstituted, in your social circle? Certainly, I would.

The main difference between a Marlowe and a Galahad is that, as a postmodern hero, Marlowe navigates without a map. Galahad and Perceval operate under a Christian worldview that gives their universe meaning and supplies the moral compass that guides their actions, even when they are far from Arthur's court. The spirituality underpinning their quests lends a certain ethereal beauty to their landscape that is lacking in Marlowe's, but perhaps that makes his heroism all the more striking.

The difference between a Mr. Darcy and a Philip Marlowe? Well, obviously Mr. Darcy has more polish, and Mr. Marlowe has more swagger, but who knows? In an Austen universe, without all those layabouts to keep in line, maybe Marlowe would relax his cynicism and Darcy would learn to make coffee and scrambled eggs. One thing's for sure: those evenings in the drawing room would never be the same. Maybe the vicar wouldn't welcome the change, but I suspect everyone else would.