Is the Declaration of Independence Racist?

Dr. Thomas Kidd is now blogging at The Gospel Coalition and he responds to a charge made this week that the Declaration of Independence is a systemically racist document.

“The greatest ideal animating the American experiment is here: the notion of equality by creation.” And yet, “if people are equal before God, then how can you justify slavery? Some African Americans like American soldier and evangelical pastor Lemuel Haynes asked this question within weeks of the promulgation of the Declaration.”

Haynes wrote an essay in response to Jefferson, in which he said, “Liberty is equally as precious to a black man, as it is to a white one, and bondage equally as intolerable to the one as it is to the other.”

But is the Declaration fundamentally racist? No, though it does have troubling spots, which only makes it an imperfect document. The key idea still isn’t racist at all, even if it was originally interpreted in a way we would not today. “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness”

‘The Last King’

I figure I’d better share this film trailer with you, though I’m a little torn. I shall explain below.

The story of the Birkebeiners and the little king is a classic set piece of Norwegian history. The Birkebeiners were a political party/fighting group, mostly based in northern Norway. Baby King Haakon Haakonsson (his actual patrimony is somewhat in doubt, but that was more the rule than the exception in Norway during the dynastic wars) was spirited over the mountains by two faithful retainers on skis, to save his life from the forces of the Bagler party. In time he survived to be king and end the civil wars.

The Birkebeiners (birchlegs) got their name from a legend that they were so poor at the beginning that they had to wrap birch bark around their legs for warmth in the winter. The Bagler party, which had its strength in the south, was more aristocratic and was allied with the church. “Bagler” comes from the word for a bishop’s crosier.

I personally have long had Bagler sympathies, as one of their leaders was a nobleman who lived at a place where some of my ancestors came from. Thus I like to think he was an ancestor.

On the other hand, Haakon Haakonsson built the big stone church at Avaldsnes, where my great-grandfather was baptized. So I guess I can suspend my partisanship for a couple hours and see this movie.

Coming June 17. It won’t be in a lot of theaters, but it will be available on Netflix.

Could Pixar Be Past Its Prime?

Steven Greydanus isn’t quite ready to say that Pixar has lost its heart or forgotten its vision, but he describes what he calls the three ages of the company, centered around their relationship with Disney.

Those two years between 2004 and 2006, when Pixar hoped to break with Disney and go in a new direction, turned out to be a crucial transitional period. In 2005 Brad Bird (The Incredibles) took over development on Ratatouille, and Pete Docter (Monsters, Inc.) began writing Up. Andrew Stanton (Finding Nemo), who had been developing Wall-E since 1994, worked on the project throughout this period.

These three films — Ratatouille, Wall-E, and Up, released from 2007 to 2009 — were all vitally shaped during that transitional two-year period when people at Pixar were thinking about life after Disney. And it shows. There is a special quality to these films that makes them different from anything before and almost anything since — an audacious, outside-the-box, un-Disney-like quality that defies all expectations for a Hollywood family film.

via GIPHY

‘The Song of the Mockingbird,’ by Bill Cronin

There are some books you read, and you salute the author’s intentions. But you have to conclude that his reach exceeds his grasp. So it is with Bill Cronin’s The Song of the Mockingbird.

The book opens in 1995, when bestselling author Jack McNamara’s life is falling apart. His creativity has been blocked for months, and a publisher’s deadline is fast approaching, after which he’ll have to return a million dollar advance. On top of that his wife, whom he loves, has left him. To prove to her he’s trying to solve his problem, he sees a therapist, who tells him his problems seem to center on the summer of 1961, when he was a young teenager.

1961 was a whiplash year for Jack. He sold his first short story, to his mother’s great pride. He suddenly learned he had a half-sister, who moved in and quickly became his best friend. And he acquired a girlfriend.

Then his hero, Ernest Hemingway, committed suicide, fulfilling a prophecy made by his emotionally abusive father. And his half-sister left suddenly, without explanation. And he lost his girlfriend due to a horrible crime.

Jack returns to his childhood home, Hollywood, Florida, to try to pick up the threads of the past and learn what really happened, what secrets were hidden from him.

I appreciate the attempt author Cronin makes with this book. But the novel we have is not the novel he’s trying to deliver.

First of all, when a narrator tells us he’s a bestselling author, and that Hemingway is his hero and role model, he needs to write a book that’s Hemingwayesque. The Song of the Mockingbird is not Hemingwayesque. Cronin is too wordy, too inexact with his word choices. His prose, especially his dialogue, does not snap with perfect lines as Hemingway’s does. He fires a verbal shotgun, not a rifle.

Also, an intended Big Surprise about 2/3 of the way through was obvious to me a mile off. And the book’s characters display conventional (for our day) reverse sexism – of the three male characters in a female-dominated book, one is a black man (who obviously gets a pass), and another is sheer stereotype, more bigoted than Archie Bunker. Every female is admirable.

I was interested enough in the story to read it through to the end. But I’m not interested enough to buy the two sequels. Nice try, but this is not a successful work.

Ethical Editing Must Be Hard for Journalists

Photographer Steve McCurry, who is still admired by many photojournalists according to Gianmarco Maraviglia of Echo Photojournalism, has breached ethical lines by editing his photos to be more clutter-free. As the Associated Press puts it, “We do not alter or digitally manipulate the content of a photograph in any way.” To do so is at least to open themselves up to charges of altering the truth being shown in the photo.

Now McCurry calls himself a “visual storyteller.” He said, “Even though I felt that I could do what I wanted to my own pictures in an aesthetic and compositional sense, I now understand how confusing it must be for people who think I’m still a photojournalist.”

Yeah. Some of us still think Katie Couric is a journalist or perhaps in league with the journalist ilk, so we were surprised to learn that her people edited a documentary on guns, rights, and violence to show the Virginia Citizens Defense League dumbfounded when Couric asked them a basic question.

“If there are no background checks for gun purchasers,” she asked, “how do you prevent felons or terrorists from purchasing a gun?”

In the video, you hear that question and then see members of the group looking at each other or at the floor as if unable to give an answer, but in the audio, which you can hear in this article, the group dives right in. The first voice states that if you aren’t in jail, you should still have the right to purchase a gun, a point which others pick up on later when they say the government cannot predict a crime before in happens. There’s always a first time, and generally speaking we can’t foresee when that will be.

But if those answers are given in the documentary, they aren’t given as direct answers to Couric’s question to the Virginia group, and that has a few people upset.

“Katie Couric asked a key question during an interview of some members of our organization,” their president said. “She then intentionally removed their answers and spliced in nine seconds of some prior video of our members sitting quietly and not responding. Viewers are left with the misunderstanding that the members had no answer to her question.”

The director of documentary said he had just wanted to give the viewer space to think about the question.

‘Once Was Lost,’ by Matthew Iden

Once Was Lost

This is the latest Marty Singer novel, and it just came out. I grabbed it right away. I’m enjoying this series by Matthew Iden, and Once Was Lost doesn’t disappoint.

Marty Singer, ex-Washington DC cop and cancer survivor, gets asked for a favor by his adopted daughter, Amanda. She works at a women’s shelter, and a guy who’s been doing handyman work there needs serious help. He was a low-level gangster, but he decided to testify against his boss, who’s also his uncle. Then he was betrayed, and he barely got away alive with his son when his police protectors were murdered. Now he’s had enough of gangsters and cops. He wants to run away and disappear. Can Marty help him? Can he keep the father and son safe from both the crooks and a (possibly) corrupt US marshal?

Well, it’s not easy. And Marty doesn’t much like his new “client,” Tommy Donlan, who’s arrogant, whiny, and ungrateful. But his kid is nice, and Tommy’s genuinely devoted to him. So Marty, along with Amanda, his girlfriend, and a computer geek buddy, gets to work trying to disappear Tommy.

It works. And then there’s a twist, and he needs to find the guy he’s helped to vanish.

As always, author Iden writes a tight, gripping tale. A particular excellence of this book is his development of the character of Tommy. Tommy’s very off-putting, but Iden skillfully gives him just enough humanity to make us root for him. It’s interesting that a book called Once Was Lost includes a character named Grace. There’s grace in this story, but also many reversals and surprises. Amazing, you might say.

Cautions for language. Recommended.

Film review: Whit Stillman’s ‘Love & Friendship’

Love & Friendship

I am fond of Jane Austen, though I’ve only read two of her novels. I’m a huge fan of Whit Stillman. So when I review his latest effort, Love & Friendship (which looks like it might be the big hit he’s deserved for so long) my perspective is that of viewing Austen-land from Stillman-land. This is probably fairly unusual.

People have noted the similarities between Stillman’s work and Austen’s books from the beginning. Metropolitan, his first movie, is self-consciously Austenian, a point paradoxically emphasized by the main character’s insistence that he’s never read Jane Austen because he prefers to read literary criticism of her. That’s an exquisitely Austenian comment on Austen.

And that’s what we also have in Love & Friendship, based on an Austen novella, Lady Susan. It’s meta-Austen. It tells its story, comments on the story, and laughs gently at its comments. It’s a lot of fun. It might be the perfect movie through which to introduce an intelligent consumer who’s not familiar with Austen’s work (I’m sure there are such people; I’m almost one of them) to her world.

Lady Susan (Kate Beckinsale), the main character, is “the most notorious flirt in England.” A young and beautiful widow, we meet her in a silent-movie preface (with subtitles) in which she is driven from the home of a relation, having broken hospitality by seducing the man of the house (she thinks this response shockingly unjust). She then goes to stay with other relations, where she attempts to win a handsome younger man as her own husband while scheming to marry her virtuous daughter off to the stupidest man in England, James Martin (Tom Bennett). Bennett’s scenes are the funniest in the movie – he’s Wodehousian in his affable ignorance. He’s certain there are Twelve Commandments (general ignorance of the Ten Commandments is a running joke in this movie – a comment, I assume, on our own times). Lady Susan is Donald Trumpian in her invincible self-regard and lack of concern for the feelings of others. She’d be unbearable if forces of cosmic justice, acting behind the scenes, didn’t conspire against her machinations – something she would deeply resent if she were aware of it.

I liked Love & Friendship a lot, and suspect I’ll like it more when I’ve seen it a few more times (which I’m sure I will). I was pleasantly surprised by the crowd at the showing I attended – much larger than I expected, and mostly gray-haired, people who I suspect don’t go out to the movies much anymore.

Highly recommended. Not for kids, because much of the humor is sexually sophisticated (though not smutty at all), and because the vocabulary hovers at a high altitude.

Fine Storytelling in Stoddard’s Evenmere

David Randall gives James Stoddard’s  Evenmere trilogy high praise, saying he ought to be famous for them by now. “Stoddard . . . makes a nifty apologia for the fantasy genre, as a necessary mediation that allows us to perceive the divine story through the protective articulation of another level of story.”

Stoddard’s books are good, simply as well-written fantasy. But their theological dimension lends them real depth. The High House is a representation of the universe, its architecture the Divine Architecture. Some parts of the allegory are straightforward: For example, the long, empty corridors between inhabited parts of Evenmere echo the distances of the stars. More subtle is the way meaning emerges from the fabric of Evenmere, in glimpses of the divine amid the prosaic:

The bare corridor continued only a brief time before ending at the base of a wide stair, which ascended to a gallery leading to the left, its end lost in the darkness. The steps were gray marble, and monks were carved upon the balusters, their mouths wide as if in song, their faces all turned toward the top of the stair. (High House)

Taking liberties with realism

Our friend Loren Eaton at I Saw Lightning Fall exegetes the ways the Daredevil series improves its storytelling by getting the real world wrong:

Here’s the interesting thing, though: While all these examples might falter on the ground of plausibility, they do yeoman’s work in developing both characters and plots, in advancing scenarios and revealing personal peculiarities. When Kingpin calls Vanessa on the carpet for concealed carry, viewers learn that she’s not some ingénue, but rather an empowered woman with her own ambitions: “We’ve been sitting here talking for hours, and you’re going to insult me like I have no idea what you really do? … I know you’re a dangerous man. That’s why I brought a gun to a dinner date.”

Read it all here.

‘Punctured,’ by Rex Kusler

Punctured

Rex Kusler shows promise as a mystery writer. Punctured is the first in his Las Vegas Mystery series.

The hero is Jim Snow, a former Las Vegas police detective who left the job to become a professional card player. But he’s had an unlucky streak recently and is thinking about other possibilities. Then he gets a call from his sister Karen, who also lives in Vegas. Her husband has been murdered, and she knows the police suspect her and her (male) neighbor.

Jim has never been all that close to Karen, but he agrees to help. With the assistance of a woman cop and a homeless man, he starts sorting through a tangle of motives and scenarios.

Author Kusler has the talent to be a good novelist, I believe. He writes a good sentence (most of the time), and knows how to stage a good scene. His problem is character development. His way of revealing his characters is to have them spill their entire life stories, with or without prompting, the minute they first appear. It stretches credibility the first time, and becomes funny when repeated again and again.

There are several books in this series now, and one hopes the author has improved his technique. I’d be inclined to try the next book, but there was one scene of fairly heavy-handed feminism that put me off. But Punctured isn’t a bad book, if you overlook the character development problem. Cautions for language, but it’s not terribly bad in that regard either.

Book Reviews, Creative Culture