Mohsen’s Summary of The Away Place

February 8, 2010 by mirghanbari

“The Away Place”, set in the early 1970’s, involves two interwoven stories, the story of John Cobe, an adult with down syndrome, and his struggles to live a “normal” life as he emerges from a state institution, and story of Sarah Richardson, the idealistic doctrol student who both fights for the right of the disabled and tries to right a wrong her mother commited. Through John’s voice, though cognitively limited, we find him to be a surprisingly creative individual who seeks relashionship with others while seeing the world in terms of good guys and Mean men. In Sarah we see a woman conflicted over the unfairness of life who is drivento make a difference in the world.

John has lived in  “Larkspur State Home and training School” all his life, though he sometime wonders what is outside in the “Away Place” He thrives on his laundry job and his friendship with Lonnie using his vivid imagination to virtually leave his captive world, such as play acting TV shows. He pretends he has a family, kissing picture of “mama” every nioght (a picture we later find cut out has been from a magazine).

Sara’s crusade begins when her mother confesses to her on her deathbed that she had a child when she was a teenager who later died in an institution. Partly to atone for her mother having put the Down Syndrome baby in an institution, and partly out of regret that she never had the chance to know her brother, Sarah pursues her doctorate in adult developmental disabilities by starting an experimental group home. She intends to demonstrate that even severely and profoundly retarted individuals can live sucessfully in the community and should not be shut away in archaic.

Sarah selects John and Lonnie and they are suddenly moved from the familiarity of Starlight Hall to Sarah’s group home, a lovely old house in the heart of small college town in Oregon. Besides John who can’t read nor count pass three, and Lonnie, who uses only sign language, loves to tie his socks into knots and get in stubborn “no moods” when crossed, Sarah chooses three other clients, Mick has significant behavior problems, stealing food and stuffing his mouth until he chokes, hoarding pencils by the dozen, striking out at people who get in his way. Peter is autistic, flapping his hands and rocking to escape interaction with others- worse, he screams and beats his head when touched. finally, Ricky is the evil-minded, explicative-spewing resident who looks normal but refuses to learn new skills, becoming increasingly hard to mange as time goes on. Sarah is challenged is challenged to understand each client’s needs, to develope programs to teach new skills, and to manage her inexperienced staff, in addition to conducting her research.

John becomes the star client, adapting rapidly and liking the feeling of being grown up. He especially likes sarah and quickly becomes attached to her, In the newfound freedom of the group home, John’s creativity is set loose. Using his charming imagination he and lonnie put on performances and endear themselves to the staff. he and the other clients attend a sheltered workshop during the day where they engage in assembly-line work. here Hohn meets his girlfriend, Betsy, who lives with foster parents she seems to fear.

Sarah’s main support for her research project is Dr. William Montgomery, her attractive and inspirational professor who promotes her research and promises to help her publish it to jump-start her career. Sarah is at first flattered by his attention, but his overtures and reputation for bedding young doctoral students make it clear his support comes with a price. She discreetly pulls back only to find out later that he will withdraw his support when she needs him most.

At the group home Sarah and her student staff members labor to teach life skills to the men in their care. Jana and Barry, two of the “counselors” who work for sarah, are supportive and enthusiastic, learning to love clients’ quirkiness, but Micheal, a pot-smoking, rule-bender defies sarah’s authority and subtly undermines her work.

By now Sarah knows that Barry is attracted to her, she confines to him the anger she has toward her mother and sadness at never getting to know her disabled brother. With Barry encouragement she contacts her estranged father to see if she can learn more about her brother’s fate. She finds out that her mother used to visit her brother in Cal;ifornia, but when they moved to Oregon she said her son had died. Sarah’s dad also reveals that the father of Sarah’s brother is Sarah’s favorite great-uncle, Stan Cohen, who raped her mother at age 16. sarah is remorseful of the way she treated her mother. Barry is there to soothe her in her sorrow, finding his wayinto Sarah’s heart.

Barry points out to Sarah that her brother’s name, Jonathon Cohen, is similar to john Cohen and he encourages Sarah to investigate. Reviewing john’s records they discover that he is indeed Sarah’s brother. Sarah shows john a picture of her mother. john recognizes her as a frequent visitor from his past, Miss Richardson. Sarah explains to him that Miss Richardson is his mother and that she is his sister. John replaces his magazine picture of “mama” with his real family. John finds family belonging while sarah relinquishes her resentment as she forgives her mother and rejoices in finding her brother.

Personal Reflections on Waking up Blind

January 28, 2010 by Ron Boothe

Shortly before 6 pm on September 12, 1983, I found myself sitting in the surgery suite at Emory University Hospital in Atlanta, Georgia. What I did not know at the time, but learned later, was that a horrible mistake was about to happen right after I left. The next patient in line, an elderly African American man named Sargus Houston was scheduled to have surgery performed on his right eye, but the surgery was done on the left. That accident set in motion a chain of events that was to alter the lives of countless individuals, including my own, over the next several years. The facts are now spelled out publicly for the first time in a recently published book (Tom Harbin, Waking up Blind: Lawsuits Over Eye Surgery, Langdon Street Press, 2009). I was a direct witness to some of the happenings detailed in the book, but mostly what I knew about these events as they were playing out was revealed via the grapevine of whispers in the shadows of the hallways at Emory University. I was only a bystander, but not an emotionally neutral one; more akin to an eyewitness to a mugging.

So how did I end up sitting in the surgery suite on that fateful day? Let me back up a year to put these events in perspective. At the time, I was an Associate Research Professor at the University of Washington in Seattle. I am a psychologist by training, but I had joint appointments in both the Department of Psychology and Ophthalmology because my research on perception had direct relevance to a group of disorders that can lead to blindness in children. One day I received a phone call from Allen Gammon, Chief of Pediatric Ophthalmology at Emory University. He was assembling an interdisciplinary team of scientists to conduct research on how to treat children born with cataracts, and he wanted to recruit me to move to Emory University and join this team. At the time I was firmly entrenched at the University of Washington and had no interest in leaving the Pacific Northwest to move to Atlanta, so I turned him down.

I discovered that Allen was not an easy person to turn down when, soon after, he appeared at my doorstep making a sales pitch about why I should join his research team. He told me stories about his patients: Desperate parents of babies with infantile cataracts who had been referred to the Eye Clinic at Emory University, a major regional medical center. Allen revealed how he agonized over what treatment to recommend to these parents because, at the time, there was no consensus about the best way to treat children with this disorder. The particular treatment an infant with cataracts would receive at the time depended mostly on what region of the country the child was born in. A child born with cataracts in Seattle, for example, and referred to a pediatric ophthalmologist at University of Washington, might receive a totally different treatment from one born in Chicago, or New York, or Houston, or Atlanta. So Allen was attempting to assemble an interdisciplinary research team, a group that was to include eye doctors, contact lens specialists, neuroscientists, and bioengineers to carry out a program of scientific studies to establish what treatments were the most effective for preventing blindness in these children.

Eventually, Allen persuaded me to come to Emory University for a visit. During this visit I was scheduled to meet with Dwight Cavanagh, Chair of the Department of Ophthalmology. When I arrived at his office for my appointment late in the afternoon I was informed that his surgery schedule was running late, but that he could still see me if I came by the surgery suite about 6 pm that evening. When I arrived Cavanagh was sitting in the rest area of the surgery suite, between patients, wearing his scrub suit. I had arrived expecting, based on experience with how these kinds of interviews usually go, that he would not even know who I was, and that this would be a perfunctory interview along the lines, “So nice to meet you, hope you will consider joining our wonderful department, sorry I have to run now to take care of important business…” Instead, he greatly impressed me by relating his vision of where he wanted to take his department, and how my own research would fit in with that vision, and astoundingly, he did this with sufficient detail that it was clear he had actually taken the time to read some of my published papers in preparation for our interview. I was to learn later that this was characteristic of Cavanagh. He is one of those charismatic and brilliant individuals who seemingly works around the clock with little or no sleep, reading prodigiously, remembering everything he has read, and approaching every aspect of his job, even a perfunctory interview with a junior faculty recruit, with meticulous preparation.

Cavanagh had already performed 12 eye surgeries that day before our interview. Typically, eye surgeons doing these kinds of complicated, delicate surgeries would schedule far fewer than that, perhaps 5 or 6 even on a long day. Residents working with him frequently stated that Cavanagh was the one of the fastest surgeons they had ever worked with and were often amazed at his stamina. Similarly, in his office on non-surgery days, Cavanagh would sometimes see 50 or 60 patients, spending only a few minutes with each, sometimes after they had sat in the waiting room for 5 or 6 hours waiting to see him. But the downside was a growing concern by Cavanagh’s colleagues that his workload was so far off the scale of what a typical doctor would perform that quality of care of his patients almost certainly had to be suffering.

The reason Cavanagh was taking a break before his next surgery (the break during which he met with me, and I learn now from reading Waking up Blind also included a meeting with an official in the administration at Emory University about financial matters) was because it was taking a long time to get the next patient ready for surgery. The patient was in poor health and his vital signs were not good enough to allow him to undergo surgery without first getting extensive prepping. In fact the anesthesiologist had recommended that surgery be postponed because the patient was in such poor shape that it could be dangerous. Why, one might ask, was the powerful chair of the ophthalmology department sitting around at 6 o’clock at night waiting to do surgery on a sick patient? Was this a medical emergency? A patient in crisis who absolutely had to have this eye surgery completed this day? No; it turns out that there was no compelling medical reason for this patient to be getting eye surgery today. But if this frail elderly black man lying on a gurney in the wings of the hospital having potassium pumped into his system so that he could be stabilized sufficiently to allow him to receive eye surgery that evening was a questionable candidate on medical grounds, it turns out he was an excellent candidate for something else. Medicare could be billed for the eye surgery that was about to be performed. And Cavanagh was desperate to generate income to cover the 10’s of millions of dollars he had over-committed in the process of trying to build up the reputation of his department, money for items such as covering the startup costs of new faculty being recruited (like me), and to construct a new building for the Eye Center.

Finally, Sargus Houston was prepped sufficiently that surgery could proceed, and he was wheeled into the surgery suite. Dr. Dwight Cavanagh, Chair of the Department of Ophthalmology at Emory University and surgeon extraordinaire, performs his 13th surgery of the day. It was a success with one caveat; it was performed on the wrong eye!

Now comes one of those moments in time when choices are made that change the course of history irrevocably. Let me first describe a choice that Cavanagh could have made, but did not. He could have immediately admitted that a horrible mistake had been made. The consequences of that choice would probably have been that large sums of money would have had to be paid to the patient along with apologies for the mistake, and the protocols for the Emory Hospital Eye Surgery Suite would have had to be scrutinized to try to prevent this mistake from ever happening again, and perhaps Cavanagh would have been disciplined, even perhaps had his surgery privileges removed, at least for a time.

But that is not the choice Cavanagh made. Standing at a metaphysical fork in the road of existential moral choices, he chose to inform the patient that the surgery had been a success, and to bill Medicare for the costs of the surgery. Medical records were altered in a manner indicating that both eyes needed surgery, and the patient was informed that he would have to come back later for a remaining surgery on his other eye.

It is fascinating to speculate about why Cavanagh came to make this choice. No one knows the answer to this question, of course, except Cavanagh himself. However, it is possible to construct a hypothetical scenario of what might have happened that is consistent with all of the documented facts laid out in Waking Up Blind. Consider for a moment that you were a powerful surgeon who desperately needed to generate income, and on a given surgery day suppose there were only 4 patients who clearly needed surgery, but 2 other patients who were borderline and might benefit from surgery. You might be inclined to schedule, and bill, all six. And if this pattern continued over a period of weeks or months, the criteria for what patients get scheduled for surgery on a given day might, ever so gradually, get more lax. Eventually so lax that charts of patients, which did not originally indicate they needed surgery, were sometimes altered. These would be borderline cases, and the alteration of charts would not be done blatantly. Instead, a comment might be made to a young resident working in the hospital. Something along the lines, “Remember that Medicare patient out on the wing of the hospital that you examined last week and noted in the chart that his acuity was slightly abnormal? Maybe you should go back and examine him again, because I think you might have failed to measure it accurately, and if his acuity was actually a little bit worse than what you recorded in his chart, he would be a good candidate for surgery. And I just happen to have an open slot this afternoon! Perhaps you can even assist me with the surgery.” Soon the medical chart is altered indicating that in fact the patient does have acuity just poor enough to qualify under Medicare rules for receiving surgery. Eventually, a pattern emerges in which it is not that unusual to have patients scheduled at the end of the day, typically elderly or poor patients, most African American, whose bills will be paid by Medicare or Medicaid, whose charts did not initially indicate that they needed surgery, but shortly before the surgery were “updated” to reflect the fact that they did qualify for surgery. If you were a powerful surgeon who had been doing this for a long period, and then one day you did surgery on the wrong eye, it might not seem that unusual, in your own mind, to simply alter the chart to indicate that surgery was needed on that eye. After all, this does not seem to be that much different from what has been happening at the end of long surgery days for a long time.

Even before the wrong eye surgery, strains had developed between Allen Gammon and Cavanagh. The residents and fellows working in the clinic “would often ask Gammon to examine Cavanagh’s pediatric patients so the young patients and families wouldn’t have to wait the typical four to six hours [to see Cavanagh].” In the course of seeing these patients, Gammon discovered that Cavanagh was frequently leaving the eyes of infants patched for many weeks following surgery. With his training in pediatrics as well as ophthalmology, Gammon was aware that this was a dangerous practice and could easily lead to permanent blindness. Gammon confronted Cavanagh about this. Cavanagh responded that “he wanted support from Gammon, not criticism.”

Gammon became particularly upset about one particular case. He saw a two-year-old patient of Cavanagh who had received a corneal transplant. The transplant had developed an ulcer, an eye condition that should be treated as an emergency because it can lead to permanent blindness if not treated promptly. Gammon arranged for the child to be seen by Cavanagh, and then went about his business assuming the child had been taken care of. “A few weeks later, the child reappeared in Gammon’s office. The eye was blind, and Cavanagh had never carried out any treatment. Gammon was greatly upset.”

Allen Gammon was not the only faculty member with concerns about Cavanagh. Several other faculty members in the department had been confronted with evidence that was troubling. For example, there were repeated instances in which residents and fellows confided to senior faculty, always confidentially behind closed doors, that they had seen instances of medical charts being altered. Also, the clinical pathologist in the department had documented repeated instances where corneal tissue had been removed during one of Cavanagh’s surgeries, ostensibly because it was diseased, but turned out to have nothing wrong with it. An inside joke started to circulate among the residents and fellows in training at the Eye Center about a new condition called the “Cavanagh syndrome.”

Some of the nurses and other technicians working in the eye surgery suite were also developing concerns. It appeared to some that the presumed operating rule about how many surgeries should be performed on a given day had been turned on its head. Instead of the number of surgery slots being determined by the number of patients needing surgery, it sometimes appeared that the number of patients who needed surgery was being adjusted to fill the number of surgery slots available. Worse, nurses and other technical personnel working in the surgery suite knew that corneal tissue being used for transplantation was graded according to it viability, and they noticed that the best tissue was always used for the first surgeries of the day, with progressively poorer tissue used as the day went on. The first patients to get surgery each day were usually well-to-do and prominent members of the Atlanta community. For example, one day a Coca-Cola executive was scheduled for surgery in the 6th slot. On discovering this, Cavanagh moved him to first. Patients squeezed in at the end of the day were predominantly poor African Americans. These concerns had already prompted some of the staff to start accumulating evidence to demonstrate objectively what was happening. But mostly these were only impressions.

However, Cavanagh’s simple act of changing the medical chart on Sargus Houston’s normal eye changed everything. An invisible ethical line had been crossed that could no longer be ignored by those who worked with Cavanagh. One consequence of this was that multiple copies of various records began to be made secretly, and hidden in locked file cabinets in offices, or secretly taken home. There was fear in the air. Everyone with information about what had happened knew that at some point a scapegoat would probably be needed.

A meeting of the faculty of the Department of Ophthalmology was scheduled to take place three days following the wrong-eye surgery. By now, the rumors about what had happened had made the rounds of the department. David Campbell, a senior member of the faculty had had enough, and he made an arrangement with Travis Meredith, another senior member. On the day of the faculty meeting, David would make a motion that a faculty committee should be appointed to review what had happened. Travis had agreed to second the motion. On the fateful day of the faculty meeting, David Campbell made his motion. This was a courageous act. It was unprecedented for anyone to challenge the authority of the Chair of Ophthalmology, one of the most powerful persons on campus due in large part to the millions of dollars of income he was generating for Emory University. The motion was received in stunned silence. In the glare of the eyes of Cavanagh towards those faculty who were present, Travis Meredith apparently lost courage. He did not second the motion. A terrifying silence fell over the room. And then an event happened that was to have long lasting effects, not only on the Department of Ophthalmology at Emory University, but also, indirectly, on me. Allen Gammon, the faculty member who had recruited me to come to Emory and join his research team, who was at the time only an untenured assistant professor, a junior member of the faculty, piped up from the silence of the room and stated, “I second the motion.” Cavanagh had momentarily lost control of the situation, and as a result of this motion, a departmental quality-review committee was formed to look into what had happened, chaired by George Waring, and commonly referred to as the Waring Committee.

What followed is a horror story that further compounded the original horror of the wrong-eye surgery. I know first hand only that part that pertains to Allen Gammon, but the consequences for David Campbell were similarly grim, and what happened to both are detailed in Waking up Blind.

In the immediate aftermath, fear of retribution was the prevailing emotion in the department. Philip Newman, a young Corneal Fellow in the department who had assisted Cavanagh with the operation, had first discovered the mistake, and was aware of the alterations to the medical charts and of the lies told to the patient, was so terrified in the months that followed that he sometimes could not get up enough courage to start his car, afraid of a bomb.

Genevieve Switz, Cavanagh’s physician assistant who had been present during the wrong-eye surgery, was fired within months, as was one of Allen Gammon’s personal secretaries. These firings were ostensibly due to budgetary reasons. That justification seems hard to reconcile with two other events that happened near the same time. First, Cavanagh received an end-of-the-year bonus check, over and above his regular salary, in the amount of $250,000 (equivalent to over $500,000 in current dollars), far more than he had ever received before. The person who awarded Cavanagh the bonus was Charles Hatcher, the CEO of Emory Clinic. Hatcher paid himself a salary in excess of a million dollars that year (more than two million in today’s dollars).

Charles Hatcher was a member of Atlanta’s social elite. He and James Laney, the president of Emory University, frequently attended the downtown Rotary Club where Atlanta’s business leaders met weekly. Allen Gammon had earlier scheduled a meeting with Hatcher to discuss the incident where the 2-year-old child had gone blind, seemingly due to Cavanagh’s neglect. Hatcher’s response to Gammon’s concerns had been, “You win some you lose some.” Then to Gammon’s surprise, what he had thought was a confidential meeting with Hatcher had been reported back to Cavanagh

Two images come to my mind. The first is that of Charles Hatcher’s Rolls Royce idling in the driveway of the President’s Mansion at Emory, waiting to pick up president James Laney for their weekly trip downtown to have lunch at the Atlanta Rotary Club. The second image is the sound of a parent crying quietly at a home where a child has gone blind following treatment at Emory Clinic.

The departmental quality-review committee headed up by George Waring did not even meet until September of 1984, one year after the wrong-eye surgery took place. A curious thing happened just as the committee was getting ready to start its work. Cavanagh sent a memo to all three members of the committee stating that he was going to reduce his patient load, and turn his former patients over to the members of the committee. Just in case the impact of this action was not clear to the committee members, he spelled it out for them in his memo: They should expect to each be able to, “increase your salaries somewhere between $15,000 and $50,000 depending on who does what…”

The Waring Committee report was released to the ophthalmology clinical faculty in the Fall of 1984.  The report was classified confidential and was not to be leaked to anyone outside of the clinical faculty. Regarding the wrong-eye-surgery case of Sargus Houston, the Waring Committee concluded that, “the chart was altered [but] we have no evidence [italics added] that Dwight [Cavanagh] was the author of those changes.” This is no doubt technically true, since they did not take testimony from any witnesses, and did not make any attempts to have a handwriting expert examine the altered charts. The committee appears to have accomplished something similar to the proverbial three monkeys who, by covering their eyes, were able to see no evil.

Regarding the issue of fraudulent billing by Dwight Cavanaugh, the Waring Committee concluded, “We cannot determine whether the data presented represents purposeful [italics added] billing for surgery not performed.” Once again, this conclusion was technically correct, with the caveat that the committee did not interview any witnesses or make any other attempts to determine whether the obviously fraudulent billings were “purposeful”. And so it went. When the report was discussed during a meeting of the clinical faculty, many parts of it were reacted to with “widespread hoots.” For example when George Waring was asked to explain how the committee arrived at the conclusion that, “…Cavanagh did not intentionally [italics added] misrepresent the [surgical procedures] for financial gain.” One member of the faculty asked “How many times was it done?” Waring answered, “Oh, it would be a few hundred.” This entire procedure was beginning, for some within the department, to look more like an episode from The Three Stooges than a serious attempt to determine what had happened and why. But one goal had been accomplished, and accomplished well. The ophthalmology department could claim that a “quality-review committee” had looked into the matter and found “no intentional wrongdoing.” And perhaps even more important, those who had seen the contents of the report were sworn to secrecy, so the details would never see the light of day.

One senior faculty member, Bob Allen, seeing what was happening, had already decided to leave Emory, stating as his reason for leaving that, “he would no longer have his name and reputation associated with this type of program”, and that, “he refused to work for a sociopath.” In March of 1985, a second faculty member, pathologist John Wright, also decided to leave Emory. He had repeatedly sent “Code 3” reports to the Tissue Committee on campus that was supposed to look into cases where surgery was performed but the pathology failed to support the reason for the surgery, and the committee had not responded to a single one.

The fault lines in the faculty who remained were now starting to form. Waking Up Blind describes three groupings. The first was composed of a few faculty members who were staunch supporters of Cavanagh. The second group consisted of David Campbell and Allen Gammon, the only two members of the clinical faculty who openly refused to accept the conclusions of the Waring Committee Report. Third, was the remainder of the faculty who remained neutral, at least publicly. For those in the uncommitted group, a lesson was soon to be provided about what could be expected to happen should they decide to join Campbell and Gammon.

In July of 1985 David Campbell sent an official letter to Charles Hatcher, who by this time had been promoted by Emory University’s President James Laney to the position of VP for Health Affairs, formally requesting an inquiry from outside of the ophthalmology department. A copy of that letter was distributed to the ophthalmology faculty. Shortly thereafter, Campbell was in a meeting with Louis Wilson, a strong Cavanagh supporter. He noticed that Louis, “had a small piece of cord in his hands, looped into a noose. As he and Campbell talked, Wilson kept tightening the noose around his index finger. … David Campbell got the picture.”

In July of 1985, Hatcher, in response to the official request from David Campbell, sent the matter for review by the Professional Standards and Ethics Committee on campus, commonly referred to as the Ethics Committee. This will be the first time a committee outside of the ophthalmology department will have a chance to officially look into the matter. The Ethics Committee did take some testimony from a few witnesses. George Waring testified, somewhat defensively, that his departmental quality-review committee had not interviewed any witnesses. He stressed that the Waring Committee had only been charged with being a review committee. They had reviewed the medical charts and billings associated with the wrong eye surgery, and from some of Cavanagh’s other patients, and that is all they had done. Given that testimony, it appears surprising (or perhaps not?) that one of the conclusions of the Ethics Committee when they issued their final report was that the departmental Waring Committee investigation had been “very thorough.”

The only recommendation of the Ethics Committee with regard to Cavanagh was that his clinical practice should be monitored for 12 months. The charge that Hatcher had given to the Ethics Committee included answering the question, “Is there evidence of current [emphasis added] impropriety in the section of ophthalmology?” They were able to answer this artfully phrased question in the negative.

But the Ethics Committee’s work was not done. When Charles Hatcher passed along the original complaint from David Campbell to the Ethics Committee, he asked to them to also address two other questions. “Has Dr. Campbell acted responsibly and correctly?” “Has Dr. Gammon acted responsibly and correctly?” The Ethics Committee took testimony from Cavanagh that was prophetic. In typical Cavanahesque style, his testimony included the following, “The moving finger writes and having writ moves on. Nor all your piety nor wit shall have it back to cancel half a line, nor all your tears wash out a word of it. … [Campbell and Gammon] have to go.” The final report of the Ethics Committee included a formal reprimand of Campbell. Gammon was spared for now, but not for long.

As soon as the Ethics Committee report was finished, Emory University did something extraordinary. They made the results of the report public, including sending a news release to the Atlanta Journal Constitution newspaper. This was unprecedented because the deliberations and reports of this Emory University in-house committee had heretofore always been treated as internal deliberations that were protected by the legal status of “peer review”. This claim was dropped on the day the report was released to the newspaper, but only for that one day. Then the Emory University lawyers went to work, arguing that nothing else could be released due to the important principle of protecting confidentiality of in-house peer review. And this tactic worked for years, delaying the multitude of pending lawsuits that were eventually filed against Cavanagh, Hatcher, Emory Clinic, and Emory University, and dragged through the courts for over a decade.

The Atlanta Journal Constitution wrote a story based on the released Ethics Committee Report on September 11, 1985. I still remember the awful, sinking feeling I had when I read that day in my local newspaper, “There has not ever been [italics added], nor is there now, any impropriety in Dr. Cavanagh’s practice.” I now invite the reader to go back a few paragraphs to see if you notice a subtle change from what was really in the Ethics Committee Report, compared to what was released to the media. Neither I, nor any of my  colleagues at Emory University at the time, with the exception of those who were on the Ethics Committee, or others who had access to the confidential report, knew  about this discrepancy.

Seeing all this, David Campbell prepares a letter of resignation. However, he is not able to get out of town fast enough to avoid one final public humiliation. On September 17, 1985, Garland Purdue, the head of Emory Clinic, attended a meeting of the faculty in the department of ophthalmology and directed David Campbell to come to the front of the room and stand while Garland read the official letter of reprimand from Emory University. Included in that letter was the following sentence, “You are perceived to have asserted a moral superiority to your colleagues and peers … You are therefore reprimanded for your actions.” Tom Harbin, in Waking up Blind, primarily sticks to the facts and does not inject his personal opinions. However, he does interject a personal comment at this point in the book, “And so Emory University, owned by the Methodist Church, with a board partially comprised of Methodist bishops and headed by an ordained minister, reprimanded one of its faculty for asserting moral superiority.”

Now David Campbell was leaving and only Allen Gammon remained as the conscience of the ophthalmology department. But not for long. As a junior member of the faculty without tenure he did not have a chance against what was to come.

The Atlanta Journal Constitution newspaper story had quoted Cavanagh as stating he was, “the victim of professional jealousy within his department.” Cavanagh wasted no time. He sent out a letter to department chairs and friends around the country celebrating his “exoneration.” Included in his letter, “One [original italics] of the individuals involved in continued furtherance of these issues has been formally reprimanded for inappropriate actions and has submitted his resignation from the University.” The clear implication is that another jealous individual is still lurking in the department, and will need to be taken care of soon. As a result of the Emory University Press releases and this letter, Allen Gammon came to be perceived as a pariah by many ophthalmologists on a national level.

Those of us on Allen’s research team did what little we could, but we were bit players in a drama that involved players powerful enough to swat us like mosquitoes if they had chosen to do so. Furthermore, the information we had was hearsay. All we could really do was vouch for Allen’s character based on our personal experiences. We sent a message to the president of the University, James Laney, about our concerns. We also alerted some prominent members of the Emory University Board of Regents. I personally called an 800 whistle blower number for Medicare fraud and asked them to investigate the billing of eye surgery for Sargus Houston. All to no avail.

Allen Gammon soon lost his office and his space in the Emory Clinic where he treated his patients. He was banished to seeing his patients in a hospital in downtown Atlanta, far from Emory campus. He had lost his academic secretary earlier, and now his clinic secretary and technician were also taken away. His wife had to take on the role of volunteer secretary so that his patients would have someone to contact. He was also demoted from being the Chief of Pediatric Ophthalmology. All of this was particularly humiliating to Allen because his patients, to whom he had dedicated his life, could see all these changes happening, and did not know what to make of it.

When this was not enough to force Allen to leave, Emory University tightened the screws still further. He had been scheduled to participate in a large national clinical trial sponsored by the National Eye Institute of the National Institutes of Health, but at the last moment Emory University decided he should not be allowed participate in the project.

Those of us who knew Allen personally during this period started to become concerned about his mental well-being. Allen became convinced that a private detective was following him whenever he drove. He began using phone booths for sensitive phone calls. He was exhausted, he was haggard, it was obvious that he was not getting enough sleep, he was embarrassed, he was humiliated, and, worst of all, it was beginning to become more and more obvious to all of us that he had lost the battle.

Under the inquisition, even Galileo recanted; But not Allen Gammon! He persisted, a lone man who it turns out, as we now know, had justice and the truth on his side, but nothing else. And for a brief moment it looked as though his strategy of quietly refusing to leave, but at the same time refusing to recant his disagreements with the official line being propagated by Emory University, might have worked. Cavanagh did not resign, but he did agree to take a formal leave of absence, albeit with full pay, in the Spring of 1986. At his point, “Gammon hoped that Cavanagh’s departure would increase his options to remain at Emory with [his interdisciplinary research team of which I was a part], enabling him to continue his academic career.” But, “noose tightening” Dr. Louis Wilson, now interim chairman of ophthalmology, “wreaked the ultimate revenge on Allen Gammon by simply firing him. … Wilson didn’t even give Gammon the courtesy of a face-to-face meeting.”

After being fired by Emory University, Gammon scrambled and was able to secure a position at the King Kahled Eye Specialist Hospital in Riyadh, Saudi Arabia in July 1986. But prior to leaving town, he had earlier filed a formal complaint against Cavanagh to a national organization of eye doctors, the American Academy of Ophthalmology. The Academy scheduled a hearing, but it was  scheduled for a date when Gammon, the official accuser in the ethics complaint, was known to be in Saudi Arabia, and furthermore was known to have signed a contract that would not allow him to return to the USA on that date. The hearing began on September 11, 1986. The day before the hearing was ready to begin, Gammon surprised everyone when he unexpectedly showed up back in Atlanta. Waking up Blind describes what happened, “Gammon had appealed the rule in the contract [with the Saudis] prohibiting a leave in the first ninety days, prevailed, dug deep into his own pocket for airfare, and flown to Atlanta. … Gammon reported to the hotel room assigned him by the academy. There he awaited the summons to the committee. He was ready. He had reviewed his written complaint and all the documents he had saved. He didn’t really need to reread this; the facts were burned into his soul. He waited and no summons came. He waited some more. Finally the phone rang, and [the chair of the committee] dropped his own bomb. The hearing was over. The committee didn’t need to talk to Gammon. … What about David Campbell? He had flown in from New Hampshire and was waiting. Same deal. No need to talk to him either.”

The academy had done a “plea bargain” with Cavanagh, officially called an “alternative disposition.” Cavanagh had to withdraw from practice for two years, and after he resumed practice he would have to have his practice monitored for three years. This would all be kept confidential. He would never be named in any public documents released by the Academy. Cavanagh resigned from Emory University and accepted a position at Georgetown University. Cavanagh later moved to University of Texas, Southwestern, at Dallas where he holds the Dr. W. Thomas Maxwell chair in ophthalmology and is vice chairman of the department.

Those of us on the interdisciplinary research team that had been originally assembled by Allen did the best we could to carry on the research project in his absence. We did some good research, published some good papers in scientific ophthalmology journals, and found answers to many of the questions Allen had first posed that day back in 1983 when he first recruited me to come to Emory University. But the enthusiasm present at the beginning of the project had faded, replaced by jaded cynicism brought on by the events we had witnessed.

For years afterward, whenever I taught undergraduate courses, I would always spend part of one lecture to tell a shortened version of the story I write here. I left out the names of the villains since the information I had about them was only second hand. However, I did make a point to always include the name of Allen Gammon, the hero of my story.

A quarter of a century has passed since these events occurred, and I am now retired from Emory University. Over the years I heard rumors via the grapevine that numerous lawsuits pertaining to the events I had witnessed had been settled, and that Emory University had been forced to pay out millions of dollars to various injured parties. However, the results of these settled lawsuits were sealed, and I had resigned myself to accepting the reality that the details about what had happened, the good, the bad, and the ugly, would never see the light of day

Early in 2009 I received an email from a colleague. “Had I heard, she asked, that Dwight Cavanagh was being considered for a prestigious award to be given out by a national organization that supports academic research in ophthalmology?” For the first time in many years an old, but still familiar, nightmare recurs. I wake up with the words resonating in my head, “You were a witness to what they were able to do to Allen Gammon.”

Not long ago I watched the film, Das Leben der Anderen, in which a Stasi agent in former East Germany has been given the job of conducting surveillance, including wiretapping, on a playwright and his lover. In the course of his job the Stasi agent decides to perform a small act of kindness towards the individuals under his surveillance. He does this simply because it is, in his mind, the right thing to do. This small act of kindness ends up putting him at great risk, as one unforeseen consequence leads to another, until he is forced eventually to perform many courageous heroic acts to protect those under his surveillance. Furthermore, those who he is protecting have no idea of the sacrifices he is making on their behalf. Years go by and he does not think anyone even knows what he did earlier in his life. In the last scene of the film, we see this character, many years later, walking slowly down a street, an anonymous member of the crowd. Then he comes upon a bookstore and sees a book in the window. The book tells the story of a hero, and the hero is him! As I watch this film in the dark theater, I fight back a flood of tears. If only real life could be like that! Then something else happens. I receive another email from the same colleague. “Have you seen the book just published by Tom Harbin, Waking up Blind?” I get the book and open the cover. I see the dedication: “To Dr. David Campbell and Dr. Allen Gammon, two men never honored for their courage in speaking out at great personal sacrifice for the well-being of patients and the integrity of their university.”

Ron Boothe
Professor Emeritus, Emory University
January 28, 2010

March 2010 Selection: The Gift: Imagination and the Erotic Life of Property

January 1, 2010 by Ron Boothe

At our March 3, 2010 meeting, we will discuss the following book suggested by Roger Erickson:

Lewis Hyde, The Gift: Imagination and the Erotic Life of Property, Vintage; 1st Vintage Books ed edition (February 12, 1983).

February 2010 Selection: “The Away Place”

January 1, 2010 by Ron Boothe

At our February 3, 2010 meeting we will discuss the following book suggested by Mohsen Mirghanbari:

Ruth Tiger, The Away Place, Eloquent Books, 2009

Mohsen provides the following information about this selection:
————————————————————-
The Away Place, by Ruth Tiger, is available for purchase at the
following websites:

http://www.strategicpublishinggroup.com/title/TheAwayPlace.html

http://www.amazon.com/

http://www.borders.com/online/store/Home

http://www.barnesandnoble.com/

Visit the author’s website at:

http://www.zhibit.biz/ruthtiger

We will also discuss our read on Wednesday, February 3rd, at the
Satellite Coffee, inside Masa Restaurant, corner of 6th & Pine.
The author Ruth Tiger has agreed to join us briefly sharing her
personal book writing insight, please note that there will be no
critiquing during her visit, just the acquaintance and experience
getting to know an author first hand. Mohsen

Malcolm Lowry’s Day of the Dead-Drunk

December 22, 2009 by gil4or

Hallucinations in the Eye of the Volcano
Thoughts on reading Malcolm Lowry’s Under the Volcano in Harper Perennial edition, published 2007.

“Everything becomes disgusting when you are false to your own nature and behave in an unbecoming way.” Sophocles in Philoctetes.

Under the Volcano presented many, perhaps too many, avenues for the reader to wander or stagger through in contemplation of the historical settings and the personal psychic dilemmas encompassing the story of an exiled British Consul in Mexico. It is interesting to be reminded once again how the Spanish Civil War played an important role in motivations of characters in 20th-century literature. Margaret Atwood in Blind Assassin gave it great mention to show ideological differences of her Canadian characters. Mark Mazower’s Dark Continent reviewed for us the century’s train of miserable wars and fascist despoliation of culture, which major events figure in the historical background of Volcano, written (and rewritten) over many years from mid-1930s to the mid-1940s. (Disappointing to me, in Mazower’s Continent, the victory of Franco’s totalitarian regime was given short shrift considering the dark oppression than fell like a death pall during that pseudo-Mussolini’s 35-year reign.) Serious novelists, like Lowry in emphasizing his grim geographical-historical vision, do deliberately arouse readers toward a greater historical consciousness or remembrance, mostly about events now forgotten and so we are not moved to political action by the reminiscence. The humanities, ivory-tower stuff, often don’t seem to excite readers to participate in the present crises of war and political unrest.

Viewing Geoffrey Firmin’s despair in the Mexican pre-World War II setting made him more intriguing, his exposure to nasty Mexican prejudices against Americans and Jews (no matter his Englishness), called upon him by his unseemly, flustered, comical drunkenness. Reminded of drunks: Hemingway’s Jake Barnes, the lovely Brett, and Robert Cohn in The Sun Also Rises, to which I think Volcano gives a sideways nod, experienced their romantic dilemma in 1920s Spain, too soon to bring any new wars into the political or historical climate. The Hemingway expat trio encountered no cultural restrictions on their freedoms. In Volcano, we see Mexican authorities chose to exert the Nazis’ bully-power as control of the people and ugliness of the government police was essential for the bad-luck ending Geoffrey suffered being drunk and fucked in the wrong place at the wrong time. Now, especially in our time, we know of even greater dangers of living in Mexico. That Mexican perspective, not to mention the lavishly described woods and other flora, gave Lowry a poetic window into his story and one he could open periodically as his characters journey to other towns for bull-fight events and Day-of-the-Dead festivities. He was a fine descriptive writer.

Character and story are also important—how the hero suffers and what can be learned of human nature. I’ll spend some time in a later hallucination, focusing on this matter.

Besides the history and culture, Lowry’s style of writing was a fertile jungle for this reader to get lost in. In past months and weeks—a bit obsessive given my reluctant, slow reading of the book this second time around –I’ve gone on library searches for Edmund Wilson’s critical works of the 30s and 40s, essays of mid-century Aldous Huxley, George Steiner’s literary criticism, T.S. Eliot’s The Wasteland, and James Joyce’s work. And, because Geoffrey is a most sorrowful, pathetic hero, I’ve rummaged around in mythologies and treatises about the saddest heroes of past ages. Well, I’m retired. I have the time and the quixotic urge to write something fresh, to find an unusual angle from which to perceive some new understanding about the world we’re in today and how the nature of human beings might be improved. Don’t see it much, not even in myself. I like Scotch a lot, but I still want to keep a hair back from sloppy addiction until the “Great Alcoholocaust” (my friend Gerry Sperry’s term) is a necessary exit. To supply us with another type of fortitude, Lowry, by his own example or that of his protagonist, does not help much in this last regard. Sadly, I remain a pessimist who sees very little change for the better in the human condition.

History Never Changes
The slim set of essays entitled Science, Liberty and Peace, published in 1946 by Aldous Huxley, begins as follows:

If the arrangement of society is bad (as ours is), and a small number of people have power over the majority and oppress it, every victory over nature will inevitably serve only to increase that power and that oppression. This is what is actually happening.

Though true from mid-century assertions, we have seen humankind’s victories over nature continue (Lowry’s warning sign “¡Evite que sus hijos lo destruyan!”). And yet, Huxley’s passage comes not from 1946 but from 1900; it’s Tolstoy’s observation. If the view of the world was bad in 1940’s Mexico, Lowry should have lived to see the natural world today: the planet endangered by population densities and human biospheric devastation. How do we get people to change—for the good of all nations–and pity Mother Earth when we know the power-mongering leaders of industrialized nations, no matter what they say in the 2009 climate convention in Copenhagen, will go on plundering the earth for its remaining resources? We still remember Lord Acton’s dictum: “The most important lesson of history … is that nobody ever learns history’s lessons. The enormous catastrophes of recent years have left the survivors thinking very much as they thought before.” Alas, Slaughterhouse-Five Vonnegut’s: “So it goes, so it goes.”

Dream: Enjoy the Poetry While We Can.
Literarily (does that word mean anything?), beyond story or character interests, as I’ve said, much else can interest me in novels. There’s a much of muchness in Volcano. The styles of writing and exceptional or anomalous passages are what prick up my aesthetic senses. In the quite fine poetic section of the first chapter when Jacques Laruelle reads Geoffrey’s post-divorce letter left in the book of Elizabethan plays, I loved the delirious never-ending composition in Geoffrey’s vision of himself and Yvonne, once he had traversed the path of hell:

… living in some northern country, of mountains and hills and blue water; our house is built on an inlet and one evening we are standing, happy in one another, on the balcony of this house looking over the water. There are sawmills half hidden by trees beyond and under the hills on the other side of the inlet, what looks like an oil refinery, only softened and rendered beautiful by distance.

…a light blue moonless evening, but late, perhaps ten o’clock, with Venus burning hard at daylight, so we are certainly somewhere far north, and standing on this balcony when from beyond along the coast comes the gathering thunder of a long many-engined freight train, thunder because though we are separated by this wide strip of water from it, the train is rolling eastward and the changing wind veers for the moment from an easterly quarter, and we face east, like Swedenborg’s angel, under a sky clear save where far to the northeast over distant mountains whose purple had faded, lies a mass of almost pure white clouds, suddenly, as if by a light in an alabaster lamp, illumined from within by gold lighting, yet who can hear no thunder, only the roar of a great train with its engines and its wide shunting echoes as it advances from the hills into the mountains: and then all at once a fishing boat with tall gear comes running round the point like a white giraffe, very stiff and stately, leaving behind a long silver-scalloped rim of wake….” (Ch. 1, p. 38-39.)

And the poetic freight train rumbles along for as many lines as I’ve quoted before it peters out with an ellipsis. Beautiful language in motion, a dream passage to be remembered. Actually, this was, at least in part, a real vision, the bay Lowry and his wife lived on in Dollarton, North Vancouver BC. Like so much in Lowry’s work, this is his life; his education floods back in all literary references and his drinking gave him the rhetoric for Geoffrey’s meandering, barely-holding-onto-reality stream-of-consciousness.

Pity the Sad Hero
In 1948 it must have been difficult for a publisher and editor to present Malcolm Lowry’s Geoffrey Firmin, the protagonist of Under the Volcano, as a plausible heroic symbol of the age. As the drunken, demoralized British Consul in Quauhnahuac, he appears all “wibberly-wobberly” on the outside. Does his name mean that Firmin, no matter his outward appearance, was “firm (on the) in(side)”? Or does the name have a rhyme-pun on “vermin”? Such contrarieties are everywhere noticeable: one says “Pobrecito,” another says “Chingar” beholding the robbed and injured Indio dying by the roadside on the way to Tomalín. In the final Farolito scene, Geoffrey is both Consul and “spider”, meaning “spy.” He is addressed as “compañero” by the musician and “pelado” by the police. At the conclusion his corpse is rolled into a ditch and a dead pariah dog is thrown after him, human and beast together.

Under the Volcano, in 1947, after America’s victory against Hitler’s mad, nationalistic, imperialist, military debacle (the British called the victory theirs), came to the public with a weird protagonist. Vanquished from the very start, he’s not the “hero” to appeal to audiences favoring the stereotypical winner. This also is difficult storytelling when so much background development must be sketched in by historical flashbacks, and the writing is never so good as when we are in the mind of Geoffrey, a despairing hero, totally addicted, a victim of tough life and hard liquor, who labors on the border of nothingness, except for the carnival-of- life reminiscences and literary images of the Bible and Western Classics that spiral poetically on his mental ferris-wheel. The Oedipuses, Christs, Quixotes, Fausts, Werthers, and other saintly types flashing on and off in his Broca’s brain do not help the sad hero out. As prose, it is fancy and heavy writing for literati seeking the bizarre and macabre. T.S. Eliot could do it after World War I with his symbol-packed, richly footnoted long poem, The Wasteland. It took time for people to understand and rave about it. Lowry, admittedly a Joycian imitator, was decades past James Joyce, to whom much freedom of verbal and philosophical difficulty had been granted to compose in a poetic style. He presented his dour hero Stephen Dedalus (Portrait of an Artist as a Young Man) as a rebel Irish lad, abandoning family, church and country, who, at the face of the abyss, bucks up and decides to go forth into the outer world to create the uncreated conscience of his race. For Lowry to have brought forth the disreputable drunk, the sacked Consul, the divorced husband of beautiful Yvonne, the disgraced Englishman, this displaced Old Bean might well have matched the state of the collapsing British Empire in 1948, but that was a larger historical metaphor for the public to accept at a much later time. No, Lowry was working against the spirit of the times to ask forgiveness and humane sympathy for such a sorry martyr as his Geoffrey. He had to expect his audience would be small, a readership who would bask in the glory of past literatures, English scholars and their graduate students of English Lit.

Ron Boothe expresses romantic reminiscences of reading Volcano, along with other somewhat grueling writings of his college youth, enjoyed as escapades from his academic specialism. Geoffrey Firmin’s mind must have been a wonderful carnival ride for a psychologist to analyse. As a classicist, browsing Volcano, I found attractions in ships named Oedipus Tyrannus and Philoctetes playing bumper-cars at sea, one of which Hugh learned would return his fellow seamen home sooner than the other. He chose the more tragic Oedipus. In popular fiction, these symbolic names of tragic heroes are difficult to make good use of, just as the dilemmas of great tragedies are hard to interest the general public in. They present very serious crises of great sadness. To read Volcano in the 1960s or 1970s, the time of the Vietnam War, a continuation of the 20th century’s gross inhumanity, was a cerebral journey to the heart of darkness: World War I, World War II, and the Korean War presaged not the end of wars but the serialized belligerency of nation against nation that continued apace with incomparably more destructive machinery and weaponry. Did Malcolm Lowry create a learned prose-poetry, an artistic style difficult and good enough to express, through Geoffrey Firmin, the consciousness of his time? I think not; the stylistic stew is strangely spiced and too queer for the mosaic composition to make itself thought of as a coherent whole. Not only did Lowry test the daring of publishers, he also put every surprised reader to test: can one grasp the thematic clues; can one empathize deeply with the characters; can one find Geoffrey redeemable in the sorry, helpless state he has chosen for himself?

When in the 1970s I taught Arthur Miller’s Death of a Salesman, I remember struggling to defend Willie Loman, to point to the need for us readers/hearers to notice the humanity in this sorry, outdated salesman to whose plight as a human being, Willie’s wife screamed out, attention must be paid. Albert Camus with his conscienceless anti-hero Meurseult of The Stranger was another writer testing the heart and mind of readers to have sympathy with and forgiveness for a careless murderer. Lowry takes us back to antiquity with his symbolic character names and likenesses. Among others, he brings to mind Sophocles’ Antigone, that stubborn girl, a suicidal martyr, against her uncle Creon, as one indicator of his difficult theme. Using the choral ode “Wonders are many” in his quoted frontispieces, he implies what a strange and terrible creature the human is who tames all nature to feel in control, to seek superiority. Geoffrey, in his way, may also be a wonderful, strange and terrible man, but just such a serious and strange character is difficult to like and certainly to admire. Another tragic wonder appears in the role of the stricken hero Philoctetes, the name of Hugh’s ship, along with the Oedipus, taken from two more of Sophocles’ seven extant plays. Sophocles tragic heroes must have had a deep influence on Lowry.

The Diseased Hero
You might ask, “Who is this Philoctetes?” Reading Edmund Wilson’s Literary Essays and Reviews of the 1930s and 40s (Library of America, 2007) I came upon this idea for an interpretation of Volcano. It’s far-fetched, but how often does one get a chance to revive the memory of Philoctetes? Believe me, I don’t know if I can convince any reader of the name’s importance, since it is just a ship’s name, and, like most symbols and metaphors in the novel, it doesn’t last for long in its context. Nevertheless, I think Geoffrey himself comes from the same mould of the archetypal wounded hero, though he’s a depressingly negative case study, just as Volcano might be termed a dystopian novel. The positive diseased hero inevitably finds a cure or is granted salvation, and the world is put right.

Philoctetes is an unusual mythological figure, a wounded, disabled soldier hero, abandoned for a decade by Agamemnon’s Greeks in a cave on the island of Lemnos. Hobbled though he was, he was necessary as a savior figure at Troy in the final conquest of the Greeks against the Trojan forces. His bow and arrows were the magical weapons that must be on hand and shot against Paris in order to assure the Greeks’ victory. Nevertheless, Philoctetes’ invalided condition required exceptional artistry to make him interesting and dramatic. Certain disgusting motifs had to be tolerated by the audience: bitten by a poisonous snake, Philoctetes suffered a suppurating, tumorous ankle wound, giving off an unbearable stench; the pain moved him to paroxysms of howling and wild physical gyrations. These features were essential to the illustration of heroic or saintly fortitude in this exiled soldier whom his companions would not tolerate as a comrade in camp, so bad for morale would have been his unseemly stinking, noisy presence. Sophocles felt there was tragic material in the story of such a lone, tortured martyr; however, very few other writers in all Western literature have thought to make so troubled a hero their study in virtue. Job might be imagined his biblical representative. The Fisher King of medieval folklore a later one. The modern type might be seen in Dennis Potter’s The Singing Detective, a patient who suffers from horrible psoriatic arthropathy; he constantly grumbles about his and the world’s sorry state, arthritically rigid in a hospital bed, entertaining his grim mind by, among other fantasies, fictionalizing a Philip Marlow detective story, featuring some horrid Nazi badmen. In his way, psychological wounded, Geoffrey Firmin is a pariah hero–anti-hero in the commonest term–but one who exhibits the fortitude of the loser, disgusting to proper tastes, a crank, reviled and rebuked by the town and the authorities. He is one who knows the game is up. Fortitude, rather than the brave deed, is a heroic quality shown much more in the vanquished, the underdog, in the disabled and despairing person for whom the world and the human condition allow no escape. Santa Teresa of Ávila said it is much harder for an ordinary, imperfect human being to press onward along the road to perfection than it is to take martyrdom in a moment of wild mental seizure. Such a hero comes across, superficially, as ridiculous, especially using drugs, alcohol, sex, or other escapes from the maddened, debased world and barbarous, inhumane behaviors he sees around him. Very few writers attempt to give the mad, bedeviled, diseased hero stage front and center.

Considering Sophocles’ Philoctetes: in that tragic drama, the real hero is not actually the wasting sufferer with the magic bow but a newcomer, a young hero. To bring back Philoctetes to move the Trojan War toward its prophesied destiny, Neoptolemus, Achilles’ son, is sent with Odysseus to retrieve the wonder weapons by hook or by crook. Odysseus, the man of many wiles, has the ruthless strategy of distracting the tortured hermit long enough so that Neoptolemus can steal the weapons. Neoptolemus rejects the plan as cowardly and inhumane, because he claims the person of Philoctetes is just as important as the divine weaponry. The pathetic shrieking, the painful writhing, and the loathsome stench of the human state have to be accepted with the magical prowess of Philoctetes’ archery to surmount the difficulties that beset the Greek armies. So it is with Geoffrey Firmin: can we accept the decrepit state of this man and feel for his desperate human plight: we know why he suffers and that his inner life, with all his torments, though rich with learning of ages, still has not the power to save him from the injustices and hatred of malignant forces in the world. If we can understand Neoptolemus, we must take the side of the abysmally unhappy Firmin, sympathize with him in his helplessness, even to wish to have a morning Mescal drink with him, to climb in the sewer to help him out of that hell. (O, come on, Gilmour! You might be saying.) Neoptolemus, confronted with the critical dilemma, risked the anger of wiser, practical Odysseus, his superior, by accepting Philoctetes as a human being, not just as an exploitable resource for winning the war. So it happened in Sophocles’ drama that through Neoptolemus’ kindness, not in large supply among early Greeks, by tolerating and accepting the monstrous state of Philoctetes, the suffering exile consented to return with the ship, to defeat his Trojan foe, and in time his wound, with help of the physician Asclepius, began to heal. The incurable wound is cured following an initial act of compassion.

So Lowry presents a dilemma: Can I realize a human relationship with his alcoholically diseased, nightmare-haunted hero? Am I not in the same vise, tormented by my mistakes, shameful of what I haven’t done to improve the fate of the commonweal, self-hating because of my impotence to change the tragic state of man’s inhumanity to man, angry that I have been complicit at times, by acting out of hatred, to add to that inhumanity?

(I need a Scotch before I proceed to my next hallucination.)

Geoffrey, an Avatar of Philoctetes? How can I possibly think this?
Taking Geoffrey as an avatar of Philoctetes, I have pondered whether Yvonne might have taken as a failed Neoptolemus and Hugh as an Odysseus. Certainly Hugh, though he came back to Mexico to visit his ailing brother, is the principled hero who craves to return to Spain to help the anti-fascists at the battle on the River Ebro. He’s still the old-style soldier who wants to win the day. He will have to abandon his brother to further this cause. Stubborn in his pessimism, Geoffrey upbraids his brother for his foolish loyalties to some political or military leader. Yvonne, a hopeful innocent, returns to her ex-husband perhaps to see if she might turn him around from his addiction, to find him the loving man she once felt she knew. Nevertheless, she does not throw herself at Geoffrey, being reluctant to join him again in the nightmare of drunkenness, and not very friendly, choosing the companionship of Hugh and even M. Laruelle. Yvonne, the enabler who disables, mostly hopes that the Consul will turn himself around and in sobriety see what beauty and innocence he has lost by divorcing her and perhaps will rejoin her as a loving partner. This was Geoffrey’s vision in the letter I quoted above. Still, Geoffrey perseveres in his lonely, downward journey. He is resolved to suffer and retreat into alcoholic delirium. He does not (cannot?) show affection openly and generously towards Yvonne; outwardly he holds back all loving gestures, though inwardly he has intermittent feelings of regret and love. He loves and hates Yvonne, and like all frustrated lovers, though he doesn’t know why, he is tortured by this distress. He has given up on hope through literature and philosophy: to write of utopian Atlantis, that golden-age city of Platonic lore, has become an impossible dream. He has given up on religion and cannot find forgiveness anywhere within himself. He has abandoned himself, just as Philoctetes thought it was just for the Greeks to have exiled him. If Yvonne, who can’t bring herself to save Geoffrey, is not the tolerant, tragic Neoptolemus in this triangle of desperate souls, it remains for me, the reader, to redeem Geoffrey, to see humanity in him, to pity and fear him. Solving the tragic dilemma is my decision. How do I, pessimistic and despairing of humanity’s turnaround in our age, seek catharsis? I don’t feel cleansed after the conclusion of Volcano; quite the opposite. Surely I wished Geoffrey to be healed, to struggle his way out of hell, to surmount all difficulties of his life and go forward to prove to his fellow human beings that a bright, new day can be wrought out of the present darkness and ash. Instead, Lowry asks me to dig deeper to find his disgustingly pessimistic Geoffrey forgivable. It’s not at all an easy thing to do.

Do the Humanities Humanize?
Considering Volcano as literature of the Humanities, into which branch of art it must be classed, I wonder if such works, though they might be replete with multitudinous references to and allusions from the world’s great masterpieces, are able to humanize readers. And in what element of a work is the humanity expressed? Does Geoffrey Firmin’s story help us to cope with our world-gone-mad, the abyss of despair we might find ourselves in? For many of us, the 21st century holds even less hope for finding solutions to humanity’s injustices, warring, industrial plunder and waste. The Earthly Garden is showing signs of irreparable devastation. ¡Evite que sus hijos lo destruyan! What does it show of love? No se puede vivir sin amar. Do we have hope of Good Samaritans if we get caught in a big fix out in the boonies or do we hope the police will find us first?

No longer do I believe the humanities humanize. Monstrous leaders have been well educated in the humanities. All those nationalistic Germans, brought up on 19th century classics and culture, who became Nazis and SS officers under Hitler, what did they imagine they were doing for the good of humanity? We can cry over characters in books, movies, plays and poetry, whom we would overlook, walk past, in real life. George Steiner, in Language and Silence: Essays on Language, Literature and the Inhuman (New York: Atheneum, 1970)) felt deeply the dilemma of humanities in the 20th century: How to teach them effectively. What are they good for? I looked for Lowry in his writings but he, like Wilson, was mute on the importance of Under the Volcano. The polyglot aptitude—Spanish, Latin, German, and foreign word-play–of Lowry would have pleased him. Steiner did encourage English literature scholars to learn foreign languages and to branch out into comparative studies:

Why do we not study the history of English poetry in close comparison with that of another expansionist and colonizing tradition, say Spanish? How have the characteristics of the language in far places developed in relation to the home tradition? Are the problems of form and consciousness met by the Spanish poet in Mexico comparable to those of the Anglo-Indian; are certain languages better media of cultural exchange than others? The directions of vision are manifold. The alternative is parochialism and retrenchment from reality. The almost total lack of comparative studies in English academic circles … may in itself be a very small thing. But it may also be a symptom of a more general withdrawal, of the fist closing tight against an altered, uncomfortable world. This would be alarming because in culture, no less than in politics, chauvinism and isolation are suicidal options. (L&S, “To Civilize Our Gentlemen,” p.63.

Steiner, back in the 1960s, felt the humanities were becoming effete. Here’s the difficult part:

We do not know whether the study of the humanities, of the noblest that has been said and thought, can do very much to humanize. We do not know. And surely there is something rather terrible in our doubt whether the study and delight a man finds in Shakespeare [or Goethe] make him any less capable of organizing concentration camps. … before we can go on teaching, we must surely ask ourselves: are the humanities humane, and if so, why did they fail before the night? [meaning WW II and the Holocaust] (p. 67)

Franz Kafka, when he was twenty wrote about the impact of books on the reader:

If the book we are reading does not wake us, as with a fist hammering against our skull, why then do we read it? So that it makes us happy? Good God, we would also be happy if we had no books, and such books as make us happy we could, if need be, write for ourselves. But what we must have are those books which come upon us like ill-fortune, and distress us deeply, like the death of one we love better than ourselves, like suicide. A book must be an ice-axe to break the sea frozen inside us.

To which Steiner concludes:

Students [i.e. serious readers] of English literature, of any literature, must ask those who teach [read with] them, as they must ask themselves, whether they know, and not in their minds alone, what Kafka meant. (p. 67)

Lowry’s Geoffrey Firmin is himself the literary anti-hero who proves to us that a humanities education in great universities, all the learning of the Great Books, and his worldly experience from a privileged position in society have not helped him find sane ways to help, to strive to help, his fellow man. Nor has love, without which he chose to live, helped him to improve his wretched condition. Volcano teaches us not to act like Geoffrey. There are many other intoxicating ways than alcohol to loosen control of absurd rationalism, to give up on the practical life, and continue to live out one’s desperate existence slowly into death. In Firmin’s time, he could have tried Aldous Huxley’s approach to life’s bitter end: psychotropic drugs—mescaline, psilocybin, even peyote. The strychnine? Were Doctor Vigil and Hugh trying to help Geoffrey to a quicker death with the strychnine? Even morphine might have been preferable. Hell, after a while, if one is physically healthy, with fantasy drugs one might realize the futility of ritual ecstasy, or painlessness, and become a man of mystical wisdom, like Carlos Castaneda’s “brujo” Don Juan (The Tales of Don Juan). Alcohol is physically and mentally debilitating, totally sickening to suicide on.

So, let’s put the Scotch away till evening, bringing it out for cocktails, nightcaps and parties and let’s find a way out of this hellhole we’ve dug ourselves into as a greedy, frightened, constantly warring nation. For a start, with healthcare in mind, let’s get fit. Let’s continue to act, really strive, to affect our leaders and to change life for the better in small incremental ways, with family, friends, acquaintances, clubs, churches, etc. and let’s hope that we can each make a difference to alter the trends of inhumanity at work in this world. (“O, come on Gilmour!” you might say again. “It’s hopeless to think that.”) Sure, it might be impossible, but let’s continue to strive ever more thoughtfully and passionately to change things for the better.

David Gilmour

Bill Hagens’ Summary of “The Healing of America”

November 19, 2009 by Ron Boothe

Note: I have reformatted this post to include all of the documents provided by Bill Hagens: The summary he provided us before our discussion along with the documents he provided during our meeting. Each of the documents are attached here as links that you can click on to open and/or download onto your local computer for later viewing.

Bill’s Summary Posted Prior to our Meeting

Defining Health

WHO Social Determents of Health

Health Care Determants and Expenditures

January 2010 Selection: “Broom of the System”

November 15, 2009 by Ron Boothe

At our January 6, 2010 meeting, we will discuss the following book suggested by David Gilmour:

David Foster Wallace, Broom of the System Viking Books, 1987.

Ron Boothe’s Commentary on Under the Volcano

November 6, 2009 by Ron Boothe

Under the Volcano by Malcolm Lowry was my selection for discussion at our November 2009 meeting. I post here a few of my own comments and impressions of the book.

Why did I pick this book for us to discuss?

When I was in graduate school in my twenties back in the 1970’s, I had little time to read works of fiction because I was too busy reading technical scientific articles and books. However, about once a year I would take a week or so of vacation time in which I would leave thoughts of science totally behind and engage in other activities such as reading a novel or two. I would typically ask one of the professors I was working with to give me a recommendation of what they would read if they only had time to read one novel. This system provided me with some great reading experiences, short on quantity but rich in quality. Some of the books I remember reading during that period of my life are James Joyce’ Portrait of the Artist as a Young Man, Robert Pirsig’s Zen and the Art of Motorcycle Maintenance, J. P. Donleavy’s The Onion Eaters, and Ken Keesey’s One Flew Over the Cuckoos Nest. However, the novel that made the strongest impression on me was Malcolm Lowry’s Under the Volcano. I considered it, at that time, to be the most amazing piece of fiction I had ever read. Forty years have passed since then, and I wondered if the book would still seem as good if I were to reread it now.

The Basic Storyline

The basic storyline is simple, and told pretty much in a linear fashion. Most of the story takes place during the Day of the Dead festival in Quauhnahuac Mexico starting the morning of November 1, 1938 and ending on the morning of November 2, 1938. The exception is Chapter 1 in which two of the characters get together during the Day of the Dead Festival one year later in 1939 and reminisce about what had happened one year earlier. This first chapter ends with an image of a Ferris wheel turning backwards, which rewinds time to the prior year as we launch into Chapter 2 and the remainder of the book.

However, there is a context to the events that unfold that spans a longer period of time, and this sequencing of events over the longer period of time is not told in linear order. It is revealed in bits and pieces throughout the book through dialogue or through internal thoughts of the characters. The reader must construct this larger context. I show below in the form of a Table my own construction of the sequencing of some of the major events that pertain to the story. I did not take a lot of time to work this out, and there might be errors (if so, feel free to add corrections to the comments section of this posting), but I think the list shown in the Table gives an overview of the main events in approximate chronological order.

Note that each chapter of the book is written from the point of view (POV) of a single character. For example, Chapter 2 is written from the POV of Yvonne, and everything we learn in that chapter is something that was either seen or heard by Yvonne, and whenever we go “inside the head” of someone in this chapter to reveal mental thoughts, it is Yvonne’s head that we are in. Similarly, each of the other chapters of the book is written from the POV of one single character. In the Table below I indicate which character provides the POV for each chapter.

START OF TABLE LISTING MAIN EVENTS

———-

Early years of Geoffrey Firman, British Consol to Quauhnahuac
1896 42 years earlier Geofrey born in India
Mother dies when just a child in Kashmir, India
Father remarries, has another child, Geoffrey’s half brother, Hugh
Father disappears, leaving Geoffrey, Hugh, and stepmother in Srinagar
Stepmother dies.
Child Geoffrey and toddler Hugh sail back to England to live with guardians
1911 27 years earlier (15 years old) Geoffrey meets M. Jacques Lauruelle, while staying with English poet Taskerson family. They spend their days walking and drinking. Geoffrey, the old bean, is a sad soul.
Early years of Yvonne Firman
1908 30 years earlier Yvonne born
1914 24 years earlier (6 years old) Yvonne’s mother dies
1921 17 years earlier (13 years old) Yvonne becomes actress in serials to support family because father is an alcoholic
Father dies, goes to live with uncle, attends U Hawaii, majors in astronomy
Marries and then divorces playboy Cliff Wright
1932 6 years earlier (24 years old) Yvonne has a child, also named Geoffrey, but the child dies. Returns to Hollywood,
Events shortly before main story
1935 3 years earlier M. Jacques Laruelle, film director, drives from LA to Quauhnahuac where he now lives.
In same year, Consol and Yvonne marry in Grenada, Spain
Yvonne and Hugh start an affair (date uncertain)
1936 18 months earlier Consol and Yvonne arrive in Quauhnahuac where he will be working as British Consul
Shortly thereafter, Jacques stumbles upon Consol and Yvonne embracing at Maximillian Place and recognizes his old childhood friend from their days at the Taskersons.
Consol and Yvonne visit Oaxaca in happier times (date uncertain)
1937 one year earlier Jacques and Yvonne start an affair in his apartment, while waiting on Consol who, as usual is somewhere drunk.
11 months earlier Consol and Yvonne leave Quauhnahuac in plymouth car for Mexico City, staying in Hotel Canada
Yvonne leaves Consol in Mexico City. Depressed, he drinks mescal in Hotel Canada.
Sometime later, Consol travels to Oaxaca in deep depression. Stays in Hotel Francia; drinks at Inferno 4am each morning.
Around this same time Consol writes long unsent letter to Yvonne while sitting in Hotel Bella Vista. Leaves unsent letter folded in pages of Elizabethan Plays book.
6 months earlier Consol loans Elizabethan Plays book to Jacques
1 week earlier Hugh shows up at Quauhnahuac and is staying with Consol
Hugh trying to stop Consol from drinking, using Strychnine that was prescribed by Dr. Guzman.
1 day earlier Yvonne sails into Acapulco Harbor with butterflies.
Consol meets and gets drunk with Dr. Vigil at Red Cross Ball
Events on Day of the Dead (November 1 and 2, 1938)
Chap 2 Yvonne POV Yvonne arrives in Quauhnahuac, finds Consol drinking in Hotel Bella Vista
Consol and Yvonne walk towards home, see photo of La Despidida, see Jacques house
Chap 3 Consol POV Yvonne goes into bathroom, Consol sneaks out to go drinking, but passes out
returns home, takes breakfast to Yvonne who is now in bed
tries to seduce Yvonne, but impotent, starts drinking seriously, passes out
Chap 4 Hugh POV Hugh arrives and he and Yvonne go for horse ride while Consol passed out at home
Chap 5 Consol POV Consol wakes up goes out in garden in search of Tequila, first hear voices of familiars
comical interaction with Mr Quincey, sign in neighbor yard: do you like this garden…
Consol sees Hugh and Yvonne standing on porch, passes out and wakens in bathroom
Chap 6 Hugh POV Consol, Yvonne, Hugh set out to go to Tomalin. Meet Jacques on way.
Postman delivers lost postcard from Yvonne to Consol, “Why did I leave you?”
Chap 7 Consol POV At Jacques house, writing on wall says “no se puede vivir amar”.
Consol hides postcard under Jacques’ pillow.
Hugh and Yvonne leave. Later Consol and Jacques leave to go drinking at Paris.
Jacues leaves Paris. Consol, alone, also leaves and is followed by children, rides loopy the loop.
Chap 8 Hugh POV Yvonne, Consol, and Hugh on bus ride to Tomalin. Indian lying on side of road. Pelado on bus.
Chap 9 Yvonne POV Yvonne, Consol, and Hugh in bull ring in Tomalin.
Chap 10 Consol POV Consol, Yvonne, and Hugh go to Salon Ofelia in Tomalin.
Consul drunk on mescal, sits in toilet overhearing conversation between Hugh and Yvonne.
Consol runs off towards Parian so he can drink mescal in peace in Favolito.
Chap 11 Yvonne POV Hugh and Yvonne walk towards Parian looking for Consol. They take a different fork in road
than he did. Yvonne hears shots fired. Horse comes running up trail and runs into her.
Yvonne dies, soul escapes to stars.
Chap 12 Consol POV Drinking mescal in Favolito in Parian. Has sex with whore. Accused of being spider.
Consol is shot, falls into ravine and dies, dolente dolore, dead dog thrown into ravine after him.
Events that follow
1 day later Jacques gets call from Hugh, discovers postcard under pillow.
Jacques learns a lot about Hugh. He had not liked Hugh when they met, but when
3 days later Hugh catches ship at Vera Cruz, “it was as though Jacques had lost a son”
Chap 1 1 year later Jacques and Dr. Vigil meet for drinks at Hotel Casino de la Selva in Quauhnahuac on Day of Dead.
They reminisce about what events that happened one year earlier mean. “But she came back.”
Jaques walks to train station, then to ruin of Maximillian. Eventually ends up at movie theater.
Owner of movie theater gives him Elizabethan Plays that he had apparently lost there earlier.
Jacues finds letter Consol had written to Yvonne inside book. Burns it.
Next day Jacques will be leaving to go to Vera Cruz (same place Hugh went), and then, God willing, to Paris.
Bookends
preface has three quotes:
one from Sophacles, “Wonders are many, and none is more wonderful than man…
one from John Bunyan, “Now I blessed the condition of the dog…
one from Goethe, “Whosoever unceasingly strives upward…
Book closes with quote seen several places in book, first in neighbor’s yard, translated roughly as
Do you like this garden? Is it yours? Do not let your children destroy it!
Or, as the consol translates it in the book while in a drunken state: We evict those who destroy it!

END OF TABLE LISTING MAIN EVENTS

———-


Some Background information about the Author, Malcolm Lowry

A good recent source of information about the life and death of Malcolm Lowry can be found in the article in the New Yorker in 2007: http://www.newyorker.com/reporting/2007/12/17/071217fa_fact_max

And a more recent short piece about the book appeared in the New Yorker in August of this year:

http://www.newyorker.com/online/blogs/bookclub/2009/07/reading-in-august-malcolm-lowry.html

An excellent documentary about Lowry was made in 1976, that can be viewed online:

http://www.nfb.ca/film/volcano/

and is also available as a special feature on the second disk of the two-disk criterion collection release of John Huston’s film of the book.

Summarizing the information about Lowry very briefly, he was an alcoholic who spent much of his life drunk. He also suffered from serious mental disorders that were serious enough to cause him to spend time in mental hospitals on more than one occasion. It is not clear whether the mental illness was caused by the long periods of alcoholism (a common symptom in the late stages of delirium tremens), or whether the alcoholism was a reaction to an underlying mental illness. Most likely some of both. Regardless, it is obvious that in addition to whatever else he was, his novel provides convincing evidence that he was also a genius.

Is the book a “masterpiece”? (Literary Critics reaction)

In a word, yes. The book shows up on numerous top-ten lists of novels prepared by academics, and it was ranked #11 on the list of the most important works of fiction published in the 20th Century by the Modern Library Board:

http://www.randomhouse.com/modernlibrary/about/board.html

Typical of the reaction of many academics and literary critics is the response of Gabriel Garcia Marquez, the Columbian novelist who was awarded the Nobel Prize in literature in 1982.  He stated that Under the Volcano was the novel he had re-read more than any other in his life. (I have more to say about this in the next section on my personal reaction).

Even though I am officially retired, I continue to teach part time at the University of Washington. Just out of curiosity I visited the online card catalogue and did a quick search for items pertaining to Under the Volcano. I discovered over 50 academic books published about Under the Volcano! And doctoral dissertations about Under the Volcano run into the hundreds! And the influence of the book continues up until the present. Dozens of papers being presented at academic conferences within the last few years relate to the book.

Regardless of whether one loves, hates, or is indifferent to the book personally, I don’t think there can be any serious argument about whether or not the book is a masterpiece as judged by the reaction to it by academics and literary critics.

Is the book a “masterpiece”? (My personal reaction)

As I stated at the beginning of this commentary, when I first read the book in my early 20s, I thought it was the most amazing novel I had ever encountered. My reaction now that I have reread the book in my 60s is only slightly muted. I would include this book on my personal top-ten list of the best novels I have read during my lifetime.

However, my reasons for liking the book are somewhat different now than they were when I was a young adult. In my 20s, part of the appeal of the book was its romantic quality; romantic in the sense of Byron, or Goethe. Although I did not do it, I am sure I was at least tempted by the romantic lure of driving to Mexico, finding the pulquerias featured in the novel, and spending days, weeks, or months drinking mescal at 4am. The book quickly gained a cult following of young people who did (perhaps still do) just that after reading the book. It is interesting that Goethe, referenced frequently in Under the Volcano, himself published a book romanticizing suicide, The Sorrows of Young Werther, which garnered a similar cult following in his time. Now that I am older (arguably wiser) the book no longer has that kind of romantic appeal for me.

The primary reason I now judge the book to be a masterpiece has to do with the many levels of interpretation that lie in superposition. That is why it has been able to spawn over 50 published books about it. None of the individual levels of interpretation is, in itself, sufficient to evoke a label of masterpiece. For example, it is a story about an alcoholic. However, as Steven Spender states in his introduction to the book, asserting that it is a book about drunkenness is akin to asserting that King Lear is a book about senility. At its most basic level, it is a simple story about what happens to a man, his wife, his half-brother, and his friend from childhood during a short period of time in a particular place at a particular time. But it is also a timeless novel about existential choices and the consequences of those choices. And it is a religious allegory that can be evaluated through the filters of numerous religious traditions. The strong metaphor of a garden, used throughout the book, provides allusion to the religious myths of the Garden of Eden. On the other hand, that same metaphor of a garden can, and has been, applied to environmental issues and what humans are doing to the planet. It can be read as a moral investigation into the evils of drunkenness, but it can simultaneously be read as a love poem espousing the virtues of drunkenness. It is a tragedy. It is a comedy. It is a socio-political essay about the fascism that was rising in Europe, particularly in Spain, in the 1930s, and the spread of its influences to North America. It is a polemic about the futility of trying to change the world. It is a heroic tale of someone who did try to save the world. It is a psychoanalytic study of psycho-social sexual relationships, including relationships that are homosexual and incestuous. It is prose poetry written in the language of stream of consciousness. I could go on, but I think I have (perhaps over)-made my point.

But what makes it a masterpiece, is not any one of these levels of interpretation, but rather the ways all of these interpretations are weaved into one seamless novel. Lowry himself, in a quote that Neil read to our book club group during our discussion, described the book as being like a machine composed of lots of moving parts, cogs and wheels and gears, that when they are put together to make a single machine, it just somehow works. That metaphor captures the essence of why I think the book is a masterpiece pretty well.

And it is these multiple levels of interpretation, all simultaneously intertwined, that make the book amenable to multiple readings. I referenced earlier the response of Gabriel Garcia Marquez who stated that Under the Volcano was the novel he had re-read more than any other in his life. There are few works of literature that warrant those kinds of repeated readings, and those that do, I would call masterpieces. I have now read the novel 3 times, once when I was in my 20s, once quickly earlier this year to decide if I wanted to make it my selection for our book club, and once more with a “deep reading” (a la Birkerts) the week prior to our discussion of the book. After these three readings, I still have a desire to read it again, and I cannot off the top of my head think of any other novel I have read that I would consider reading more than three times.

For me, the book is reminiscent of the great operas. Of the hundreds of operas that have been composed over the centuries, there are many that have a powerful libretto, many others that have exceptionally powerful musical scores, many others that have spectacular staging and drama. But there are only a relatively small number of great operas that are labeled as masterpieces, and these are the ones where the libretto, music, and dramatic content coalesce in such a way that the whole is greater than the individual parts. It is these masterpieces that form the canon  of great operas, the ones  that  are shown repeatedly in opera houses because they warrant repeated viewings. I think of Wagner’s Parsifal, an opera that lasts over 5 hours.  At the end of the opera the chimes resonate through the opera house as the curtain falls. I come out of my trance, hardly aware of where I have been for the past few hours, and the primary emotion I feel at that moment is a desire that I wish I could go back to the beginning and watch it again. Similarly, at the end of a long period reading the last few chapter of Under the Volcano, I hear Dolente … Dolore, and I have the same emotional feeling. I wish I could go back to the beginning and read it again.

Ron Boothe

Peter Farnum’s Summary of Blind Assassin

October 16, 2009 by pmunrafp

The Blind Assassin

Margaret Atwood, 2000

Addresses the question:  “How much are the bad turns of one’s life determined by things beyond our control, like sex and class, and how much by personal responsibility?’[1]

It also works as a mystery novel if one does not choose to address the moral question.

Structure:

Four Voices:

  1. Iris Chase, writing in retrospect during the last year of her life.                                                  Within a novella, “The Blind Assassin” attributed posthumously to Laura Chase.  There are two voices:
  2. A female voice describing trysts with her lover,
  3. The male voice of her lover mostly telling a science fiction story about a war on the planet Zyrcon.
  4. Various stories in newspapers and bulletins

    Four mysteries for the reader to figure out: They are introduced by the “newspaper” voice at the start of the book:

    1. Page 3.  Laura Chase, Iris’s sister, killed herself by driving off a bridge under construction.  She was 25.
    2. Page 14.  Richard Griffen, Irish’s husband, is found dead in his boat after being missing.  He is in his late 40s.
    3. Page 19.  Aimee Griffen, Iris’s daughter, is found dead at the bottom of stairs.  38 years old.
    4. Page 31.  Iris presents high school writing award in Laura’s name.  Question:  who is the woman in The Blind Assassin?  We assume it’s Laura.  Is it?

    Iris Age

    Laura Age

    Event

    Event Continues

    Page

    “Voice”

    0

    Iris Born

    73

    Iris

    3y 5m

    0

    Laura Born (see her age at picnic/Mounties visit)

    177, 210

    Iris

    6

    9

    Mother dies (during heat wave so probably Sept)

    88, 90

    Iris

    18

    14

    Company Picnic when Laura and Iris meet Alex

    170

    Iris

    18

    14-15

    Laura sees Alex in public around Port Ticonderoga

    199

    Iris

    18

    15

    Laura hides Alex in cold cellar

    210

    Irs

    18

    15

    Mounties Visit Laura re Alex

    210

    Iris

    18

    15

    Alex sexually attacks Iris

    217

    Iris

    18

    15

    Alex escapes to Toronto

    218

    Iris

    18

    15

    Father arranges marriage of Iris to Richard

    223-5

    Iris

    18

    15

    Iris marries Richard

    127, 239

    Paper / Iris

    18-19

    15

    Honeymoon

    300-306

    Iris

    18

    15

    Laura’s, Iris’s father dies, Richard doesn’t tell Iris

    307

    Iris

    19

    15

    Richard’s first attempt to seduce Laura, unsuccessful

    500

    Iris

    19

    15

    Larua runs away, found at Sunnyside amusement park

    258, 307

    Paper / Iris

    19

    15

    Iris sees Alex in Toronto, “commits treachery in her heart”

    321

    Iris

    19

    15

    Iris’s first meeting with Alex (“hard boiled egg”) / starts affair

    11, 510

    BA-I / Iris

    19-20

    15-16

    Laura lives with Iris/Richard, repeated unsuccessful seductions

    500

    Iris

    19

    16

    Iris, Richard, Winifred, Laura go on maiden voyage of Queen Mary

    9, 345, 347, 377

    BA-I / Paper / Iris

    19

    16

    Alex leaves for Spanish Civil War, wants her to leave Richard,         “I wouldn’t have any money” she says

    359-61

    BA-A/I

    20

    16

    Spanish Civil War starts

    390

    Iris

    20

    16

    Richard successfully seduces Laura on Water Nixie

    393-4, 500

    Iris

    20

    17

    Laura gets pregnant

    500

    Iris

    20

    17

    Laura sent to Bella Vista for abortion

    405, 428-30

    Letter / Iris

    20

    17

    Aimee born (with dark hair)

    432

    Iris

    20

    17

    Iris reads “Lizard Men of Xenor” by Alex, all  romance is gone

    399-402

    BA-A/I

    21-22?

    17-18?

    Reenie helps Laura escape from Bella Vista, Laura goes to Halifax

    443, 484

    Iris

    23-24?

    19

    Alex leaves for WWII, after seeing Iris the last tiime

    462

    BA-A/I


    28

    25

    Alex killed in Holland / Destruction of Sakiel-Norn

    466-9, 488

    BA-I, Iris

    28

    25

    VE Day

    28

    25

    Laura and Iris meet in Toronto

    483-89

    Iris

    28

    25

    Laura commits suicide

    1, 3, 491

    Iris, Paper

    28

    Iris learns that Richard was the father of Laura’s baby

    500

    Iris

    29

    Iris Leaves Richard, takes Aimee to Port Ticonderoga

    501-2

    Iris

    31

    Blind Assassin Published

    4, 509-511

    Iris

    31

    Richard Dies

    14, 510-11

    Paper / Iris

    54-55

    Sabrina born

    19

    Paper

    59

    Aimee Dies /Winifred Takes Sabrina

    19, 434-7

    Paper / Iris

    81

    Winifred Dies

    24,

    Paper

    82

    Iris starts writing her book

    31, 43

    Iris

    82

    Iris Dies

    519

    Paper

    83

    Sabrina comes back

    519

    Paper

    Legend for Voices

    Iris – the book Iris wrote for Sabrina in 1998

    Paper – news articles or bulletins

    BA/I – Blind Assassin the female voice about their trysts

    BA/A – Blind Assassin the male voice – Alex

    BA-A/I – Blind Assassin where both voices talk about event

    Iris On “The Turns Of Life” And Personal Responsibility

    • On Motives
      • “Curiosity is not our only motive:  love or grief or despair or hatred is what drives us on.” P. 494
    • On Her Motives
      • “I did believe, at first, that I only wanted justice.  I thought my heart was pure.  We do like to have such good opinions of our own motives when we’re about to do something harmful, to someone else.” P. 497
    • What She Wanted:  with respect to Richard
      • “What did I want?  Nothing much.  Just a memorial of some kind.  But what is a memorial, when you come right down to it, but a commemoration of wounds endured?  Endured and resented.  Without memory there is no revenge.” P. 508  Underlining added

    • Self Serving Epilogue:
      • “If you knew what was going to happen next – if you knew in advance the consequences of your own actions – you’d be doomed.”  P. 517.

    Iris’s Actions Regarding, Laura, Richard, and Aimee

    In Her Own Words

    • Aimee’s death

    The last time I went to see Aimee; she was living in a slummy row house near Parliament Street, in Toronto.  A child I guessed must be Sabrina was squatting the square of dirt beside the front walk – a grubby mop-headed ragamuffin wearing shorts but no T-shirt.  She had an old tin cup and was shoveling grit into it with a bent spoon.  She was a resourceful little creature:  she asked me for a quarter….

    I knocked on the door, and when there was no answer I opened it and walked in, then climbed the steep, dark, narrow stairs to Aimee’s second floor apartment.  Aimee was in the kitchen, sitting at the small round table, looking at her hands which were holding a coffee mug with a smile button on it…I can’t say I found her very attractive…Most likely she was under the influence of some drug or other.

    I tried to talk to her.  I began gently, but she wasn’t in the mood for listening…She was tired of the feeling that things were being hidden from her.  The family had covered it up; no one would tell her the truth…

    “I may not have been a perfect mother,” I said.  “I’m willing to admit that, but I did the best I could under the circumstances, circumstances about which you actually know very little.  What was she doing with Sabrina? I went on. Letting her run around like that…”

    “You aren’t her grandmother,” said Aimee.  She was crying by now, “Aunt Laura is, or she was, She’s dead, and you killed her!”

    “Don’t be stupid, “ I said.  This was the wrong response…When I said the word stupid she began to scream at me…Then (she) picked up the smile-button coffee mug and threw it at me…I retreated backwards, clutching the banister, dodging other items – a shoe, a saucer.  When I got to the front door I fled…

    It was only tree weeks after this that Aimee fell down the stairs.

    pp. 434-437

    • Richard’s death:

    I sent the book off.  I due time, I received a letter back.  I answered it.  Events took their course.

    The moralists grabbed hold of it, and the pulpit-thumpers and local biddies got into the act, and the uproar began.  Once the corpse flies had made the connection – Laura was Richard Griffen’s dead sister-in-law – they were all over the story like a rash.  Richard had, by that time, his store of political enemies.  Innuendo began to flow.

    The story that Laura had committed suicide, so efficiently quashed at the time, rose to the surface again.  People were talking, not just in Port Ticonderoga but in the circles that mattered.  If she’d done it, why?

    Someone made an anonymous phone call – now who could have that have been? – and the Bella Vista Clinic entered the picture. Testimony by a former employee…led to a full investigation of the seedier practices carried on there…There was some correspondence between Richard and the director that was particularly damaging…

    …“That book!” he (Richard) said.  “You sabotaged me!  … I can’t believe Laura wrote that filthy – that piece of garbage!”

    “You don’t want to believe it,” I said, “because you were besotted with her.  You can’t face the possibility that all the time you were having your squalid little flight with her, she must have been in and out of bed with another man – one she loved, unlike you.  Or I assume that’s what they book means – doesn’t it?”

    pp.  509-510  underlining added

    • Laura’ death:

    “Laura, I hate to tell you this,” I said, “but whatever it was you did, it didn’t save Alex.  Alex is dead.  He was killed in the war, six months ago.  In Holland.”

    “How do you know?

    “I got the telegram,” I said.  They sent it to me.  He listed me as the next of kin.”  Even then I could have changed course; I could have said, There must have been a mistake, it must have been meant for you. But I didn’t say that.  Instead I said, “It was very indiscrete of him.  He shouldn’t have done that, considering Richard.  But he didn’t have any family, and we’d been lovers, you see – in secret, for quite a long time – and who else did he have?

    Laura said nothing.  She only looked at me.  She looked right through me.  Lord knows what she saw.  A sinking ship, a city in flames, a knife in the back”…

    After a moment she stood up, reached across the table, and picked up my purse.  Then she turned and walked out of the restaurant…Laura was gone.

    Page 488 italics in original, underlining added

    Judging Iris

    “How much are the bad turns of one’s life determined by things beyond our control, like sex and class, and how much by personal responsibility?’(1)

    Below are some events in Iris’s life.  Please indicate for each whether you think she had personal responsibility for them or if things beyond her control determined them.

    If she had personal responsibility, please characterize it (negligence, thoughtlessness, deliberate attempt to cause harm.)  For example Iris’s marriage might be due to things beyond her control.  Or, the role she played in Richard’s death may have resulted from deliberate conscious action on her part.  Her role in Laura’s death may have been due to a mistake due to thoughtlessness, or a deliberate attempt to claim Alex for herself only.

    Here are some events:  (the number in ( ) is her age when the event occurred.)

    • Getting married to Richard (18)
    • Not figuring out that Richard was sexually pursing Laura (19)
    • Her decision to have an affair with Alex (19)
    • Her decision not to leave Richard when Alex asks her to run away with him (19)
    • Not figuring out that Richard had successfully seduced Laura (20)
    • Not doing anything when Richard sent Laura away to Bella Vista. (20)
    • Not helping Laura escape from Bella Vista like Renee did (21-2)
    • Telling Laura that she had had a longstanding affair with Alex and not seeing the impact that would have on her.  (28)
    • Her degree of responsibility in Laura’s suicide. (28)
    • Her responsibility for Richard’s death.  (31)
    • Her responsibility for Aimee’s unhappy life (20-59)
    • Her responsibility to care for Sabrina (54-82)

    Add other events that come to mind, and characterize them.


    [1] Houppert, Karen.  2000. “’The Blind Assassin” by Margaret Atwood” Salon.com.  September 12, 2000. http://www.salon.com/books/review/2000/09/12/atwood/ Accessed on 10-11-2009

    The Healing of America (2009)

    September 17, 2009 by Ron Boothe

    On Wednesday, December 2 we will discuss the following book recommended by Bill Hagens:

    T. R. Reid, The Healing of America, Penguin, 2009.