Sometimes love
fades. Love is untrue. People change. People can't change enough.
Things end wrong. The love that should have lasted forever is over
and you are still here. Love is circumstantial. Love is an
illusion. Your love was wrong. The best example of this is Blankets
by Craig Thompson.
I finished reading it in the morning, and then I went to work and
told people, "I'm sad because I just finished reading Blankets,"
and they said, "Ohhh."
A
lonely, smart, artistic boy who believes fervently in God, his dour
parents, his little brother, and a shitty childhood in rural
Wisconsin. Nothing happy. Craig matures to high school in the 90s,
and falls in love with a girl from Michigan at church camp. 'Tho
she's a girl, he's allowed to stay two weeks at her family's house in
the middle of her parents' divorce. Raina's parents are
fundamentalists too, and in thanks to God for giving them two healthy
children, they adopted a boy with Down's syndrome and a severely
disabled girl, so Raina spends too much time taking care of her
sister. Walks in the snowy forest and first base-equivalent spooning
cross with flashbacks to Craig's Sunday school humiliations and
molesting babysitter, and he and Raina's relationship is so tender it
breaks your heart that Craig must go back to teenage hell in
Wisconsin. In the end, he grows up, moves away, loses his faith, and
becomes an illustrator and autobiographical graphic novelist. But
Raina's love is the happiest piece of the his story, and they grew
apart, without wanting to, without trying to. They lived in
different states. It was inevitable. Weekly letters and long
distance phone calls became occasional became nothing at all, and
they both moved on, and grew up so sadly. Because sometimes people
seem meant to be together and then things happen, things they don't
understand, offscreen, and then those two people are nothing to each
other. Their relationship can't work because of who they are. Like
if one is a witch and one is the son of a baron. In Terry
Pratchett's Wintersmith,
Tiffany Aching is still an apprentice witch up in the mountains
getting letters from Roland, the baron's son. Miss Treason, who's
115 years old, wants to know if Roland is Tiffany's beau, but Tiffany
won't admit because she's not sure. Miss Treason takes Tiffany up
the hill to see the Morris dancers welcome winter, and Tiffany jumps
into the gap in the dance and The Wintersmith spots her. He is
beguiled, even though, being an element, not a person, he's not even
a "he." He seeks to court Tiffany with snow, and the
people in the village can't get wood, and the trees are freezing and
popping, and the lambs are dying, and Tiffany needs to stop him, but
it's flattering all the same. Annagramma, apprentice to Mrs. Earwig,
who does witchcraft "the way another lady would embroider
kneelers for church," wears all black and a lot of silver
jewelry with moons on it, inherits Miss Treason's cottage. She's
full unprepared for and doesn't understand the real business of
witchcraft, it being mostly about delivering babies, changing
bandages, and visiting old people. Tiffany needs to mind Annagramma
and her steading, do all her own work, and the denouement, with
Tiffany and the Wintersmith in a typically Pratchettian flurry of
action (get it?), runs a bit roughly. Tiffany is so comfortable and
capable at age fourteen, it's alarming when one sets down Wintersmith
and picks up I Shall
Wear Midnight and finds Tiffany
at sixteen, a witch on the Chalk where she was born, no longer
attached to Roland, who even has the audacity to be engaged to a girl
called Letitia. And the people of the Chalk are beginning to speak
in whispers about witches doing evil in the land. A malignant spirit
is spreading fear and Roland accuses Tiffany of killing his father,
who's been ill for a good half-decade. A side trip to Ankh-Morpork
leads to cameos from the City Watch, and Tiffany teams up with
Letitia who has Power, but never thought she could be a witch because
she's blond and slender like a storybook princess. Roland, forgiven,
can be Tiffany's friend, but what could have been never will be and
Tiffany might have a different beau, but "something that is was
not meant to be is done and this is the start of what was," or
will be if Pratchett survives to write the fifth Tiffany Aching book,
which is due out next year, God willing. I Shall Wear
Midnight is a better book than
Wintersmith, but that
doesn't mean a person would ever skip over one for the other.
But
back to our topic. Sometimes love ends in disgrace and ruin and
death and shame. Honestly, failed romance in the Regency/Victorian
period is usually hilarious. Somebody sees somebody else's ankle, or
swoons and winds up emigrating, or their cousin turns out to be a
rake, but this is deadly serious. Mary Hays is another of MaryWollstonecraft's friends and her second novel, A Victim of
Prejudice, blows away people
like me who read Gothic romances ironically. As Sir Peter Osbourne
would say, "D–mn." I hate Sir Peter Osbourne. Mary
Hay's protagonist, Mary (they didn't have a lot of names back then)
begins as the happy child of a loving foster father called Mr.
Raymond. Mr. Raymond takes a pupil called William who grows up
alongside Mary in idylls of childish bliss until he induces her to
steal grapes from the neighbor's hothouse, wherein Mary first meets
Sir Peter Osbourne, who tries to kiss her. Mary has her first
negative emotion, and from then on, Sir Peter makes a hobby of
sexually harassing the neighbor kid whenever he runs into her, which
is often enough. But Mary has William as her companion and
protector, until Mr. Raymond pulls Mary aside and tells her that
she's seventeen now and, though his heart breaks to do it, he must
send her away because she cannot marry William, as he will inherit a
title of rank and his father would be loathe to see him marry someone
so base as herself. Mary goes, William follows, and they pledge
themselves to each other and tell Mr. Raymond, whereupon he explains
that Mary is the illegitimate daughter of a murderess who died on the
scaffold, which is even worse than being a poor orphan, and William's
father sends him to the continent for two years, during which time
all Mary's friends in the world die or emigrate. Mary makes her way
to London where, summoning a hackney cab to take her to the address
where she's been recommended as a lady's companion, she finds herself
led into the house of... Sir Peter Osbourne.
Mary
refuses to marry Sir Peter Osbourne, destitute and friendless though
she is, so he locks her in his house for nine days and rapes her in
one of the most violent scenes ever come from a Regency novel. She
doesn't even swoon. After the rape, Sir Peter makes it clear that,
now that she's ruined, she has nothing more to lose and might as well
marry him, but Mary escapes and rushes out onto the London street,
destroyed and penniless, and bumps into her William, William!, who
returned from abroad and didn't bother to tell her. He takes her to
a lodging and nurses her while she suffers PTSD and fever. When her
health is recovered, he confesses all. He did dabble in worldliness
abroad but never forgot his Mary, and inquiring of her when he
returned, he found that Mr. Raymond was dead, and her whereabouts
unknown, where, when his father arranged a loveless match for him, he
married the lady just three weeks prior. He sort of suggests that
Mary becomes his mistress, but Mary's pride will not let her and she
runs out into the street again with ten pounds William gave her for
immediate expenses. Here, Mary's financial troubles begin. Mary's
creed is "Death before dishonor," but most people who say
that are in a position to die quickly by sword; Mary isn't so lucky.
Mary's an archetype like Mary Magdalene or Sonia in Crime
and Punishment or Nell from
Oliver Twist, the
ruined woman still pure of heart. Mary maintains her pride, and her
name, which is a terrible idea, because Sir Peter Osbourne has been
telling everybody that Mary Raymond is such a loose, disgusting woman
that she'd even have sex with Sir Peter Osbourne. No one will hire
her as a lady's companion or a governess. She finally finds a job at
a print shop, and pays William Pelham back his ten pounds.
SERIOUSLY, MARY! WILLIAM IS A LANDED NOBLE. HE LOVED YOU. HE LOVES
YOU STILL. HE CAN AFFORD TEN POUNDS. She's constantly doing things
like this after her ruin. At her next financial exigency, she nearly
gets thrown in debtor's jail, and, later, she does. Sir Peter
Osbourne writes her a check for fifty pounds, and she returns the
money in a blank cover and runs, forgetting that she owed a neighbor
fifteen pounds, and the neighbor has her locked up. KEEP THE MONEY,
MARY! PRIDE IS GREAT, BUT YOU SHOULDN'T GO TO JAIL OVER IT! YOU
COULD HAVE EARNED ENOUGH TO PAY BACK SIR PETER OSBOURNE DURING THE
FOUR MONTHS YOU SPENT IN PRISON, AND THEN, THEN!, YOU COULD HAVE
THROWN IT IN HIS FACE! In 1799, it must have been important to Mary
Hays to show that her heroine would not debase herself one iota by
taking unearned money, but I hope no one followed Mary's principled
example in real life. Her tale is feminist, and Mary has an
incredible amount of discernment and agency for a woman of her time
and class, and it's class that kills Mary as much as Sir Peter
Osbourne does. William Pelham's class prejudice sets Mary on a road
that, as an unprotected woman, she's already halfway down when her
rape occurs. Does anybody remember the terrible movie The General's Daughter? No? Good.
In the trailer, a raspy-voiced soldier says, "Do you know what's
worse than rape? Betrayal." It's not, but in a world where
principles are more important than eating, it's nearly as bad.
William
betrayed Mary. They should have been together, but he took the easy
road of an unexamined life and their relationship was ripped asunder,
rather like African-Americans and the American dream. They
wanted to be together, they could be together, but Winning the
Race is as close to our topic of
jilted love as any popular non-fiction commentary on the state of the
African-American experience in contemporary culture can be.
John McWhorter writes a scary book about race. I thought Winning
the Race was supposed to be the
optimistic rebuttal to his own book Losing the Race,
but it isn't, oh boy. McWhorter contends that the state of black
America from the 1960s onward is the result of what he calls
"therapeutic alienation," the result of a cultural meme
created in the last years of American apartheid that's stuck around
for multiple decades because it's a convenient shorthand for a
peoples' experience of why they aren't doing as well as they should.
McWhorter points out that black poverty was actually on the decline
in the 1960s and 1970s when open-ended welfare was championed by a
certain set of academic sociologists who viewed blacks as incapable
finding adequate employment and also considered welfare to be a
back-door way of reparations. McWhorter argues that while some black
people were pulling themselves up, the people who chose the
not-terribly-admirable-but-all-too-human easy way found themselves in
a culturally detrimental cycle where women could have as many kids as
happened to happen to them and raise them at a subsistence level,
where men, no longer needing to provide for their families in any
meaningful way, could behave in a way that was, a generation
previous, reserved for the bottom of society, and that this cycle
became quickly established and easily self-perpetuating, as
sixteen-year-olds are not the best judges of their own fate.
Therapeutic alienation became a way to explain this state of being
without blaming the actors. He agrees that racism does still exist,
but that the systemic racism of American up to the '60s is passed,
and that experiencing overt discrimination can be traumatic but lower
class black experience over-relies on explanations of racism, when an
unwillingness to engage with formal society is also in play.
McWhorter takes down the common arguments explaining the state of
Black America, that the jobs left, that drugs came in. A black man
can certainly still be arrested for sitting in a chair in St. Paul,
but McWhorter calls foul on a university president's moaning that his
hotel room is too far from the elevator because he's black. Winning
the Race is more universal in
its address than Losing the Race,
which focused more on higher ed, a topic no doubt close to
McWhorter's heart. Very interesting, very good, made me feel racist
for agreeing with parts. McWhorter has another short popular book on
linguistics out and he's not writing for Time anymore.
What is he up to?
Love
fails, love slides away, love dies, and love is wronged: If
you need to murder your cousin on her wedding night and assume her
identity to be with the man you love, don't. Your relationship won't
be happy, regardless. The Forsaken Inn by
Anna Katharine Green takes place before the inn is forsaken, it's
actually quite prosperous. Set before and after the Revolutionary
War, which has nothing to do with the story, the woman innkeeper is
first skeeved out by a creepy man and his timid bride who spend the
night in the Oak Parlour with their big heavy luggage box. Years
later, a tourist shows up and says, "I'd like to see your hidden
room." "What hidden room?" "One night, years
ago, I was at a tavern and a man told the story of an old
innkeeper/smuggler and his hidden room. I said if I was ever in the
area, I would like to visit this inn and see it." So they pop
open the secret door of the hidden room and there's a woman
decomposing. The innkeepstress stays at the inn and the tourist
rides off on some very efficient detectiving to find a man who's been
living in a cave for several decades because the woman he loved threw
herself off a bridge. Cave-man's story explains the illogically
complex love affair between himself, bridge suicide, nice cousin, and
the villain. The innkeepster and the interested tourist let the
hermit know that the woman he's been living in a cave over is not
only not dead, but a murderess and alive in France, and he throws off
his cloak of solitude. Then a woman arrives from France at the inn
and seems desperately interested in the Oak Parlour, because the
murderer always returns to the scene of the crime. As someone on the
internet said, "There's no mystery." Anna Katharine Green
wrote dozens of books in the late 1800s, none of which are read
nowadays.
And
maybe, sometimes, there's a happy ending and everything works out
like in a fairy tale and everything is happy. Even if it's fraught
in the middle, there's a silver lining and every boy gets his
handsome prince, because Fairy Tales: Traditional Stories
Retold for Gay Men by Peter
Cashorali. I never would have read this on my own, but Laura read it
and she told me Rumpelstiltskin, which, to summarize:
A
miller brags excessively: "My nephew can turn shit into gold."
The king happens to be walking by and says, "My son is total
shit. Send your nephew by the castle tonight." The nephew goes
to the castle, and is left in the prince's room full of destroyed
furniture. The nephew cries because he can't turn shit into gold,
when a funny little man dressed all in leather appears. The funny
little man says, "I know how you can fix the prince, but in
exchange, I will take all your happiness." The nephew decides
that's a fair trade, considering, and he says, "How do I turn
the prince into gold?"
"Well,"
says the funny little man, "when he comes back into the room,
he's going to try to hit you."
"Should
I hit him back?" says the nephew.
"No,
then he'll fight you and win."
"Should
I not him back?"
"No,
then he'll think you're weak."
"Well,
what should I do?"
"Ask
him to spank you," says the funny little man. Then he
disappears, the prince comes in, raging, the plan works, and the
prince and the nephew are happy, until the funny little man takes all
his happiness, and there's more! This book is a amazing. All the
stories are spot on re-tellings with a twist for the fairy tale
aficionado(Missie). I like it when a man and a talking chicken walk
through the forest and come upon a gym, a trendy patisserie, and a
men's clothing store on their way to the next castle. Peter
Cashorali mines multiple sources and the depths of Grimm; he gives
you Beauty and the Beast, The Ugly Duckling, and the Frog Prince, but
there's also The Golden Parrot, Two Apprentices, and some other ones
we've never read before. Romaine (Rapunzel) includes that second
part everyone forgets where the prince goes blind, and the Ugly
Duckling is a brutally tender AIDS metaphor. Laura is my friend who
is like a catfish of literature. She lives in the bottom of the
recycling bin and filters all the scummy bits for the benefit of the
ecosystem. Polyandrous incest; your children, rock music, and the
devil; Lurlene McDaniel; the Greek billionaire's virgin mistress:
she's read it all. Hurray to her for stumbling on a good book!
Because we all need love, and happy endings, and the aforementioned
books won't give them to us.
Next
time: The continuing story of how I survived outdoors for several
days by bringing lots of food.