Quote of the Day (Frances Trollope, Loathing a Most American Summer Fruit)

“The huge fruit [watermelon] is cut into half a dozen sections, of about a foot long, and then, dripping as it is with water, applied to the mouth, from either side of which pour copious streams of the fluid, while, ever and anon, a mouthful of the hard black seeds are shot out in all directions, to the great annoyance of all within reach.”—English novelist and travel writer Frances Trollope (1779-1863), Domestic Manners of the Americans (1832)

To her infinite horror, Mrs. Trollope first came across this fruit (one I love, BTW) while visiting Cincinnati in 1830. I’m afraid that her bad opinion wouldn’t be improved by the image accompanying this post: Juliette Lewis in the 1993 film, What’s Eating Gilbert Grape.

This Day in Theater History (Novelist Balzac Scores Stage Hit at Last, Posthumously)

Aug. 23, 1851—Honoré de Balzac might have been dead for a year and five days, but he achieved the stage triumph he’d been craving for nearly three decades at the Gymnase Theatre in Paris with the comedy Mercadet.

I am far more familiar with the novels and short stories that comprise La Comédie humaine, a wide-ranging, interwoven panorama of French life in the first half of the 19^th century, than with Balzac’s plays.

Astonishingly, he did not confine his energies to the more than 90 novels and dozens of tales for which he is best known, but also turned out six major plays, along with a verse drama from his early 20s, Cromwell, that should probably best be termed “apprentice fiction.”

(Oh, I almost forgot: in his 20s, to keep the financial wolves at bay, he churned out essays and journalistic pieces, many under pseudonyms, and at the time of his death he also left 46 works unfinished. And I thought Hemingway was bad!)

What audiences saw 175 years ago in Mercadet wasn’t Balzac’s first crack at this material. It had first emerged from his busy pen as Le Faiseur (“The Speculator”). It must have been something of a mess, because it fell to Adolphe d’Ennery to act as what we might call a “script doctor” today.

You might call d’Ennery Balzac’s counterpart for the stage, as he was sole or co-author of more than 280 plays—except with this difference: he knew how to keep and even boost the totals he made from his work. 

He certainly had a good idea of how to fix Le Faiseur, whittling it down from five to three acts, retitling it, and making it easily the biggest theater success of Balzac’s career (though even in this instance, it was only a moderate success).

Let’s give Balzac some credit instead of ridiculing him for his lack of stage success in his lifetime. First, he took great pleasure in adding drama to his fiction.

In a February 1934 French Review article with the intriguing title “Balzac Precursor of Eugene O’Neill,” the French and Italian literature scholar Hermann H. Thornton observed, “Only the most literal-minded compiler of literary manuals could fail to see in him a dramatic author of the first rank,” pointing to his tendency to demarcate scenes, to read his own work aloud, and to speak “with excellent diction.”

Moreover, he hasn’t been the only novelist who’s had trouble in turning from fiction to the footlights.

Though John O’Hara wrote the “book” portion of the classic Rodgers & Hart musical Pal Joey, that show lopped in its initial 1940 run—and his other unproduced dramas (collected in the 1961 collection, Five Plays) have, to my knowledge, been barely remembered, never mind staged, since the pugnacious author wrote them.

Charles Dickens’ attempt at amateur theatricals led not to major London stage success but to a clandestine love affair with a teenaged actress (as I explained in this post from 18 years ago).

And I can’t neglect to mention Henry James—whose Guy Domville was such a crushing fiasco that it ended after a half-dozen attempts his desperate hope for a London stage hit, as I related in this post.

Stage flops were not the only thing that James and Balzac (worshipped as “the father of us all” by the American expatriate) had in common: they were both obsessed by what James called “the money passion.” 

It seems that, though D'Ennery streamlined the novelist’s script, he didn’t strip away its devastating satire of post-revolutionary French bankers and mountebanks who will let nothing stand in the way of profits—including a roguish, inveterate speculator of a father who is out as much for his own creature comforts as for his daughter’s dowry.

Spiritual Quote of the Day (Alfred Kazin, on God and Creation)

“To love God is to be grateful for the Creation and the Intelligence that keeps the universe going (while man is forever assaulting it). How odd that the first laws of science are still scriptural—that there is a world here rather than nothing."—American literary critic and memoirist Alfred Kazin (1915-1998), A Lifetime Burning in Every Moment: From the Journals of Alfred Kazin (1996)

Quote of the Day (James Wolcott, on Movie Revival Houses of the Seventies)

“Revival houses in the 70s, nearly all of them shoestring operations, had their own distinct character, a creaky, lived-in, refuge-for-lost-souls wombiness that honored the passage of time and fostered sinking into reverie. It was as if the graininess of the films seeped into the worn carpets and seat cushions. The Elgin, despite its Deco exterior (preserved during its renovation and resurrection as the Joyce, home to contemporary dance), had a disreputable mise en scène, perhaps the residue of its midnight showings of John Waters’s Pink Flamingos. Architecturally, the Thalia was a true weirdo, with its reverse parabolic floor and flimsy soundproofing; ventilation didn’t seem to be a priority, either—'The air in the theater seemed left over from F.D.R.’s third term,’ one Thalia veteran recalled. (Now an adjunct to Symphony Space, the Thalia has been handsomely re-modernized and re-christened the Leonard Nimoy Thalia.) The seats at Theatre 80 St. Marks [pictured] were a stress test for the lumbar region, and the rear screen projection often made black-and-white films look bleachy, but the concession bar served Colombian coffee—singular then—and the audiences seemed more collegial than those at revival houses that attracted more solitary jaybirds. The much-traveled prints were usually far from pristine, at worst a flickering strip of scratches, blotches, missing frames, and faded colors. But there’s something to be said for encountering art in a primitive condition—it makes the synapses work a little harder.” —American essayist James Wolcott, “Revival of the Fittest,” Vanity Fair, February 2018

Though I had a chance to take a film class taught by a well-known film critic while I was an undergrad, I disdained the opportunity. It was a “gut” course—i.e., easy—I had heard, so my guilt overtook my curiosity. 

I had to wait until after I graduated in the early Eighties for my true education in classic movies to begin, in precisely the sometimes scruffy revival houses that Wolcott describes so well.

It started with a short-lived theater on Eighth Avenue in the Forties where I saw Body Heat and Gallipoli long earlier their original runs, before I advanced (or, maybe I should say, backtracked) to more vintage fare. 

At the Thalia, for instance, I saw silent films accompanied by Steve Sterner on piano (though I must say, nothing beat Lee Erwin on the mighty organ in a far different venue, the Cathedral of St. John the Divine, for The Phantom of the Opera).

I continued with Theatre 80 St. Marks, where I saw Orson Welles’ 1948 version of Macbeth and wondered if the hideous voices was due more to a poorly recorded soundtrack or the director’s disastrous decision to attempt a Scottish accent. 

(Later, I continued to attend performances at this East Village space when it became for a number of years the home of the Pearl Theatre Company.)

The Regency Theatre furthered my education in film until, after 68 years of operation, it was taken over by the chain Cineplex Odeon (which many of us felt like calling “Cineplex Odious”) in 1987, then transferred my allegiance to the Biograph Cinema.

Though it only lasted from 1988 to 1991, it continued the Regency’s tradition of running weeks of themes so you could catch up on directors and theaters quickly. 

(For instance, in the “Screen Teams” series, for one segment devoted to William Powell and Myrna Loy, I saw the eightysomething but still game Ms. Loy in the audience, waving to fans in the theater’s front seat for well-deserve applause).

By the early Nineties, the proliferation of the VCR meant the decline of the revival houses. You’ll notice that I used the word “decline” rather than “extinction.” 

If you’re in the New York metro area, you will still find theaters devoted to classic or unusual older films—notably Film Forum or the Museum of Modern Art in the city itself and (mixed with current independent films and live events) the Barrymore Film Center near me in Fort Lee, NJ.

Yes, I am a TCM fan, and against all modern trends, I prefer DVDs to streaming. But nothing beats a movie classic on the big screen. 

It’s not just widescreen epics like Lawrence of Arabia, or silent films to live musical accompaniment, that are shown to their best advantage there.

Simply put, nothing beats sharing the laughs of a great comedy with an audience, or seeing how meticulously a black-and-white film was crafted with its contrasts and shadows. 

For any of my readers who haven’t tried yet these vintage theaters that have inexplicably survived into the digital age, seek them out. This is how movies were meant to be experienced in the first place.

Quote of the Day (Brian Cashman, on His First George Steinbrenner Trauma)

“I told him [the late New York Yankees principal owner George Steinbrenner, pictured], ‘This way is faster.’” [Incorrect: The “shortcut” to a haircut appointment, the Third Avenue Bridge, was closed for renovations.] “And he starts going ballistic: ‘’You effing idiot. Take me back to the effing stadium.’ He’s crushing me from the back seat. I mean, my hair was blowing forward because of his bellowing from the back. It was relentless, because that’s how he was. If somebody told me the same story and said they crawled up into the fetal position, I could understand it.”—New York Yankee General Manager Brian Cashman, on “the worst experience of my life” (with then-boss George Steinbrenner, naturally) as a summer intern in the mid-‘80s, quoted by Bruce Schoenfeld, “‘I Feel the Pain More Than I Feel the Joy,’” The New York Times Magazine, Aug. 16, 2026

Good God, wasn’t George Costanza available to take The Boss around?

This incident must have been pretty bad. Now, most people would call losing a loved one “the worse experience of my life.” Maybe even losing a job.

In the case of the Yankee GM, I might plop for a divorce that exposed an extremely messy private life to tabloid and late-night talk show ridicule. Maybe even the anecdote in this September 2019 Ian O’Connor profile relating how Steinbrenner humiliated his young charge into personally collecting players' spring training rental car keys before they headed north.

But no, Brian Cashman says this incident driving The Boss around was the worst. Between the sheer physical sensations (the high-decibel insults! the hair blowing! the pushing from the backseat!) and the full-on exposure to baseball’s most impulsive, truculent owner, maybe it was.

If you listen to New York sports radio or podcasts to any extent, you might find some Yankee fans who wish that Steinbrenner was even tougher on Cashman.

Bronx Bomber fans are like Notre Dame football fans: success early in team history has only increased the fury over the lack of a title in recent years, though there’s a good excuse: the games have changed radically since the glory days of The Gipper and Babe Ruth.

So, from now until some point in mid-fall, Yankee fans are on The Cashman Watch: Will George’s son Hal stick by him, or will he be given his walking papers? Many will be venting on sports talk radio if manager Aaron Boone is let go for his squad’s underperformance but that great Houdini Cashman survives yet again.

Until then, just remember the wisdom of Annie Savoy in Bull Durham: “It's a long season and you gotta trust it.”

(The image of Brian Cashman that accompanies this post was taken on Oct. 7, 2012, at the American League Divisional Series Game 1 between the Yankees and Baltimore Orioles, by Keith Allison.)

Photo of the Day: Shoe Shop, Old Economy Village, Ambridge PA

When it comes to all the subjects I could write about, too often my curiosity exceeds my time and energy. So it proved on a visit with a close relative in Pittsburgh in October 2019, when we took a day trip to Old Economy Village, 18 miles away from the Steel City in the Beaver County town of Ambridge.

Despite my intention to write about this site, other matters got in the way, such as holidays, COVID-19, disruptions in my career, and other situations. For the longest time, I had forgotten about my time there.

I doubt if many people outside Pennsylvania have heard of this National Historic Landmark, let alone visited it. But this set of buildings tells a fascinating story of how one of the many religious sects that spring into being in 19^th-century America lived and worked communally.

If you want to learn how these believers demonstrated a spirit of entrepreneurship as they sought to live according to the dictates of their faith, viewing the 18 buildings from this community is an excellent place to start.

The accompanying photo I took while there shows the shoe shop. It’s part of the Mechanics’s Building, which also housed tailors and hat makers; for a time, printing operations; and underneath, a wine cellar.

While the Society (or, as they were called, the Harmonists) made and repaired shoes for themselves, it would also do so for the public on request. The footwear would then be sold in the organization’s store.

On display here are tools of the trade, including benches; clamps; adjustable tin patterns; knives, hammers, awls, and other materials for finishing the leather; and lasts that were individually sized to a person’s feet. (Until the 19^th century, believe it or not, one last was used for both left and right feet. Imagine the discomfort!)

What fascinates me as well about the Harmony Society, a sect of German Lutheran separatists, is its place in the history of American utopian communities. One, Brook Farm, founded by Bronson Alcott (yes, Louisa’s father) in 1842, foundered quickly.

Alcott would have done well to see how Old Economy Village under its leaders, the preacher George Rapp (1757-1847) and his adopted son Frederick Rapp (1775-1834), the community’s business manager, managed to thrive for so long.

Part of it goes back to the old real estate mantra “location, location, location.” The 3,000 acres that the Rupps and other Harmony Society leaders purchased were along the Ohio River, offering plenty of opportunities for shipping their products to the established Eastern states, as well as to growing midwestern and western markets via the Ohio and Mississippi Rivers.

Moreover, the fertile soil made for excellent farming. Each household had its own garden which provided fruits, vegetables, and herbs.

Families, then, were self-sufficient—and the collective abundance was so great that politicians and businessmen in the area took notice. It was a vibrant community with a diversified economy that, as the saying went, placed “the agriculturalist beside the industrialist.”

The Beaver County location was the third that the “Harmonists” created in the United States. The first, in Harmony, PA, was founded in 1804. Eleven years later they moved to New Harmony, IN. After a decade, desiring more opportunity to sell their goods east and dismayed by unfriendly neighbors they moved back to Pennsylvania to a community they named “Harmony.”

(They then sold the Indiana land for $150,000 to the Welsh industrialist and social reformer Robert Owen, whose secular, utopian community collapsed after only two years.)

The Harmonists were already attracting considerable notice in their first two decades since coming to America, not always positive. Their practice of celibacy especially came in for biting criticism, notably from the English poet Lord Byron in his mock-epic Don Juan:

When Rapp the Harmonist embargo'd marriage
In his harmonious settlement (which flourishes
Strangely enough as yet without miscarriage,
Because it breeds no more mouths than it nourishes,
Without those sad expenses which disparage
What Nature naturally most encourages)—
Why call'd he 'Harmony' a state sans wedlock?
Now here I 've got the preacher at a dead lock.
 
Because he either meant to sneer at harmony
Or marriage, by divorcing them thus oddly.
But whether reverend Rapp learn'd this in Germany
Or no, 't is said his sect is rich and godly,
Pious and pure, beyond what I can term any
Of ours, although they propagate more broadly.
My objection 's to his title, not his ritual,
Although I wonder how it grew habitual.

Nevertheless, even though the number of Harmonists had already declined to about 500 by the time they settled again in Pennsylvania, the group prospered greatly, exporting their goods not just within the United States but also, by 1825, to 10 European countries. That wealth accumulated through shrewd early investments in the nation’s emerging coal, oil, and railroad industries.

Like the Shakers, the Harmonists had no trouble sustaining themselves economically, but their strict celibacy rules led to the end of the group at its Beaver County settlement. But visitors can still see today how they worked, lived, and even played (yes, the second floor of their Feast Hall served not just for meals but for musical performances on special feast days).

Quote of the Day (Damon Linker, on a Destructive ‘Authoritarian Outlook’)

“Setting aside the question of whether an authoritarian outlook is harmful in religion, and there is a considerable religious and philosophical literature on the subject, an authoritarian outlook can certainly be destructive in politics. A nation in which such an outlook is explicitly encouraged and esteemed will be tempted to support political leaders who promise to shield us from the inherent complexity and difficulty of truth itself. This temptation is especially dangerous in liberal democratic nations, which depend on citizens informing themselves about exceedingly complicated issues, making use of alternative sources of information, doubting the assertions of public authorities, and thrashing out an inevitably tentative truth in open-ended argument and debate. This is the unavoidable price of citizenship in a free society. It is our citizenly duty to be suspicious, and to cultivate suspicion, of any and all who would rescue us from the rigors of our own freedom.”— American journalist and author Damon Linker, “Without a Doubt” (review of Richard John Neuhaus’ “Catholic Matters”), The New Republic, Apr. 3, 2006