Resilience

A child can develop resilience despite domestic violence, neglect and abandonment, poverty and inequality.

In Hang the Moon by Jeannette Walls, Sallie Kincaid is born into a comfortable life in a small, early 20th century Virginia town that is run by her father, known as the Duke, and his sheriff brother-in-law. Soon after her mother dies, the Duke marries a woman who resents Sallie, especially after she has a son who prefers music and education to fishing, hunting, risk-taking and rough-housing.  

Tough and matter-of-fact, never bitter, Sallie adores her father and accepts that he wants a strong son to resume control of the family business – a general store that organizes county moonshine sales. After the death of her mother, the Duke's second wife, all Sallie wants is to be part of a tight family. So she respects and gets along with her half-brother, Eddie. She follows her father’s orders to mentor Eddie on toughness, and the two have a wagon accident that nearly kills him. Her father sends Sallie away to live with her mother’s sister, providing minimal support. The child assumes the move is temporary, helping her aunt scrub wash to get by. 

Education is an afterthought in the poor community, though a teacher takes a liking to the intelligent girl and relies on her to help with younger students and offering advice that Sallie remembers years later: “teachers don’t know everything, but as long as they stay a step ahead of the students, the students think they do.”

The father sends for Sallie a decade later after the stepmother’s death. Teenaged Sallie is resourceful and loyal, but the father envisions one path for girls, and that is marriage. He expects her to tutor the brother, but Eddie knows far more than she does. She takes advantage of his lessons, but also worries about his values, once asking, “If you’re the smartest person in the room, is it always smart to let everyone know it?” The boy replies, “Absolutely. Nothing is more important than the truth.”  

The father marries a third time. Eddie adores the new stepmother and a baseball player friend, and Sallie longs for a “paycheck job,” one where she showed up, worked the hours, and collected a paycheck, allowing her to send money to her struggling aunt. Sallie convinces her father to let the stepmother tutor the brother and make Sallie wheelman – collecting payments from the many land tenants. 

As an adult, Sallie learns her father kept many secrets. A black tenant is another half-brother. Her aunt resorted to prostitution after losing the wash business and is mother of half-sister/cousin, a long-time servant. Her father shot her mother after a domestic dispute.  

After the Duke’s death, the stepmother quickly remarries the baseball player and agrees that Sallie invite the maternal aunt, a “fallen woman,” into the family home. Eddie and the Duke’s sister protest, and Sadie argues for forgiveness. “People who’ve never gone without find it easy to pass judgment on those who’ve struggled.” 

The Duke’s sister and her sheriff husband take control of the business, battling with the stepmother, regarded as an outsider, for guardianship over Eddie. The aunt makes the stepmother’s life unbearable, prompting the woman to flee and Eddie to commit suicide. 

Next, an older half-sister and preacher husband take control of the family business, insisting on enforcing Prohibition rules and hiring a ruthless security officer to end moonshine production. Profits plummet and tenants become desperate, testing Sallie’s conscience as wheelman. “It’s when the boss asks you to do something you know to be wrong and you do it anyways. That sort of work whittles away at the soul.” 

The sister dies of cancer and Sallie takes control of a failing enterprise, remembering old lessons as she struggles to learn who to trust. She recalls trying to save up for a gun when leaving with her impoverished aunt and a schoolmate offering to let her help his family harvest and sell chestnuts for six cents a basket. “The frost had knocked the nuts out of the trees and the ground was thick with them. Mr. Webb told us we had to make haste, seeing as how bear, deer, boar, and people would all be fighting over these chestnuts and in a couple of days they’d be gone.“ She needs thirty-four large baskets to buy the gun, but comes up a bit short.

Sallie visits the family to collect her share, fulling expecting them to avoid payment. The quiet, stern man advises that the price of chestnuts was not what he had expected, with a blight killing off trees to the north and chestnuts in short supply. The shortage means chestnut prices went up, and he pays her seven cents per basket. “Some folks say they hate to be proved wrong, but I was never happier to be mistaken.” 

Based on such experiences – at times, the novel reads as though a series of short stories – Sallie develops her own moral code, running the illegal business but discouraging lies, corruption and long-time disputes. She is quick to forgive and move on, and that policy applies to the paternal aunt who long made life difficult for Sallie, her mother and her aunt. Sallie leads the family and tenants on producing and running moonshine into nearby Roanoke. “Outlaw. Rumrunner. Bootlegger. Blockader. I don’t for one second forget that what we are doing is illegal, but legal and illegal and right and wrong don’t always line up. Ask a former slave.” She adds: “Sometimes the so-called law is nothing but the haves telling the have-nots to stay in their place.”  

She maintains the operation doesn’t involve stealing or coercion. “Just helping out the people of Claiborne County who through no fault of their own are in an awful bind. Obey the law and starve. Or break the law and eat. Not a lot to ponder there.”  

For Sallie, family is sacred, and she realizes her father “whose approval I so craved” did not feel the same. The Duke “loved being loved, but he never truly loved anyone back. He took what he wanted from people, then once he got it, cast them aside.” 

The historical novel is bittersweet, optimistic and certainly idealistic about bootlegging and a woman running a business in the 1920s. Sallie succeeds by embracing all members of her family and community, wayward in so many ways, as long as they get along and work to love and protect the whole.  

Predator or prey

 

Elinor De Witt in The White Lady by Jacqueline Winspear lives a quiet life, retired after volunteering for the resistance effort in Belgium during World War I and returning to spy for Britain during World War II. Her father leaves the family to join the war effort in the first war, and Elinor makes a silent vow that “she, her mother and sister would do all they could to arm themselves against their obvious weakness; the vulnerability of being female.” After realizing the father has perished at the front, the mother befriends a member of the resistance and allows Elinor and her older sister to observe German train movements and even sabotage the tracks.

Elinor, though younger, is more serious, agreeing to weapon training after the recruiter convinces her that a citizen can either be predator or prey. Elinor soon recognizes that “being a predator filled her with as much fear as being prey,” and the recruiter points out that such fear could keep her safe. Elinor views herself as “a predator who understood what it was to be prey” and armed “with that knowledge, she knew she would survive…” 

After World War I, the three women head to Britain where Elinor excels at her studies and wins admission to Cambridge. Her mother rejects that plan and urges her to remain close in London. The young woman’s curiosity and drive to learn are not vanquished so easily. Elinor masters multiple languages and, feeling distant from her less academically oriented mother and sister, moves to France to work as a teacher.  

Hitler’s rise spurs fears in France, and Elinor returns to Britain, teaching at the boarding school where she often struggled with teachers, including the woman who went on to become headmistress. The older woman viewed Elinor’s behavior as demonstrating resolve and resilience rather than disrespect: “our women in the making will need such qualities to see them through.”

The headmistress points out the tumultuous years of war have been hard on the young, “giving rise to an element of doubt, of unknowing that can in turn lead to undesirable words, thoughts and actions.” She warns, foreshadowing, that “Some of our pupils are the daughters of bankrupt men – and women – and I don’t’ mean bankrupt only in a financial sense…. The years after the war changed our society, and that is reflected in the attitudes and behaviors…”

Elinor is expected to set an example and support high standards that will “become the backbone of everything they do in life. Every. Single. Decision.” The headmistress concludes, “I have found that when one remains true to one’s established values, life’s squalls, storms and doldrums become easier to navigate.” 

Elinor leaves her teaching post to work as an intelligence officer in Belgium, hoping that such values will protect her and villagers who have joined the resistance. Some colleagues, though, are in league with men in the pursuit of power. They betray their country not by cooperating with Nazis, but by prioritizing their careers, adjusting war plans to support a competing group of spies without alerting the full team.

The team barely escapes after a partner orders Elinor to shoot a small child threatening to reveal the position. Elinor refuses, and subsequently endures a month in a mental hospital. She is intelligent enough to cooperate, later awarded with a comfortable cottage in a quiet village.    

Elinor learns the full story about her last day as a spy after mob family attacks a brother, her neighbor. Jim yearns to escape his criminal past, but the family has friends in high places, the same men who betrayed the Belgium villagers. Elinor befriends the mobster’s widowed sister to gather evidence that might end the harassment. 

Protagonists or antagonists – police, spies or mobsters – err by underestimating the capabilities of women. 

Weeds

 

Two women document flora of the Colosseum in Rome, one in 1854 and the other in 2018 in The Weeds by Katy Simpson Smith. The first toils for Richard Deakin, a botanist, and the second is a grad student from Mississippi, struggling to win respect from her advisor and approval to conduct similar research in the Coliseum and fairgrounds of Jackson, Mississippi. Detailing how male superiors belittle the women's observations, the book may upend assumptions about adequate feminist responses across cultures and time periods. 

The first woman, who lacks education and viable career prospects, relishes the work and suggests that definitions uphold sanity. Nuance is key as well as who decides and defines. “The point of botany is not to distinguish between value and waste. (There is no waste.) It’s to be honest about what something is. A part, a whole, a root, a bloom. Conditions, habits.” 

The women lack mentors, role models and intellectual nourishment. The woman in 1854 lost her mother to opiate addiction. The other mother provided solid memories of fortitude, and before her early death, urges her daughter: “Truth is all you have.” The graduate students mulls the female tendency to move through life by rote, automatically pursuing education, marriage, children, “Like I was hoping to prove I deserved the space I took up.”  Love is elusive for each woman. Disrespect in work relationships sows mistrust and challenges in other relationships. The first woman longs for another woman who has since married moved abroad, and the second struggles with commitments, even though her mother once advised: “Know what you want before it comes, so you can get it without being gotten.” For her, finding love is secondary, and her priority is securing research funding, a career.  Yet the mentor rejects her observations, and she wonders, “If I can no longer say true things, and am prohibited from saying false things, what … is left?” 

Both narrators remain anonymous, so often the case for women in science. The women strive for creativity, exploration and novel connections that are discouraged by superiors. The modern-day advisor could well speak for both men when publicly admonishing his graduate student: “Scientists don’t arrive at projects with conclusions in mind; we’re passive. Humble. Unresisting. That’s how you open yourself to answers.” 

The narrators give weeds equal attention in a plot interspersed with species names and descriptions. Great care is used in distinguishing common species like S. oleraceus and S. tenerrimus: “Two sides of a genus, a plant that any ordinary passerby would fail to notice, or, if noticed, would call a dandelion,” notes the woman of 2018. She insists on distinguishing the two. “the only lesson I carry from Deakin – every thing deserves its name.” 

The discomfort the limited options in responding to bias are similar in 1854 and 2018, so much so that the identity of the narrator is at times unclear: “You can’t demand love. Nor expect it, nor wait for it, nor want it. It comes on air like a scent.” The more poetic comments likely come from the woman with the broken heart: “With lyrate leaves, shaped like those instruments of old, I wonder at their purpose. If they are accompanying songs too green for us to hear. If this is a signature to mark our deafness.”

The woman of 2018 marvels that Deakin, as a man, wrote about the Colosseum’s plant life in such a charming, thoughtful way: An excerpt from Deakin's actual book, not mentioned in The Weeds: “Flowers are perhaps the most graceful and most lovely objects of the creation but are not, at any time, more delightful than when associated with what recalls to the memory time and place, and especially that of generations long passed away. They form a link in the memory, and teach us hopeful and soothing lessons, amid the sadness of bygone ages.” The graduate student finds herself wishing that she had such an advisor, not realizing that, according to the novel, Deakin died before the flora is published and the apprentice applied extensive edits before submission. Deakin published one book, and biographical information about him or a female apprentice is limited. 

Both narrators are fascinated by plants’ defensive mechanisms, especially those that might harm humans. The modern-day woman marvels: “How easy, to eliminate something living from the earth. As simple as turning up the temperature, or slipping a pill in a drink, or touching a leg, or doubting.” One woman sabotages herself, and the other sabotages her superior, slipping bits of a plant that he fails to recognize into his drink. “He hasn’t done the work, so he’s missing all the signs.” 

The Weeds has a weary tone for more reasons than one. The woman stronger in spirit is raped. And each woman senses that she documents a massive decline resulting from a changing climate, feeling an urge, “Write it down before it’s gone.”  In keeping their respective lists, the woman from the 19th century observes how vetch transformed from staple to “crop of last resort,” and the modern-day woman wistfully recalls cattails, her favorite plant as a child: “brown and whistling with red-winged blackbirds. The pond is gone; it became a football field. Could I slow my town’s unrolling ruin by naming what exists? Is that what we’re doing here with these lists, slowing death?” 

The science of botany is in decline, too, even though there are about 300,000 species. "M]ore and more, colleges and universities are getting rid of their botany programs, either by consolidating them with zoology and biology departments, or eliminating them altogether because of a lack of faculty, funds or sometimes interest," reports U.S. News & World Report. 

Some species survive development and destruction, and others go extinct. The same is true of the human spirit. Some women refuse to be broken by inequities and, one way or another, ensure their voices live on. 

Michigan State University's W. J. Beal Botanical Garden, is the oldest, continuously operated botanical garden in the United States, featuring a collection of more than 2000 plants. The photo is courtesy of MSU Today.  

Shame

 

Social media allows individuals to explore feelings about unwanted behavior in both themselves and others. 

In Society of Shame by Jane Roper, a woman’s world falls apart after she arrives home early from a work trip to discover her garage on fire, her US Senate candidate husband hurrying to dress and conceal an affair. Topping off the bad day, photos focus on a menstrual stain on Kathleen Held’s pants. The photograph goes viral, and women become outraged that a period accident captures more attention than a husband’s infidelity. Activists, including Kathleen’s young daughter, embrace the new #StopPeriodShaming movement. Kathleen, annoyed after her husband expresses concern about damage for his campaign, moves out of the house and gives her daughter permission to participate. 

Leaving home, Kathleen steals an elegant invitation from a secret Society of Shame, intended for her husband. All members, shamed over social media for various offenses, hope to restore confidence and reinvent themselves, and Kathleen wonders, “If she was a stronger, more fulfilled version of herself, maybe her marriage wouldn’t have fallen apart.” Maybe she would have published the book she had written years earlier. 

Maybe. 

Shame can be about self-evaluation and social-evaluation, according to philosopher James Laing, who urges rejection of “the widespread assumption that the other-oriented dimension of shame is best understood primarily terms of our concern with the way we appear to others.” He instead urges treating “shame as manifesting our desire primarily for interpersonal connection.” Shamefulness, he maintains, can be used for merited avoidance or rejection. 

But the society in Roper's book turns to shame for the sole purpose of winning attention by any means necessary. The society’s founder orchestrates makeovers, activities and social-media messaging to repair reputations. For Kathleen, that means leaning in to support the new cause while emerging from the most embarrassing and painful moment of her life. Reluctance transforms into reflection and passion, as Kathleen, who decides to go by Kat, realizes that women “were bound together, all of them by this strange and mysterious biological process they shared, with its inconveniences and embarrassments and messes; its power to bring relief (not pregnant!) and heartbreak (not pregnant); the thresholds it marked between child and adult, youth and middle age.”

With new clothes and haircut, Kat becomes an instant celebrity, juggling television appearances, newspaper interviews and a book contract. The society cheers, advising her to “Steer into the swerve.” A quiet member of the group urges Kathleen to enjoy the new popularity, but to “Keep telling the truth.” She finds an agent, and a major publisher insists on a ghostwriter, preferring that the author stay busy with promotion and social-media. 

Of course, social media as a tool can build and destroy reputations. Users take advantage of any connection or problem to advance agendas. Interactions are staged, publicized, with daily activities becoming less genuine. Frustrated, the husband plants a story that Kathleen never cared for the family dog, and activists attack her for living in an illegal Airbnb. Danica, organizer of the Society of Shame, stages a bizarre attack at a book announcement party for Kathleen and then expects that the two pretend to have no relationship at all. Kathleen’s daughter accuses her mom of promoting the movement “all for herself.”  

Weary, Kat frets about everyone expecting her to be "so perfect all the time," and critics abound on the internet. “Maybe it distracted them from their own faults and hypocrisies to constantly point out hers. Why confront your own mistakes when you can attack other people’s instead?” Kathleen's husband long prioritized his role as politician in their family life, and she repeats those errors, expressing disappointment that the child fails to understand “how complex it was to be a public figure and a spokesperson for a cause.” 

The plotting and charades become overwhelming and Kathleen abruptly stops obsessing over what others think. “People I don’t know or even particularly like. The thing we’re all doing here. Controlling narratives and changing conversations and getting back on top instead of trying to actually – I don’t know, grow.”  

Calm people, those who refuse to express anger and insist on playing fair, rarely attract as much public attention as do the outrage-makers. A low profile on social media can be priceless. 

The book captures the extreme language and emotions of our time, reflecting how social media can instigate divisions with no resolution intended. “Everywhere we look, we see values clashing and tempers rising, in ways that seem frenzied, aimless, and cruel,” suggests a review posted by the Stanford University's Center for Advanced Study in the Behavioral Sciences of How to Do Things With Emotions: The Morality of Anger and Shame Across Cultures by Owen Flanagan. “At the same time, we witness political leaders and others who lack any sense of shame, even as they display carelessness with the truth and the common good.” People can control and adjust emotions, and “Flanagan makes a passionate case for tuning down anger and tuning up shame," while demonstrating "how cultures around the world can show us how to perform these emotions better.”

Forms of shame leading to revenge, anger or harm to others are destructive, the review concludes. Other forms “can protect positive values, including courage, kindness, and honesty.” As suggested by Fear of Beauty and Allure of Deceit, thoughtful and socializing shame starting at a young age, “can promote moral progress where undisciplined anger cannot.”

Anger can strengthen an opponent's resolve.

Choice

 

Machines built by humans reflect human values. In the Lives of Puppets, by T.J. Klune, some machines love and nurture, and others are corrupt and controlling. The robot characters possess super-intelligence, the ability to communicate with one another, and others even yearn for free will.

The story begins long after robots have vanquished the human race. But some advanced machines preserve and collect human artifacts, curious about the creatures and pondering their downfall. “Humanity was lost…. And lonely….Even surrounded by so many of their kind, they still searched for a connection,” sending their machines “away beyond the stars in search of that connection they so desperately wished for.” And the more creative machines loved humans. “Because for all their faults, they created us,” said Gio. “They gave us names. They loved us.” Yet humans “hated as much as they loved. They feared what they didn’t understand… And the further they went, the less control they had…. They poisoned the earth. They had time to change their ways but they didn’t.”

Gio, an advanced inventor robot known as General Innovation Operative, has set up camp in Oregon, far from the machines with fascist tendencies, along with Vic, a human; Nurse Ratched, a healing robot; and Rambo, a cleaning robot. Vic regards the robot as his friends and Gio as father, sharing an interest in inventing. After finding another ruined robot in the trash, Vic secretly makes repairs. Rambo questions why. “If we can fix what’s broken, we should always try,” explains Vic. “Because all things deserve a chance to find out what life could be when they don’t have to serve others.” 

Vic calls the repaired robot Hap, based on the remaining letters stamped on its chest. Gio, learning about the newcomer, is alarmed because he had created that type of robot long ago – a Human Annihilation Response Protocol.  A killer robot is in their midst and the other robots, conditioned to protect their human, are wary. 

But Hap’s memory has been wiped and he must gather new information. The newcomer denies having feelings. Gio explains how robots learn: “We watch. We learn. We process. It wasn’t always this way. But the more complex our minds became, the more choice we are given. Evolution by way of mimicry.” Nurse Ratched, anticipating the worst outcome, is less optimistic. “He is learning,” confirms Nurse Ratched, always anticipating the worst outcome. “Retaining information. He will use it against us.”

A trace of Vic's blood left the trash dump prompts Authority robots to invade and destroy the treehouse encampment. Gio leads the group to a hidden bunker before voluntarily leaving with the invaders for decommissioning or reprogramming. His goal is to save Vic, presumably the only human on the planet. The group watches a video message left by Gio, relaying his history with humans and his assessment of why human civilization failed. “They judged others for not looking like they did. Selfish, cruel, and worse – indifferent. No civilization can survive indifference. It spreads like a poison, turning fire into apathy, a dire infection whose cure requires mor than most are willing to give. But for all their faults, there is beauty in their dissonant design…. In a way they were God, creating us in their own image.”

Humans taught the robots to learn, but did not expect them to evolve, making their own choices and asking why. And humans thought they knew better, refusing to listen to robot warnings. “No matter what we told them – our data showing them they were on the brink with options to course correct before it was too late – they thought themselves immortal.” Every test, every simulation, robots ran “ended with the same result: for the world to survive, humans could not.”

Gio evolved from an emotionless inventor to thoughtful, caring being who lived for enjoyment and experiences, no longer interested in serving his robot master. Gio urges Hap to do the same, doing all he can to protect Vic.

Vic refuses to accept Gio's demise and leads the other robots in a quest to rescue the inventor. Along the way, they meet the Coachman, a corrupt showman who admires humans yet attempts to enslave them. “Your flaws are what make you superior, in all ways. No matter what machines can do, no matter how powerful we become, it is the absence of flaws that will be our undoing…. Our only flaw is that we’ve condemned ourselves to spend eternity mimicking that which we deemed unfit to exit.”

The Coachman is fascinated by the notion of death and abbreviated time. “There must be no greater feeling in the world than to know that this isn’t forever.” 

The group reaches the Electric City and the laboratory where Gio once again toils as a newly reprogrammed machine. To secure assistance in reaching Gio, Hap must endure a session that restores his memories. Vic protests putting Hap through such a session, and the powerful fairy machine retorts: “Let? Let? Do you own him? ….You say he was given a choice. And yet here you are, doing everything in your power to take that from him. How positively human of you.”

Hap complies, enduring memory restoration without killing Vic, and then declines a procedure that would allow him to forget his unpleasant past. 

Turns out, the most advanced machines are conflicted about humans, dismissing their weakness, selfishness and volatility while appreciating the traits of loyalty, love, hope and more. The would-be rescuer hopes to study the concept of friendship and, in particular, why Hap refuses to follow his normal protocol to kill humans. More importantly, the rescue robot seeks to thwart the Authority’s goal of eradicating free will. “Choice. The power to make our own decisions. The Authority wants it removed from all of us.”

Vic comes to realize that machines, like humans, continuously live by trial and error and that existence, even for machines, is marked by death. “Humanity – that nebulous concept he didn’t always understand – had lived and died by its creations.” The provocative book concludes that creation, good or bad, is the essence of existence. Choice is inextricably linked with morality, and mortality comes with the creations and world we choose to leave behind.

Utopia

Childhood. Religion. Nature. Love. Each have a magical, spiritual quality, the memories of which can haunt for a lifetime. 

The Magical Kingdom by Russell Banks, a story of early 20th-century Florida loosely based on true events, has a documentary feel. The book begins with a journalist rescuing a set of reel-to-reel tapes from the trash at a library in St. Cloud, all that is left of the life of Harley Mann. Two decades earlier, in 1971, Harley used a tape recorder to recount his unusual childhood. Lonely, old and unsettled, the narrator/protagonist warns that he is well practiced at masking his identity. “It’s as if I never learned to speak like the man I have in fact become, one of those White, lifelong, small-time Florida businessmen with no noticeable religious or political enthusiasm and no discernible class affiliation.” 

Early experiences shape Harley’s ability to conceal and lie. His parents, devotees of philosopher John Ruskin, an early environmentalist and socialist, leave a failing commune in Indiana, where Harley enjoyed an idyllic childhood, for another struggling one in Georgia. The father, a skilled blacksmith, dies of typhoid soon afterward in 1901, leaving a pregnant wife and two sets of twin boys. From his deathbed, the father urges them to find work at a nearby plantation and designates 12-year-old Harley head of the family. The mother dismisses that notion, discouraging discussions or questions about their future.

As the family can no longer contribute to the struggling commune, the mother signs all up as indentured servants at Rosewell Plantation, where they are exploited and become mired in debt. The plantation was “the opening wound in a wounded life.”  Harley felt “as if he had been cast out of Paradise to suffer and perish for having committed an unnamed sin.” He learns about power that came only from the owner’s “control of an unimaginable abundance of money and our lack of it and the terrible, almost unfathomable distance between the two.” 

Harley describes those seven months “as responsible in some way for my lifelong garrulousness and secrecy, my consanguinity and pessimism, my easy sociability and solitude – my paradoxical, conflicted nature.”  

Still, he feels intellectually and morally superior due to the teachings of John Rushkin and other philosophers, poets, and scientists. “[W]hen you’re a child you passively accept your parents’ and their friends’ view of reality, no matter how distorted by ideology or religion.” He observes seeds of inequality and discrimination. “When your worth as a human being is reduced solely to the value of your body’s capacity for labor, you tend to overvalue meaningless physical characteristics, like your body’s skin complexion, or hair texture or the shape of your nose and lips.” Other workers on the planation focus on racial differences, but Harley’s family feel only shame, “for we knew in our heart that those differences were meaningless.” Still, he also feels “different and distinct from everyone I knew and loved and from all the strangers in the world, for I was the child whose father’s dying words had made him the man of the house, separating him from the others, even from his mother, … charging him with a task he could never fulfill.”  

The desperate mother, though not religious, reaches out to a Shaker community in central Florida, near Narcoossee, whose leader agrees to pay off the family’s debt. The belief in celibacy forced Shakers to recruit followers and adopt children who could stay or leave at age 21. “We were not quite free,” Harley concedes, only free to leave the plantation and join the Shaker community of New Bethany. Like the Rushkinites, the Shakers supported communal living, simple lifestyles, pacifism and gender and racial equality and stood by the principles of honesty, continence, faith, hope, charity, innocence, meekness, humility, prudence, thankfulness, patience, simplicity – along with celibacy. The Shakers separated children from parents, assigning them mentors for apprenticeships, and taught that people on the outside world were untrustworthy, living “only for the moment… acquisitive and materialistic and hungry for power and sensual gratification.” 

Rescue by the Shakers was like Paradise restored. Harley promises himself “to find a way never to commit that unnamed sin again,” hoping that “the “Shakers would teach me how to name the sin and would show me all the ways to avoid committing it again.” He becomes judgmental, rigid, suggesting that “Anyone with a lifelong guilty conscience is likely to be a hair-splitting moralist, especially when it comes to other people’s behavior.” He insists that religion is not the source of his guilt. “It had to be my parents’ perfectionist utopian dream, the dream they shared with the hundreds of like-minded dreamers who surrounded them near and far, the dream that made me feel like a failure and weak and morally inadequate.” 

Logical and intelligent, Harley refuses to just accept explanations from others and describes how, like every thoughtful child, he loathed hypocrisy. “A child knows himself to be powerless and thus the most likely member of the community to end up deprived of justice and truth and equality.” From the start, he is skeptical about the elder’s motivation – is it charity, a means to secure free labor, or desire for his mother?

Living with the Shakers the children once again work six hours per day, six days a week, with the profit from their unpaid labor much greater than the cost of support. “I have sometimes asked myself if it was exploitative and unnatural and cruel to work children that way. Exploitative yes…. But it was not unnatural or cruel” as farming communities expect children to work such hours. And the Shakers’ assignments were “interesting and instructive and rarely as onerous or dangerous as work in a factory or mill would have been.”  The men and women who supervise apprenticeships are kind and patient, relaying skills and attitudes that “would prove useful to us for the rest of our lives.” 

His mother becomes a compliant, happy stranger, and Harley questions the sincerity of such converts: “if truth be told, the majority of these supplicants were seeking reliable shelter and regular meals rather than everlasting life. If the price was abstinence from sex and all other stimulants, communal living and participation in Shaker rituals and customs, along with hard manual labor in the fields…, they were willing to pay it.” 

Elder John Bennett selects Harley as a “favorite student, the one whose mind and heart he most wanted to influence.” He lends the boy books of the Western Canon, ones that other Shakers might have viewed as heretical, and teaches the boy how to bend those works with Shaker teachings. The man does discuss the materials or quiz him, “except with a casual, knowing reference to a specific notion or insight.”  A former soldier and prison guard, John advises Harley that “You either surrender your freedom to the system, or you walk away from it. There’s no middle ground…. That’s why and how I became a Shaker.”  Of course, such sentiment is true of any system. “His answer dazzled me both for its illusiveness and for its clarity. Elder John seemed to be saying that there was no essential difference between victim and victimizer, between the oppressed and the oppressor. That both were equally controlled by the system that created and maintained and enforced their relationship.” 

An intelligent child raised within a rigid system might long to flee, yet Harley understood that John “was grooming me to be his successor…. And I wanted to be that person.” Again, he feels superior, “that old familiar feeling had made me into a secretive hypocrite, for I could not let go of it. Separateness and difference – I had come to embrace the feeling… my true self. Despite its discomfort, I have tried since then to preserve it at all costs. Separateness and difference.” 

Such feelings lead Harley to break norms, and he falls in love with Sadie, who is seven years older. They carry on a furtive relationship, though he fears she may be doing the same with Elder John. Harley recognizes that if Sadie was so skillful at concealing her love affair with Harley from others, then she was capable of concealing secrets from him. “When one has taken up lying, as I had done, it’s natural to assume that everyone else is lying, too…. One cannot live a lie without believing that one is surrounded by liars and nothing is what it seems and no one is who he or she claims to be.” 

Jealous, he comes to distrust Elder John in every way, as profiteer and potential rival. He determines the man is not tempted by winning. “For him, life was a contest in which his main goal was to best the other contestants. Making a profit was just one way to do that. People like Elder John make good capitalists, effective salesmen, and successful politicians, but poor religious leaders.” Harley was convinced that serving God required that “One must abandon the belief that life is a contest.” Harley eventually turns on the Elder John, reporting him for an act of euthanasia. John leaves for Fort Myers takes off, taking up another religion, starting an import-export business and entering Florida politics. The rest of the commune, struggling without leaders and its two best workers, shuns Harley before abandoning the commune and relocating to a larger colony in New York. 

Harley lives off the land, taking on a few odd jobs, saving his money. Familiar with property histories throughout the county, he begins buying and selling land, while also accumulating the tracts that once belonged to the commune, a practice he had learned about after out-of-town Shaker leaders discover that Elder John profited from such purchases in fast-growing Florida. During the early part of the 20th century, banks were required to provide equity-free, low-interest loans enabling homeless war veterans to buy a five-acre plot and build a home. Such purchasers often failed to make payments, and speculators like John swooped in to buy the properties and resell for huge profits. 

But Harley targets the commune’s former holdings, refusing to sell for decades: “allowing the marshes and palmetto return, the buildings collapse, and mold and animals creep in “until there remained nothing out there of our once-glorious plantation but scattered heaps of weed-and-kudzu-covered wreckage sinking into the muck and the returning waters of the no-longer ditched- and-drained swamp.” 

Only a small portion of the book focuses on these adult activities.

Years later, regretting his lack of formal education, Harley ponders whether a different type of childhood might have led him to become a theologian or a philosopher. He becomes wealthy, though spends the rest of his life alone, an outsider without purpose. He regards himself once again as cast out of paradise – and the cause for the fall of one magic kingdom, a religious commune where he first fell in love, and the rise of another – Disneyland. Conflicted, he respects Shaker principles but does not believe. “What does it matter, anyhow, if my life remains a mystery to me. Who cares if Harley Mann dies without ever learning how or why his youthful delusions and follies are matched by those in his old age? Or why, in between, from youth to old age, he remained for all intents and purposes a Shaker without a Shaker family,” “a nonbelieving Believer, a Shaker pariah, a man in some perverse but fundamental way affirming the Shaker way of life by building his hut just beyond the closed and locked gate of New Bethany.”

Harley, failing to envision a development like Disney World, eventually sells the Shaker property with the condition that subdivision is forbidden for perpetuity.    

The story ends with Harley’s loss of innocence and community. Childhood, with all its potential, curiosity, and magic, is our only real utopia. 

Acting

 

Daisy is an actress, talented yet not successful, in The Eden Test by Adam Sternbergh, and her husband, Craig, aspires to write a novel. For the couple’s third anniversary, Daisy, a fixer, arranges a stay at a secluded cabin in upstate New York, hoping to improve the marriage and end Craig’s wandering eye. The program’s goals are simple: relax, swim, walk and talk – and each day, answer a short, simple question, the first being “Would you change for me?” 

At first, Craig scoffs. “That’s the whole experience? Just a bunch of questions to answer every day?” 

Of course, the questions become more challenging, especially as Daisy and Craig each keep secrets. More accurately, they lie. The book reveals Craig’s lies at the very start, when he arrives at the cabin with packed bags in the trunk, ready to let Daisy know he is leaving her and flying to Cabo with a lover. But then he procrastinates about telling Daisy his feelings, preferring to avoid the uncomfortable conversation and missing his flight. 

Daisy’s secrets are dispensed far more slowly. 

First, she knows that Craig cheats on her, but keeps that information to herself. She understands that he constantly seeks affirmation, one foot at the door, ready to leave: “Craig longed for someone impetuous, someone surprising, someone fearless. Someone who made him feel like she could help him become the better version of himself that he had long since lost faith in but that he still yearned to be.” 

Second, she knows they are become parents after long advising him that would be impossible.  

Finally, Daisy appreciates how Craig does not press Daisy about her background. All he knows is that she is from the Midwest, attended theater school on the East Coast and arrived in New York City to act. He knows nothing about her history of violent abuse, the reason she loathes surprises. If anything, Craig seems incapable of surprising her and as far as she’s concerned, that makes them a perfect match. “Each of them [is] exactly what the other person needed. For her that’s ideal. That’s love.” 

She appreciates life, freedom and the normal problems that come with Craig. She also appreciates his support for her career, regularly pressing her to pursue more prestigious acting roles in film and television. But she is desperate to remain hidden. “She always felt of herself like a pool ball, her life’s trajectory continually altered by violent collisions. She considers how she’s been forced to ricochet, changing cities, changing names, feeling fearful and helpless, just a random pool ball looking for a pocket to fall into, a dark refuge in which to feel safe.” Even so, she longs to be a fearless, carefree wife. So, she eventually accepts a small role on a popular crime show, allowing the couple to afford the expensive cabin and week of marriage therapy.

The program’s organizers’ goals for couples are simple: Seek happiness while learning what the other is willing to do for the relationship. And the organizers also warn the couple to “keep your eyes and ears open. Be prepared for any possibility. Let yourself be surprised.” Daisy has another goal – luring an abuser who stalked her for years, ending her need to hide.  

A skilled liar, Daisy presents a pleasant version of an unreliable narrator. Accustomed to working in small theaters, she is humble and hardworking. No task or role is too mundane. Never breaking character, she practices at going beyond words to communicate. “The dialogue is rote, the lines already known, so the challenge is to find surprise and spontaneity and electricity in a pause, an inflection, a glance. It’s all about the moments around the words, between them, the crackle of implied meaning, the feint and parry of unspoken intent. People call it acting, but isn’t this just what we all do every day? Play a role, be who we know someone needs us to be, recite our expected lies, all while searching for some clue as to the other person’s real meaning, their honest motivations?” 

Daisy is convinced that Craig is “Someone who wanted to be worthy of her. Who believed that she was someone who was worth being worthy of.” He had that shred of, not exactly hope but possibility, and she wanted to believe in them as a couple. She spent years resisting entrapment and exploitation and resists trying to control Craig. She understands that, for relationships, the carrot produces much better outcomes than the stick.  

Daisy strives to orchestrate every detail of the week at the cabin, am elaborate production with her and her husband as star players. She knows they are on a stage and he does not, so surprises are inevitable. Like the couple in the original Garden of Eden, like couples everywhere, Daisy and Craig are flawed, in a relationship marked by multiple lies and misdirection. But the two pass the toughest of tests, forming a bond and discovering trust that allows them to be completely honest with the other.

Readers must suspend disbelief to appreciate this book, but then how else do liars convince others that their tales might be true?