A Time Travelogue

Last week, I took my daughter through a time tunnel. We entered in 2024 and came out in 1951.

Autumn in a German forest. Photo by Dietmar Rabich, licensed under CC-BY-SA-4.0.

Contemporaphobia

Yes, I know: My bill of indictment already lists numberless counts of living in the past. 

How do I plead, Your Honor?  Guilty—but I can explain.

It’s about the stickiness of life. Some of us shoot through like lightning, slick as greased pigs. Others get caught up in the net of circumstance. Our skin adheres to dates, places, and events. We fall farther and farther behind our peers.

Like Emily Webb in Thornton Wilder’s play Our Town, I want people to stop and notice what they’re living through. 

We don’t do that much. The remaining option is to go back and re-examine the past once it’s over; fondle it, breathe in its scent. Get a whiff of the roots.

The Conundrum of Childhood

So Katie and I plunged into LaSalle County, Illinois, to the city of Streator, where the ghosts of my boyhood are laid.

I wanted to expose her to the real-life setting of my forthcoming middle-grade novel, Izzy Strikes Gold! Izzy’s fictional town of Plumb resembles Streator, where I lived for six years.

Katie has already read the book. I showed her the places where this scene happened, where that action unfolded, where the plot took some peculiar turn. She got to feel the ambience of this small place that is in her family’s rear-view mirror.

What did I get out of it? I got to spend time with my much-loved daughter, to talk with her, to give her some sense of the experiences that made her old man who he is.

Thank you, Thomas Wolfe

It’s true: You really can’t go home again. The best I could offer Katie was a string of reminiscences, illustrated by physical ruins.

The first house we occupied in Streator, on First Street in the shadow of the glass factory, is no longer specifically identifiable. It was a tiny place and may lie hidden in one wing of the larger house that stands there now. Or maybe it was razed and replaced.

The Owens-Illinois glass factory still stands but employs a tenth of its former workforce, due to increased automation.

Onized jacket. Fair use.

Formerly, thousands of people worked there. The company sponsored a club, the “Onized Club,” for its employees and their families. They had picnics and bowling leagues. By taking a job with Owens-Illinois, you became “onized.” Folks went to Piggly Wiggly, the corner tavern, or the gas station wearing their “Onized” jackets—just as people today wear Packers gear. It was a badge of belonging. 

Each of the three neighborhoods I lived in had its own mom-and-pop store. Those buildings are still there, but they are no longer stores. 

In the old days, your neighborhood store was a short walk from your house. Today, the gas stations have become convenience stores sprinkled along streets at the edge of town. I guess that’s okay, because people no longer walk much. They drive instead.

Katie, who became a full-grown adult almost instantly, before my astonished eyes, holds a graduate degree in urban planning. I wonder how she views vanishing neighborhood stores, from a professional standpoint.

“Do we lose something,” I want to ask her, “when traffic patterns change?” But I hold my tongue. This trip is not for interrogation or philosophy. It’s just to put her on the ground here in the 1950s.

Merriner Field, beside the old Illinois National Guard armory, is no longer suitable for playing baseball. Its infield is now bisected by an earthen levee designed to keep the Vermilion River in proper bounds. 

In my day, they just allowed it to flood and cleaned up afterwards. 

Did I mention my daughter is also a certified flood plan manager? Here eyes lit up with humor when she saw the green wall where kids once played ball. “Now people downstream can enjoy bigger floods,” she said.

Is it wrong of me to want Katie to see and know these things? Is it vain? 

If she doesn’t experience them, how can she pass the knowledge on to my grandchildren? 

Maybe they need their own trip through the time tunnel.

Carnegie and Endres

One place that has endured fairly well is the Streator Public Library, on Park Street.

Streator Public Library. Fair use.

It’s a handsome building, donated by Andrew Carnegie at the dawn of the twentieth century, its lighted entryway flanked by Ionic columns. A wing was added at the back some years ago, freeing up space in the entire library, giving it an airier and more open floor plan. That’s an improvement, I think.

The big circulation desk still stands front and center when you come in. I approached the folks at the desk—youngsters all—to tell them about my forthcoming book and leave them a pre-publication copy. 

I couldn’t help noticing the desk itself is new, gifted to the city by the son of Oral and Dorothy Endres, who are described in the accompanying plaque as “Long Time Patrons & Fans of the Library.” 

I had Katie take my picture by the plaque.

Your New Favorite Writer and the Oral Endres plaque. Photo by Katie Sommers.

“I knew Oral Endres when I was a kid,” I explained. “He was an old man—maybe forty or so—with receding hair and dark-rimmed glasses. He came around from time to time and sat down at the kitchen table with Mom and Dad to make sure we were covered by Metropolitan Life.” 

Now here is Oral Endres, memorialized in a library desk. 

“What goes around comes around.” I’ve never known just what that saying means. Maybe it refers to the Wheel of Life, picking up loose bits of roadway which may cling for two or three revolutions before falling aside as time rolls on. 

It was nice to encounter Mr. Endres on the back side.

Moving On

From Streator we drove to Ottawa, stopping at Prairie Fox Bookstore to introduce ourselves—and Izzy Strikes Gold!—to the good folks there. I’m hoping we’ll be able to do “author events”—talks and signings—there and at the Streator Library.

Katie’s reward for slogging through this old-time history and contemporary book-schmoozing was nature hikes.

At Matthiesen State Park, which we called Deer Park back in that era when any deer sighting (especially in Illinois!) was a phenomenon, we hiked a sunken trail amid rocky dells, following a babbling stream as far as we could go before the walls closed in.

My daughter found several interesting plants, including an uncommon lady’s-slipper orchid. Did I mention she is a tracker of wild botanicals?

Starved Rock. Photo by Katie Sommers.

But the pièce de resistance was Starved Rock State Park, where sandstone bluffs tower above the broad Illinois River. From the top of the largest bluff, the one where misty legend whispers that a whole tribe of Indians perished in a long siege, one can see a monumental dam across the river and squadrons of white pelicans fishing in its outflow.

The park was established in 1911. In the 1930s, members of the Civilian Conservation Corps constructed the Starved Rock Lodge, a wood structure of elegant rusticity, like similar lodges at Yellowstone and Glacier National Parks. Since paying a brief visit to Starved Rock when I was eight, my bucket list has included an overnight stay at the Starved Rock Lodge. On this trip, we checked it off.

The rooms are cozy. The food, beverages, and service are excellent. After dinner, Katie and I sat on the lodge veranda, which overlooks a broad expanse of the Illinois Valley. We sipped our chosen beverages and talked. It was a great time for catching up. 

A yellow violet. Photo by Katie Sommers.

The next morning, we set out on the park’s hiking trails, which parallel the river and traverse several dramatic tributary canyons. Katie found more plants. We saw squirrels and birds, and plenty of other hikers. 

We covered about five miles of trail, including a few stretches over rough, broken ground. We did not exhaust all the park’s trails, but we did exhaust this old man before climbing back in the car and heading back to 2024.

Starved Rock State Park and its iconic lodge rate my sincere recommendation. Spring, fall, and midweek days in summer would be the best times to visit. On summer weekends you might encounter quite a crowd. 

Blessings,

Larry F. Sommers

Your New Favorite Writer

THE GRAND UNVEILING

It’s time to reveal the cover of IZZY STRIKES GOLD!, my new middle-grade novel from Three Towers Press. In the near future, I’ll post the link for pre-publication orders, but for the moment, just revel in this beautiful cover, please!

I think sensational cover artist KINGA MARTIN got it just right.

IZZY, the twelve-year-old hero of the book, is a real boy, battling real problems in a realistically rendered 1957 setting. But Kinga’s cartoon-like rendering universalizes him, makes him into an Everykid, while perfectly capturing his innocence and venturesome spirit. And all in a brilliant woodland frame that shows the half-magical woods where Izzy’s tormenting secret lives.

But I didn’t have a juvenile audience in mind when I wrote it. I was thinking EVERYBODY could identify with Izzy, a kid trying to balance the child and adult worlds. I know old folks of my generation will enjoy this trip back to the Fifties. If they read the book to their grandchildren, who knows what illuminating conversations might ensue?

IZZY STRIKES GOLD! launches July 24. It will be available from Amazon, Three Towers Press, or your favorite local bookstore.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Peco Yeh: The Gift That Keeps On Giving

Fifty-six years ago, in the streets of Taipei, Taiwan, I purchased a work of art from its creator, the Chinese painter Peco Yeh.

The sordid details of that transaction are mentioned here.

Since then, several people have contacted me to declare themselves owners of other original Peco Yeh canvases.

The latest is Jane Upchurch, who emailed me: “In the early 1970s my (ex) husband was in the military and was stationed in Taipei. He had been to Chinese language school to learn Mandarin. We bought a Peco Yeh painting on the street which I still have in it’s original frame. It’s approximately 16” x 18”.  (It’s hard to see in the attached picture but the little girl is catching a bubble.)”

Jane attached a good photo of the canvas she owns.

Bubble Girl, by Peco Yeh. Courtesy of Jane Upchurch. 

Once again, we have a picture which hints at the multiplicity of styles and subject matter painted by Peco Yeh, the enigmatic twentieth-century artist. The girl is a rather standard renering of a Chinese child. The bubble she embraces is rendered with grace and finesse. We could call it a slice of life. 

Compare this not only with my canvas—a mystical expression of a boatman on a misty morning—but also with pictures provided by Earline Dirks and Joshua Lowe. 

Once again, we have a picture which hints at the multiplicity of styles and subject matter painted by Peco Yeh, the enigmatic twentieth-century artist. The girl is a rather standard renering of a Chinese child. The bubble she embraces is rendered with grace and finesse. We could call it a slice of life. 

Compare this not only with my canvas—a mystical expression of a boatman on a misty morning—but also with pictures provided by Earline Dirks and Joshua Lowe. 

Others who have contacted me and provided images of their Peco Yeh paintings include Earline Dirks and Joshua Lowe.

Chinese boy with lantern. Courtesy of Earline Dirks.

Street scene. Courtesy of Joshua Lowe.

If this keeps happening, this lowly blog may become the world’s leading collection of information about Peco Yeh.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Story

Storyteller near Cairo (1878) by Wilhelm Gentz (German, 1822-1890). Public Domain.

What is a story?

A story can be almost anything. We are so much accustomed to telling stories, stories are so ingrained in our psychic and physical makeup, that storytelling and storyhearing can be said to be an essential component of human-ness. 

Second Thoughts

“Where there is no vision,” observes the Book of Proverbs, “the people perish.” 

Vision. Jewish Rabbi Reading The Bible To His Family (1816), by Alexander Lauréus (Finnish, 1783 – 1823). Public Domain.

But vision is hard. 

Revision is easy. At least, I find it so. 

Once there is something substantive down on paper, I can see that something is wrong with it, and I can fix that. Then, I can see that something else is wrong with it, and I can fix that. Eventually, by a painstakingly iterative process, I can get it down to where it’s pretty good.

But getting something substantive down on paper in the first place: that’s the hard part.

Where does that first thing come from?

A Deep Well

Some people believe that inside each one of us, there is a deep well of creativity just waiting to be released as a bubbling fountain of expression.

I find that is true, but it’s hard to get it started. The more I write, the easier it comes. But the pump needs priming.

Writing every day helps, because then you can just continue whatever you were in the midst of writing yesterday. But sooner or later, you finish that project—at least, you finish the first draft. Then, it is ever so tempting to lose yourself in almost endless revisions. That’s a lot more fun.

Red Smith, sportswriter. Fair use.

Red Smith said, “There’s nothing to writing. All you do is sit down at a typewriter and open a vein.” 

Perhaps you wonder, Gentle Reader, why Your New Favorite Writer bores you with all this drivel. 

I keep telling myself that once I get the first draft out on the page, then I can revise it and revise it to the point where you’ll find it noble and inspirational. Or at least acceptable. 

Fellow writer Percy Dovetonsils. Public Domain.

“Aha! I’ve caught you out, O New Favorite Writer! You’re admitting, in black and white for all to see, that it’s all in the revision. In other words, writing the first draft is a mere formality. Perfectly trivial.”

Well, perhaps so, Dear Reader. But let me point out that if it were not for the every-Tuesday-morning character of this blog, I would not have written anything at all. Then where would my much-vaunted revision chops be, O Reader?

And it is the same across the board. I would not write this blog except for the deadline. I would not write a short story except for the need to prove I can write a short story. (The jury is still out.) I would not write a novel except for having gotten some screwball idea about a story I could tell in long form, and then feeling compelled to stick it through to the end.

“So, what are you kvetching about, O Writer? You impose all these deadlines and burdens on yourself.”

Yes, but complaining is half the joy.

Enough, Already

I’ll see you next week Fair Reader. After all, I’ve got a deadline.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Beast of the Moment

Great Pyrenees dog. Photo by Sharp16, licensed under CC-BY-SA-4.0.

A book came in the mail last month, but it was not one I had ordered. 

It was an anthology of short prose pieces and poems, WELL READ Magazine’s Best of 2023, Volume One. It came for free as a contributor’s copy, because I am in it. 

Or rather, ahem, my short story, “Beast of the Moment,” is in it. (Page 171, if you must know.)

It has the three chief virtues of a good story: A beginning, a middle, and an end. (See Poetics vii. 2-3, by Mr. Aristotle, noted Greek philosopher.) It also has an interesting, and humane, subject: an old woman who loves dogs. So, yes, it’s a feel-good story—yet not pollyannish. 

“Beast of the Moment” appeared in the June 2023 issue of WELL READ online magazine. If you wish, you can read it for free here.

But it also appears now in print, in this paperback anthology of 2023’s best pieces. I’m honored it is there. On page 171. I’d strongly advise you to acquire a copy, for it has not only my story but 37 other great pieces by a variety of authors. I read my way through it last week and liked what I saw. There were short prose pieces, both fiction and non-fiction, and a good sprinkling of original poems. 

One piece that made a strong impression was “A Hard Dog,” by Will Maguire, starting on p. 20. It’s a story about a hard dog, and, well, it’s a hard story about a dog. It deals with the relationships between a forlorn man, his recent girlfriend, a stray dog, and the neighbors. There are points where it’s hard to read and you want to give up on it. But if you stick with it, you’ll be rewarded. Maguire tells a hard story, but he tells it with skill and a certain amount of grace. Dog lover or otherwise, I recommend giving it a try.

The next story up is “Evolution of Love,” by the talented and persistent Rob Grindstaff. It’s a romance for the modern era, and it tells its tale with depth and imagination. I promise you’ll get involved in the developing love between positivistic scientist Steven and the faith-based nurturer Dempsey. And there’s a neat little twist at the end that could be magical realism . . . or something else entirely. Don’t miss it.

There’s a flashy story called “Silver Sequins,” by Joy Ross Davis, that will make you think twice. I call it “flashy” because, for one thing, it’s short enough to qualify as flash fiction. It has that nice quality of flash fiction, the quality of not filling you in on everything—just giving you the drift of it and letting you fill in the blanks. But it’s also flashy because its author’s narrative skills are displayed with brilliance and panache. Yeah, I confess: That’s really what I meant. And, just like the stories mentioned above, it’s about—would you believe?—relationships. A well-wrought story, worth a read.

There are pieces that may be fictional short stories but could be mini-memoirs, sprung directly from life. It’s hard to tell with “Choices,” by Robin Prince Monroe; “Waiting for a Signal,” by Jeffrey Dale Lofton; the sardonic “Obituaries,” by Rebecca Klassen; and “What We Keep, What We Throw Away,” by Phyllis Gobbell. Maybe it doesn’t matter whether they’re fact or fiction. Each of these little gems highlights a facet of life that feels as real and experiential as a dropped memory or a parent’s tear for a wayward child.

I fear that by mentioning certain stories I have slighted others. The truth is, they’re all good, all thought-provoking. And the same can be said for the many poems. 

If you’d like to read them all, the price is certainly right: $15.00 paperback, $5.99 Kindle. Get the anthology here.

Happy reading!

Blessings,

Larry F. Sommers

Your New Favorite Writer

Libraries

Kudos to my friend Jerry Apps for reminding me that this week—April 7-13, 2024—is National Library Week. The theme this year, according to the American Library Association, is “Ready, Set, Library!” 

Apart from the brutish verbing of an ancient and honorable noun, I endorse the sentiment.

Libraries, expecially local public libraries, are wonderful things. 

“Libraries connect our communities and enrich our lives in ways we may not realize,” says National Ambassador for Young People’s Literature and Newbery and Pura Belpré-award winning author Meg Medina, who serves as 2024 Honorary Chair.

Birth of a Bookworm

The first library where Your New Favorite Writer ever had borrowing privileges was the public library on Park Street in Streator, Illinois. I was astonished and proud to learn that, shucks, even kids in grade school could have library cards. I signed up and started reading books, one after another.

Streator’s Carnegie-built public library in 1903, still in daily use.

In those days, between the ages of six and twelve, I read what today we call kid lit. Adventures like Treasure Island and Swiss Family Robinson. Cowboy books like The Coming of Hopalong Cassidy. Horse books by Marguerite Henry, dog books by Albert Payson Terhune, Lassie Come-Home by Eric Knight. 

I read biographies especially written for children—thumbnail sketches of American heroes like Andrew Jackson, John C. Frémont, Lou Gehrig, and George Washington Carver. Casting my mind back to remember a children’s biography of a notable woman, I draw a blank. Sorry, dear—we just didn’t have them.

We had plenty of sports books, though, most of them written by Jackson Scholz or John R. Tunis. None of those books won the Newbery Medal or the Pura Belpré Award, but they were exciting and taught sportsmanship, persistence, self-respect, and consideration for others. 

And then there was science fiction. 

A great place to loiter. Photo from Streator Public Library website. Fair Use.

My habit, when loitering—there is no better word for it—in the Streator Public Library, was to find a book that looked interesting, pull it off the shelf, and start reading. There in the cool stacks, I sat or squatted on the marble floor and read, sometimes as much as half a book before my stomach told me it was lunch time, or supper time. Then I would trot to the front desk, flash my library card, check out the book, and take it home to finish.

Carnegie Libraries

The library was a swell place to spend time, a temple of learning in its own right. It was one of 2,509 libraries built between 1883 and 1929 with money donated by Scottish-born steel magnate Andrew Carnegie—1,689 of them in the United States. 

According to its website, “The Streator Public Library is a US Landmark Carnegie facility that was constructed in 1903. The Fuchs murals that were installed, around the interior of the lower dome, were painted on leather in a local shop and installed in 1905. The original grand stair case, woodwork, shelves, and stained glass are still in place. Many of the original oak tables are still utilized.” 

Andrew Carnegie in 1913. Photo by Theodore Marceau. Public Domain.

Carnegie started his philanthropy by building a library in his birthplace of Dunfermline, Scotland. Then he gave a library to his adopted hometown of Allegheny, Pennsylvania, and another to Braddock, Pennsylvania, the site of one of his steel mills. 

Eventually, it got out of hand.

As Carnegie began to realize how much money he had, he entertained library proposals from all over. In 1897 he hired a personal assistant, James Bertram, and put him in charge of screening all the requests. They developed a questionnaire to determine whether a town applying for a library actually needed and could support one. They made sure local officials were committed to funding the ongoing costs in perpetuity. 

Once a town was declared eligible to receive a Carnegie library, a handsome edifice was built—in any of several different styles, but with quality and elegance. It was almost always entered by a flight of stairs, symbolizing the elevation of the public mind through reading. There was also a lamp post or lantern near the entrance, a symbol of enlightenment. 

Carnegie pioneered the open stack library. Until then, most library stacks were closed. You submitted a request for a book, and then a librarian went and got it for you. Carnegie figured self-service would reduce operating costs for libraries, and he was right.

But open stacks brought a greater risk of pilferage. So the circulation desks at Carnegie libraries are usually large, imposing, and placed conspicuously near the main entrance. 

That Desk is a Friend of Mine

The new Endres circulation desk. Screenshot from Streator Public Library website. Fair use.

In 2013, a new circulation desk was installed at the Streator Public Library, dedicated to the memory of Oral and Dorothy Endres, the donor’s parents. As it happens, I remember Oral Endres. He was an insurance agent for Metropolitan Life. A nice man. When I was a boy, about seventy years ago, he spent time at our kitchen table often enough so I knew his name. He made sure we were adequately covered.

Mr. Endres’ son, who gave the new circulation desk, was not as big a donor as Andrew Carnegie; but it’s the thought that counts.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Holy and Unholy

Your New Favorite Writer was going to expound on holiness but found he is not yet grown-up enough to write on that subject in a sensible way. 

So, maybe next year. I’ll be 79 then.

But now, for Something Completely Different:

Meeting Steve Canyon

We turn a page from the sacred to the profane.

I have just read Meeting Steve Canyon . . . and Flying With the CIA in Laos, by Karl L. Polifka. It’s a memoir of a particular time and place in the Vietnam War.

Thinking men, in war, may notice a discrepancy between facts and ideals. So it was with Polifka. A U.S. Air Force pilot, he was assigned as a forward air controller, or FAC, in Vietnam in 1968 and 1969. 

A Cessna O-1F Bird Dog takes off in South Vietnam, 1968. This aircraft was later used by the Ravens in Laos. USAF Photo.

Polifka’s job was to scout enemy assets and troop formations from a slow-moving, propeller-driven aircraft—an O-1, a U-17, or a T-28—to mark enemy positions with phosphorus-tipped rockets, and to direct fighter/bombers to attack the places marked by his rockets.

Sounds simple, right? In reality it was a severe task, which called for technical skills, sharp reflexes, steel nerves, and iron resolve in the face of physical and psychic trauma.

A T-28D Trojan trainer of the Royal Thai Air Force waits for takeoff beside a U.S. Air Force F-4D Phantom, 1972. The T-28 trainer is like the ones used by the Ravens. Public Domain.

Polifka believed in the cause. He appears never to have suffered the deep doubts developed by some fighters in the long Southeast Asian war.

But the job required mental toughness and gave many opportunities for an intelligent observer—which Polifka clearly was—to question the utility, even the sanity, of operational tactics. 

Flying out of Gia Nghia, in the Central Highlands, Polifka ran afoul of “pre-plans,” operations concocted by shadowy experts at Seventh Air Force headquarters. He often felt the pre-plans were not informed by good knowledge of actual conditions on the ground. 

Steve Canyon, as drawn by Milton Caniff. Fair use.

When Polifka grew tired of the routine at Gia Nghia, someone suggested he tell his supervisor he was “interested in Steve Canyon.” Uncertain what the phrase might imply, he did what was suggested. His supervisor frowned but in due course of time a transfer came through. “Steve Canyon” turned out to be an unofficial cover name for a clandestine project in Laos.

If the name doesn’t ring an immediate bell for you, Steve Canyon was the hero of an Air Force-themed adventure comic strip drawn by writer-artist Milton Caniff from 1947 to 1988. Steve Canyon the action hero was very well-known, but the program in Laos that bore his name was hush-hush.

A Fine Mess

The Kingdom of Laos, officially neutral, was used by North Vietnam as a conduit for troops, arms, and provisions bound for South Vietnam, where the North Vietnamese Army (NVA) and its allies the Viet Cong fought the South Vietnamese Army and its allies including the United States. Other players in Laos included Communist Pathet Lao guerilla forces interested in overthrowing the royal government, plus both left-neutralist and right-neutralist armies. 

It was a mess created by a major power vacuum in close proximity to a hot war.

Because of the theoretical neutrality of Laos and the desire to appear righteous on the world stage, U.S. operations in the kingdom, though undertaken to support our official and public Vietnam war effort, were partly dissociated from regular military channels. 

Polifka and the other Steve Canyon controllers, known as Ravens, got their targeting priorities from CIA case officers on the ground and from General Vang Pao, an ethnic Hmong in the Royal Lao Army leading his people against the Communists.

Gen. Vang Pao is the face in center, under a tan cap, behind the shoulder of King Savang Vatthana, the big guy in tan uniform, shown at a 1968 royal visit to Sam Thong, Laos. Photo by NruasPaoYPP, licensed under CC-BY-SA-4.0.

Officers at U.S. Seventh Air Force resented these arrangements. A conference had to be called to allocate air strikes in Laos. The conferees decreed that sixty percent of ordnance dropped would be directed by Ravens and the remaining forty percent by Seventh Air Force controllers. 

The Nitty Gritty

These matters of protocol and bureaucratic infighting are only the background. Most of Polifka’s book is a retail account of dozens of deadly fights in the hills and valleys of Laos, centered on the plateau known as the Plain of Jars—Plaines des Jarres in French, abbreviated PDJ. 

On one level, Polifka’s narrative is a persistent justification of the tactics developed by the Ravens, the CIA, and the Hmong fighters and their work as a successful team defending the Hmongs’ lands and villages, as well as a condemnation of unsuccessful and ham-handed operations undertaken by higher headquarters. 

More basically, it is a tale of merciless slaughter. The telling is cumbered with a heavy load of jargon—CBU-24s and PTs and T-76s and 12.7s in bewildering variety—which the reader must struggle through to get the story. It’s a tough go, even for a reader with a military background. 

But the reward for coping with all the acronyms and terms of art is a story that is steeped in authenticity. There can be no doubt that with minimal exaggerations and simplifications, this narrative presents the day-by-day reality that the Ravens and their comrades-in-arms lived. Getting that story is a fairly grim reward, yet it’s an important story, told by a combatant who had both a bird’s-eye and a worm’s eye view. 

Memories Triggered

While Karl Polifka and his cohorts felt the heat of anti-aircraft and mortar fire zoomed through at tree-top level, I and other members of my squadron soared blissfully overhead in RC-130 and 135 spy aircraft, intercepting radio signals at altitudes of 30,000 to 39,000 feet. 

We flew some missions from Cam Ranh Bay up and down the Mekong River for several hundreds of miles. Where Polifka and his fellow Ravens kept constant lookout for 12.7mm, 14.5 mm, and 37 mm anti-aircraft fire, we had no worries except the remote chance that the NVA might bring in 85mm or 100mm cannons somewhere along our route. Even the 57mm artillery they did have spotted along the Mekong could only reach 28,000 feet.

So Polifka’s war and mine were the same war. But the nature of my mission and the organizations that oversaw it placed me in a different context than his. My role was the bland gathering of intelligence, little of it related to immediate action, most of it valued for long-term analysis of enemy capabilities and intentions.

EC-121 aircraft on the ramp at Korat RTAFB. USAF photo.
An F-4 Phantom jet releases its bombs. USAF photo. 

Polifka mentions with admiration F-4E pilots out of Korat Royal Thai Air Force Base who could shred ground targets with great finesse. There were times I flew out of Korat on EC-121 airborne control platforms, and when near the flight line I saw fully-loaded F-4s screaming off with a great bang of their afterburners. Some of these must have been the same guys Polifka worked with over the Plain of Jars. 

As Close As I Care to Get

Sometimes I did glimpse the grim realities of the war. 

One night after dark, riding at 30,000 feet back to Cam Ranh Bay from one of our Mekong River flights, white flashes splashed into our compartment from outside. Crowding the side window, we saw what looked like an intense thunderstorm over central Laos. There were hundreds, maybe thousands, of white flashes, closely spaced, at intervals less than a second.

“Those are ARC LIGHT sorties,” said our pilot. “Buffs dropping their payloads. Each flash is a 500- or 750-pound bomb exploding on impact.” 

How could anyone, or anything at all, live under such a heavy rain?

At Kadena Air Base, Okinawa, we used to watch B-52 Stratofortress bombers—“buffs,” in Air Force slang. They were something beautiful to see—ungainly yet graceful at the same time—slipping down over the ocean, crossing the shore on final approach.

B-52 landing at Guam. U.S. Air Force photo.

Each buff carried fifty or more bombs. “Between June 1965 and August 1973, the Strategic Air Command scheduled 126,663 Stratofortress combat sorties, of which 126,615 were actually launched. The number of aircraft reaching the target area was 125,479 with 124,532 successfully releasing their bombs on the targets.” (https://media.defense.gov/2017/Mar/28/2001722969/-1/-1/0/04-ILL_HIST_CH08-CH10_(PAGES149-200).PDF, Ch. VII, “B-52 Arc Light Operations,” p. 167.)

It’s enough to give an old airman pause.

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Hoping for better times and the joy of Easter,

Larry F. Sommers

Your New Favorite Writer

ATTEN-hut!

Readers of historical fiction or nonfiction are not always familiar with military life and customs. 

A cavalry battle scene by Philips Wouwerman. Public Domain.

So here is a short primer. If you already know this stuff, check back next Tuesday, when we’ll be up to something completely different.

If you are still here, fasten your seat belt.

Military Organizations

An army—American or foreign, present or past—breaks down into smaller units. Speaking in a general way, these are:

Squad: Four to twelve soldiers.

Platoon: Thirty to forty.

Company: A hundred or more, usually.

Regiment: Roughly a thousand.

Brigade: Two to five thousand.

Division: Ten to forty-five thousand.

Corps: Twenty to eighty thousand.

Army: Fifty thousand up to half a million men.

The Army—that is, a nation’s whole army: May comprise several smaller armies, operating in different regions.

The actual numbers vary a lot, depending on nation, historical period, organizational doctrines, recruiting and retention success, and attrition during war operations.

Grant’s Army of the Tennessee numbered 48,000 at the Battle of Shiloh, April 1862. And it was only one part of the whole Union Army. Illustration by Thure de Thulstrup  (1848–1930). Public Domain.

Each unit contains a few of the next smaller-sized unit. Thus, a company may be four platoons plus a handful of command and staff personnel; a regiment may be ten companies plus command and staff. In some armies, at some times, there have also been battalions of several companies within a regiment—but that’s a pettifogging detail. Also, in the American Civil War Confederate regiments were about half the size of Union regiments—in other words five hundred troops rather than a thousand. 

The point, for purposes of reading fiction: Squads and platoons engage in small firefights. It takes regiments, brigades, and divisions to fight a large battle. And if you have officers discussing the movements and operations of whole corps and armies, they are probably in a major command headquarters or a national capitol, pushing markers around on a map or sand table, far removed from actual fighting. 

Pulling Rank

Rank indicates both authority and status within the military. Rank is a complex topic, partly because there are two separate, overlapping, simultaneously operating systems of rank.

A simple way to put it is that the large body of enlisted men is commanded by commissioned officers but overseen, guided, and led by noncommissioned officers who are themselves drawn from the body of enlisted soldiers.

Commissioned officers and their insignia of rank, from bottom up, are:

Oy vay! What a mess. 

Perhaps you noticed that three different levels of rank are designated “lieutenant.” But they are not the same. A lieutenant is the lowest form of life among commissioned officers, but a lieutenant general is one of the lords of the army. A lieutenant colonel in somewhere in between. 

If you must simplify the title of a lieutenant colonel, call him “colonel” rather than “lieutenant.” The same goes double for a lieutenant general.

Two different ranks have “major” in their titles. 

You may address any of the general officers as “general,” but don’t call any of them “lieutenant” or “major.” You will be demoting them, at least in speech. They will not appreciate it.

A major outranks a lieutenant; but a major general is beneath a lieutenant general. 

That’s the army for you.

The main thing is that higher ranks command larger units than lower ranks. A lieutenant might command a platoon; a colonel might command a regiment; a major general might command a division, and so forth. Over the history of warfare, there have been many exceptions to these rules of thumb, but higher rank normally denotes greater power. 

So if you read a work in which a general commands only a company of troops, all I can say is there has been terrible attrition in his ranks. On the other hand, if a captain commands a division, all the higher-ranking officers must have endured mass slaughter. Such extreme disjunctions of rank and authority seldom if ever occur.

So, Who Runs the Army?

That’s easy: The noncoms run the army. Everybody knows it and all acknowledge it. 

Noncommissioned officers are drawn from the privates and work their way up. The lowest level noncom is called a corporal; he may lead a squad. The next level up is called a sergeant—pronounced SAR-jent. The rest of the noncoms are all sergeants, but there are many levels of them. The way you can tell them apart is by the number of chevrons and “rockers” on their sleeves.

Specific nomenclature varies with time and place, but here are the noncommissioned ranks in today’s U.S. Army:

 Chevrons, rockers, and star denoting a sergeant major.

A Master Sergeant and First Sergeant in today’s army are the same thing, only with somewhat different job responsibilities. There is a rank called “Command Sergeant Major of the Army,” but it is simply a special case of the Command Sergeant Major, whose job is to be the senior enlisted advisor for a particular (large) unit. 

As with commissioned officers, noncommissioned officers of higher rank have wider responsibilities. A corporal or sergeant may lead a squad—too small a unit to have a commissioned officer in command. At the platoon level, a commissioned officer, a lieutenant, is the commander; but there is also a sergeant, or a staff sergeant, who is the “platoon sergeant.” He advises the platoon commander on decisions to be made, and once those decisions are made, he delegates particular squads, teams, or soldiers to carry them out. Platoon sergeants do a lot of coaching, helping soldiers perform their tasks as ordered. 

In lower-level units—platoons and companies—the unit NCO usually has more experience and practical knowledge than the relatively junior officer in command. Therefore, young lieutenants are advised to be guided, even in combat decisions, by their sergeants. 

In larger units such as brigades and divisions, the commanders do not rely so much on their command sergeants major for advice, but they do lean on them heavily to anticipate, prevent, or iron out problems of discipline, morale, or training among the enlisted troops.

Thus, command of units is generally a cooperative venture of commissioned and noncommissioned leaders. In European armies well into the twentieth century most of the officers were members of the titled aristocracy: dukes, earls, viscounts, barons, and knights. The private soldiers were drawn from the serfs on the aristocrats’ estates, and the more capable and aggressive among them were appointed as corporals and sergeants. Today, in most armies, the class distinction is more along educational lines. Commissioned officers come into the army with college degrees.

The arrangements sketched above for the army generally hold true for the marine corps and the air force as well. The units may be described differently, but the names of the ranks are similar to those of the army. In the U.S. Air Force today, privates and corporals are known as airmen. But they are ruled by lieutenants, captains, majors, colonels, and generals—whose orders are mediated by various kinds of sergeants—just as in the Army.

What About the Squids?

The Navy is a whole different thing. They have their own way of talking.

The principal fighting unit around navies are organized is the ship. The number of sailors depends on the size of the ship. An aircraft carrier is like a brigade or division in the army. A whole fleet of ships may equate to an army corps. A destroyer or other small ship may be something like a company or regiment.

Most naval terminology is unique. Floors are decks, walls are bulkheads, stairs are companionways, and so forth. Likewise, naval ranks are denominated by mostly different terms.

The insignia for these ranks are the same as those for the same-level rank in the army—gold or silver bars, oak leaves, eagles, or stars—but the navy also has sleeve insignia that denote the ranks by gold rings around the cuff.

Even where the navy uses the same words as the army, they mean different things. A lieutenant in the U.S. Navy is equal in rank to a captain in the Army; a captain in the Navy is equal to a colonel in the Army.

Noncoms in the Navy are not sergeants but petty officers.

Odds and Ends

I have outlined only the generality of military organization and command hierarchy. In reading, you will encounter numerous exceptions in different countries and historical periods. 

The U.S. Naval officer today known as a Rear Admiral Lower Half was once called Commodore. 

At the beginning of the U.S. Civil War, the highest-ranking naval officers were called flag officers, the designation changed back to admiral partway through the war.

In the British Army, what we call lieutenants are known as subalterns. It’s worth noting that, when the British do call their lieutenants lieutenants, they pronounce it LEF-tenant, unlike us colonials, who pronounce it LOO-tenant.

And the British equivalent of a U.S. five-star general (General of the Army) is called a field marshal.

George C. Marshall, the first five-star general. Public Domain.

When the United States instituted the five-star rank, partway through the Second World War, one thought was to follow the Brits’ practice and call it field marshall. But our chief general was George C. Marshall, and it was thought that “Field Marshal Marshall” would just sound silly. So they made it General of the Army. Only five men, to date, have worn that rank:

George C. Marshall

Douglas Macarthur

Dwight D. Eisenhower

Henry H. Arnold

Omar Bradley

All were World War II leaders of world stature.

Fleet Admiral William Halsey Jr. in 1945. Public Domain.

Five-star fleet admirals in the Navy, created about the same time, were:

William Halsey Jr.

William D. Leahy

Ernest King

Chester W. Nimitz

No U.S. officers of any service branch have been appointed to that rank since. 

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Enough soldier and sailor talk for now. Check in next week for something equally riveting.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Izzy Strikes Gold!

As an old man, it’s easy to see I’ve had a wonderful life, filled with joy, love, and satisfaction.

At age twelve, however, things were not that rosy. Happiness sometimes seemed out of reach.

Casting a fond eye back on the 1950s, I have written a little book about a twelve-year-old boy and his hopes. 

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A secret spring: In the New England Woods (1855–65), oil on canvas, by Frederic Edwin Church (American, 1826-1900), Public Domain.

Izzy lives in Plumb—an ordinary town sprinkled with a few magical places, like Patch Pagelkopf’s basement . . . the Public Library . . . and the dark, jungly Bottoms, where lustrous minerals lurk in a secret spring of water, waiting to be discovered.

Izzy’s great hope is to be one of the gang, not stand out as the youngest and smallest of his classmates. Fifty-one percent of his brain teems with schemes to fit in, while another fifty-one percent struggles to keep his family together. At times it seems his brain must burst.

Mom and Dad, caught in the grim world of adulthood, act like people from a strange planet. Izzy’s favorite grandpa languishes in a far-away hospital. And Izzy must keep his sister, Christine, from learning how dire things are—because she’s, like, a lttle kid, you know.

Everything comes crashing down when the Russians launch Sputnik, the first artificial satellite. It’s a vile trick to cheat the U.S. of its proper place in Space and make aspiring spacemen Izzy and Collum live out their lives as grim adults on Planet Earth.

What can a twelve-year-old do, in 1957?

You’ll have to read the book to find out. 

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An eleven-year-old boy in 1956.

Izzy Strikes Gold! is a middle-grade novel. Boys and girls from ten to fourteen will identify with Izzy and his friends—steadfast Collum, bellicose Lyle Haycock, enchanting Irma Ruger, and the mystifying Mutt-mutt Corner. 

But their grandparents—folks of an age with Your New Favorite Writer—will also enjoy this serio-comic journey into the rosy land of the past.

Publication is scheduled for July. We’ll have a big launch party. If you’re in or near Madison, Wisconsin, please come help us launch this lovely book. If not, tune in by Zoom. 

In the weeks leading up to publication, you’ll be able to order Izzy Strikes Gold! at a special discount. I’ll let you know when pre-orders open.

Thanks for your constant support in these endeavors.

Blessings,

Larry F. Sommers

Your New Favorite Writer

Radio Days–Reposted from June 2019

The Adventures of Izzy Mahler

A boy named Izzy Mahler, seven years old, springs out of bed and dashes down the stairs. It is a Saturday morning in October, 1952. 

The Old Philco

Barefoot and pajama’d, Izzy makes straight for the wooden Philco radio, switches it on. Izzy remembers going downtown with Dad to bring home the Philco and its fine supporting table. Ever since—through three apartments, the birth of little Christine, and now the move to this two-story house just across the alley from Grant School—the Philco has been the Mahlers’ proudest possession, and the most useful.

Moving on to the kitchen, Izzy opens the refrigerator, takes out a quart of milk, removes the round cardboard cap from the glass bottle’s neck, and pours himself a glass. Then he sits down at the kitchen table and listens as the radio set in the living room spills forth Let’s Pretend, Buster Brown, and Space Patrol. He sees every detail of each story.

Commander Buzz Corey is just cutting his way into Jelna’s spaceship with an atomic cutting torch when Mom and Dad come out in wrinkled pajamas, rubbing their heads with their knuckles. Izzy wishes he had an atomic cutting torch like Buzz Corey’s, or even just a plain old cosmic ray gun. He would give it to President Eisenhower for copying. That way, should American soldiers run into bug-eyed monsters from Planet Orkulon, they’d be ready.

Christine bangs her tin cup on the wooden tray of her high chair, but Izzy hardly hears. Why can’t you get a ray gun by sending in box-tops? he wonders. A ray gun would take more boxtops, and probably more quarters, than the usual things like the Lone Ranger decoder ring he lost while helping Buster Wiggins plant potatoes—but it would be worth it. He hopes none of the Wigginses will bite into a spud and break a tooth on his decoder ring. 

Now Christine squalls to beat the band, so loud that Izzy can’t hear the radio.

“Harold,” Mom says. Dad stares into space, as usual. Mom plunks down the checkbook with a loud WHACK! Dad sighs and sits down at the kitchen table.

Izzy goes upstairs and gets dressed. When he comes down, Dad frowns over his slide rule, while Mom knits her brows over numbers scrawled on paper with a pencil. 

Izzy opens the back door. Dad looks up. “Where are you going, son?”

“Out to play,” Izzy says.

“Be home for supper,” says Mom.

A fictionalized account of true events.

Out of the Ether

I was born in 1945 into a family that couldn’t, or at least didn’t, afford a television set until 1957, when everybody else had already had a set for two or three years. As a result, I was privileged to be present at the last stand of radio broadcasting as a mass entertainment medium—before TV gobbled up radio’s best shows, and most of its advertising revenue, added a few original programs of its own, and became—well, Television. As we know it.

If you did not experience those “radio days,” let me assure you: radio was great. All the action, all the drama, all the excitement, all the laughs of TV—only you could see it better, because everything played on the full color, panoramic, high-definition screen inside your mind—with all the pans, tilts, and zooms each story required. 

Stan Freberg, the advertising world’s comic genius, produced a radio spot, “Stretching the Imagination,” that perfectly illustrates the vast cinematic potential of the sound-only medium. You can hear it at https://www.youtube.com/watch?v=ppZ57EeX6vE.

An Embarrassment of Riches

What kind of shows did radio offer? Besides the Saturday morning fare Izzy consumed in our fictional vignette, there were:

Roy Rogers and his horse Trigger. “roy_trigger_new_color72.jpg” by amycgx is licensed under CC BY-NC 2.0 

Westerns galore, all of the juvenile variety: Roy Rogers, Gene Autry, Hopalong Cassidy, Bobby Benson and the B-Bar-B Riders. But most of all, every Monday, Wednesday, and Friday at 6:30 p.m.: “In the pages of history there is no greater champion of justice than this daring and resourceful masked rider of the plains, who, with his faithful Indian companion Tonto, led the fight for law and order in the early West. . . . Return with us now to those gripping days of yesteryear—the Lone Ranger rides again!”

Northerns, starring Royal Canadian Mounted Police like Sergeant Preston of the Yukon with his famous lead dog Yukon King; and mountie Jim West, The Silver Eagle, voiced by radio legend Jim Ameche—one of the Amici boys from Kenosha, Wisconsin—on Tuesdays and Thursdays in the Lone Ranger’s 6:30 time slot. 

Game shows like The Quiz Kids and The 64-Dollar Question. That’s not a misprint. Sixty-four dollars was the top prize. That was big money. When television came along, the same show was recycled, “isolation booths” added for showmanship, and three zeroes tacked on to the prizes—so it became The $64,000 Question.

Audience-participation shows like Art Linkletter’s People Are Funny or Ralph Edwards’ Truth or Consequences, in which typical Americans made fools of themselves, on the screen in your mind, for fame, glory, and small sums of money. They may have been forerunners of what is today called “reality TV.” 

Comedies, glorious comedies of all descriptions. There was the pompous ventriloquist Edgar Bergen with his dummies Charlie McCarthy and Mortimer Snerd; you could not even see his lips move—at least, on the radio. There were situation comedies of small-town life, like Fibber McGee and Molly and The Great Gildersleeve. Others relied on ethnic identities: The Goldbergs (not to be confused with the 2013 TV series of that name), Life with Luigi (in which Irish-American actor J. Carrol Naish played the title Italian character), and Amos ’n’ Andy (a show whose African American title characters were created and portrayed by white actors Freeman Gosden and Charles Correll). There were comedies about teenagers—Henry Aldrich, Corliss Archer, My Little Margie, and the high school denizens taught by Our Miss Brooks. And there were wholesome family shows like The Adventures of Ozzie and Harriet and Father Knows Best. (Leave It to Beaver, the classic exemplar of this kind of show, never appeared on radio; it was a creature of television only.) 

And then there was The Jack Benny Show, in some ways the forerunner of modern shows like Seinfeld. To say the Benny show was comedy is true enough; but it hardly does justice to the subject. Jack Benny was an institution. Perhaps a good subject for a later blog post.

Blessings,

Larry F. Sommers, Your New Favorite Author

Author of Price of Passage—A Tale of Immigration and Liberation.

Price of Passage

Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois

(History is not what you thought!)