Tag Archives: nostalgia

05.30.23
by

Willows

Memory is a funny thing. It is not, strictly, accountable.

Memory is evocative. It calls up emotions. When gripped by clear and distinct memories, we may easily grasp the emotions they inspire. We may re-live the feelings we felt at the time.

Nostalgia (1895). Ladislav Mednyánszky (Hungarian, 1852 – 1919). Public Domain.

But when we revisit early childhood—fragmentary scenes, half remembered and half dreamed—we may feel vague longings which have no substance but a mysterious and compelling flavor.

Reeling In the Years

Last week, on May 20, my mother would have been 101 years old. She only made it to 74, so she’s lived only inside me these past 27 years. My memories of Mom are mostly concrete and specific. Thinking of her, I re-live my feelings from the midst of life with her.

Some other Woodrow Wilson. Photo by Harris and Ewing. Public Domain.

But now I’m thinking of Georgia McCune, Mom’s best friend from high school. Georgia married a man named Woody Wilson, a few years older. His parents, the Wilsons, had chosen to name him Woodrow. So that gives you an idea when he was born.

Mom lived in Knoxville, a village of two thousand souls in West-central Illinois. Georgia was from East Galesburg. East Galesburg is more like a suburb of Knoxville than of Galesburg—except that East Galesburg couldn’t possibly be a suburb or any kind of “urb.” Even now, it barely forms a hamlet. In those days it was but a few houses along a gravel road. 

I do remember the house Georgia McCune’s parents lived in—because we visited there often. But the memory is blurry. I must have been three or four years old.

Theirs was the last or nearly the last house. The road sloped down to a cattail-fringed lake. The lake is no longer there; I checked on Google Earth. But it was an ill-omened lake anyhow, Georgia’s older brother having died there. He dived in headfirst, struck a submerged rock or a shallow bottom, broke his neck, and drowned. This was told to me as an object lesson. 

To this day, in all things, I look before I leap. 

I do recall walking down to the lake once with Mr. McCune, Georgia’s father. He took out his pocket knife and carved me a whistle from a willow branch. He cut a notch and slid the bark off the willow. I have forgotten exactly how it was done, but it turns out you can find anything on YouTube. 

Magical Nights

I must have been five or six when Mr. McCune made me that whistle, else I would not remember it so clearly.

But I remember more vaguely once, or perhaps more than once, when I was younger, attending a picnic at the McCunes’. They had a large patio, probably paved with brick or stone, beside their house. There were wood tables and a large brick barbecue. The whole side yard was canopied o’er with two or three giant weeping willows, their branches trimmed just enough to cast a splendid aura over the whole scene. 

A weepy willow. Photo by Larry F. Sommers.

It turned dark as we ate. But the darkness and the end of supper did not extinguish the evening. Somebody—one of the picnickers, or perhaps a neighbor—had a small pack of hounds. They treed a coon down near the lake. I recall watching and hearing the hounds baying at the treed coon. I do not recall any guns, shooting, or a dead raccoon. Maybe it was not a real hunt, just an exhibition of the dogs.

Later that night, or maybe on another, similar night, Mister McCune took a few of us—men and boys—down the railroad line to see something or other on the tracks. He may have been a Santa Fe Railroad employee—a switchman or yard hand. I recall he lit a red signal lantern and escorted us from the gravel road to the tracks, where we looked at some train cars. Why we did so remains a mystery.

The cars may have been parked on a siding for the brickyard. East Galesburg’s only industry was Purington Bricks. Purington Pavers were famous throughout the Midwest and beyond for their deep purple color and their adamant composition. Some streets in small towns are paved with Purington bricks to this day, long after the brickyard has fallen silent. 

Purington Bricks 1895. Galesburg Republican Register. Public Domain.

The silent brickyard has been overrun with woods. If you know just where to look, you may see a ruined smokestack poking above the trees. That’s about it.

Meaning

What does this all mean? 

That’s just it, Dear Reader. I don’t know. 

Perhaps if I did, it would not call me back so. Its meaning would be too plain for further query. 

But as things stand, this reverie of summer evenings in East Galesburg is just a near-fantasy—a wisp of truth at its heart, and a swirl of nostalgia surrounding it. 

I don’t even know why I thought you might like to hear about it.

Perhaps there is something like this lodged stubbornly in your own memory, Gentle Reader. Some fragment of a long-lost world. Something you don’t understand now because you had not reached an age of understanding then. 

Take my advice. Don’t interrogate it too hard. It won’t stand up under questioning. 

Just bathe in it for a time.

Blessings,

Larry F. Sommers

Your New Favorite Writer 

01.06.23
by

No No Nostalgia

Dear Reader: This is a Friday Reprise of a post that originally appeared April 12, 2019. Enjoy!

Never imagine, Dear Reader, that these treks into our common past are the sloppy rants of a senile mind deranged by worship of the roseate past. I seek a narrative in which the past informs the present and even the future. 

Still, nostalgia can’t help creeping in. It’s only natural. That’s what nostalgia does. 

Some folks think we are damned lucky to have stumbled into the light of the present from out of the stinking cesspit of the past; others see that same past as a golden age casting its fading twilight beams on the regrettable present. These are, seriously, two competing theories of history. Both are fueled by powerful emotions as much as by objective facts.

Two Views of History

A confused undergraduate at Knox College in the 1960s, I mumbled through a seminar taught by Prof. Douglas Wilson, which compared the writings and worldviews of Samuel Clemens (“Mark Twain,” 1835-1910) and Henry Adams (1838-1918). The two men were contemporaries; they lived through pretty much the same history. Yet they brought with them different backgrounds, and they reached different conclusions. 

In those days I was not paying much attention to scholarship, but I seem to recall hearing that Clemens, who when young had piloted the era’s most advanced riverboats, undeniably belonged to the forward-looking 19th century. A Connecticut Yankee in King Arthur’s Court was written by one who saw antiquity as not merely quaint but benighted and probably dangerous. Even in his literary life he embraced modernity, from the typewriter to the Paige compositor, an early typesetting machine. A modern man. 

Photo by Michael D Beckwith on Unsplash

Henry Adams was the scion of New England’s most distingished family. The great Adamses—Samuel, John and Abigail, and John Quincy (Henry’s grandfather)—were denizens of the recent past, imbibers of the heady wine of revolution and republicanism. But Henry’s own eyes had seen the disastrous Civil War and the rapacious, ugly “Gilded Age” that followed. These alarming developments neither Henry nor his scholar-diplomat father, Charles Francis Adams, could prevent. In later years, Henry adored the High Gothic period—the last time, as he saw it, that mankind was united around high Christian principles. The Gothic arch symbolized, to him, the rapid plunge from an unsustainable zenith. All the glories of the West were doomed to perdition.

Jack Finney

In times of stress and disintegration, people yearn for simpler, more graceful and natural times. This came to mind on a recent reading—in some cases, a re-reading—of short stories by Jack Finney (Walter Braden Finney, 1911-1995), collected in a 1986 book called About Time.

Finney, another Knox College alum, was a successful fiction writer from the 1930s through the 1980s. He specialized in evoking the pleasant reverberations of days gone by. Many of his stories featured time travel, in one way or another. Most of them were a little spooky—paranormal, if you will. He is fondly remembered for his novel Time and Again, in which a 1960s ad agency man is selected for a secret government project to travel back in time—back to the New York City of 1911, to be precise. His other major work was The Body Snatchers, which was adapted for film under the title Invasion of the Body Snatchers. It is, as far as I can tell, the locus classicus for the concept of “pod people” intent on replacing Earth’s citizens, one by one, with exact but soulless duplicates. Told through Finney’s trademark regular-guy persona, the prospect is remarkably chilling.

Even in Body Snatchers, Finney displays a concern with the gradual deterioration of a gracious social and physical environment over time; but it’s even more prominent in Time and Again and in his many short stories, such as “I Love Galesburg in the Springtime.” On nearly every page we sense, through his fictional characters, the author’s yearning to be back “in the good old days.” 

Willoughby, Anyone?

Finney was not the only twentieth-century writer sounding that theme. Twilight Zone creator Rod Serling had a streak of it, as shown in “A Stop at Willoughby.” Serling’s own favorite story from the first season of the series, “A Stop at Willoughby” shows a modern New Yorker under pressure at home and at work, who discovers an special stop on his commuter train that leads to an idyllic town of the 1880s, a place where he longs to escape. I won’t spoil the ending, in case you wish to access it here.

Old codgers like me are easily beguiled by the charms of old times. We remember those times, and it is easier to remember the good bits than the other bits. But an honest understanding of history must include the dark spots. There were too many of them, and they contributed too much to our present straits, to think of omitting them.

At the same time, it seems to require the perspective of age to affirm, praise, and if possible rescue essential goods of the past that have been too easily swept aside, left bobbing in the wake of society’s mad rush to perfect the human beast in the present for the sake of a utopian future. 

Somewhere in the weighing and balancing of these conflicting claims, some valid, actionable truth of history may reside. I wouldn’t know. I only write the stories.

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

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(History is not what you thought!)

10.27.20
by

October

Sunday, October 25—Here in Madison, we are seeing our first snow shower of the season.

It won’t stick.

A white film may coat the ground like manna tomorrow morning, but it will be gone in 24 hours—melted like manna by the sun, or else sublimated in the gray air of autumn. 

“Fallen Leaves” by Stanley Zimny 
is licensed under CC BY-NC 2.0.

Brown leaves have descended from our maple and our neighbor’s walnuts, and small yellow ones from our black locust. Yet plenty of other leaves cling green on trees and bushes. Soon enough, they too shall be crispéd and sere, as Poe would prefer.

How can such frail fingers pluck so loud on the strings of my reverie? Launching this blog, I pledged to resist the charms of mere nostalgia. But October brings a flood of recall, in which I am swept up all too willingly. 

Rather than fight it, Dear Reader, I will share a bit with you.

McCutcheon of the Trib

Every October of my youth—indeed every fall from 1912 through 1992—the Chicago Tribune showcased “Injun Summer,” a cartoon drawing, with folksy narrative, by editorial artist John T. McCutcheon. Its two panels showed a boy and his grandfather watching a field of conical corn shocks transform into a tepee village, with smoke-shaped Indians doing a dance in the wispy gloaming. 

The old man, in his homey way, explains to the lad that the “sperrits” of “Injuns” now extinct return each year, moved by the autumn haze to haunt their former campgrounds. News readers, even in the darkest parts of the twentieth century, knew that Native Americans were not extinct, but despite that fact, “Injun Summer” became a hallowed tradition over a term of eighty years. 

For one thing, it was assumed by white Americans that the traditional Indian way of life was a thing of the past; that those Indians still alive had better act like typical Americans or be swept aside by history. For another, most Midwesterners—the Trib’s main audience—had such warm memories of autumn days that we were suckers for the romantic image of long-dead Indian ghosts dancing in the smoky haze of burning leaves.

Burning Leaves

I doubt it happens now in very many places—what with the Clean Air Act and all—but in days of yore we would rake dry leaves from our yards into the street and simply set a match to the piles. On a nice October day, whole neighborhoods would come out to chat amid the smoke. Kids ran to and fro, playing tag among the leafy pyres, as grown-ups with metal-tined rakes kept the conflagration confined. 

Folks in our neighborhood brought out foil-wrapped potatoes and baked them in the leaves.

We could do these things, Fair Reader, because there were half as many of us then as there are now. Such frolics would be ill-advised in the brave new world of now.

Autumn Edibles

“Squirrel gathering nuts.” by Mr Mo-Fo is licensed underCC BY-NC-ND 2.0.

Besides our annual festival of burning leaves, we went nutting. We competed with the squirrels. Dad drove us to a place he knew of in the country, where stood an acre or two of shagbark hickories in a park-like setting. We scooped nuts off the ground and tossed them into gunny sacks.

I was not partial to hickory nuts, or any other kind; but Mom, in particular, liked all varieties of nuts. Commonly, we and others left a bowl of unshelled nuts on a coffee table, an end table, or a bookcase-top—with nutcrackers and nutpicks handy to aid in their consumption.

A ballet nutcracker. Photo by Chris Briggs on Unsplash.

Just so you younger folks will know: Nutcrackers did not dress up in uniforms like palace guards. No; they were simple, functional devices in zinc-plated steel, similar to pliers. They were meant for cracking nuts, not for dancing ballets.

Besides nuts, we ate a lot of fresh apples in the fall and drank quite a bit of cider, which we got from your proverbial roadside stands. Often a glass jug of cider, and perhaps a pumpkin and some gourds, would come home as the byproduct of a simple drive in the country. 

In those days, we drove in the country a lot. Just for fun. 

A real nutcracker. Photo by 
Dirk Vorderstraße, licensed
under CC BY 2.0.

With gas at thirty cents a gallon, the Sunday drive was cheap entertainment. It was especially popular in the fall, when the colors were great. Most country roads were two-lane, with top speeds around 50 miles per hour. When you saw a roadside stand with cider and pumpkins, there was a fair chance you could pull off and stop before you had zoomed past it.

Today the country stands are bigger operations, destinations in themselves, at odd ends of county trunk roads. If somebody were to set up a small stand beside the main highway, it would be hard for drivers tunnel-visioning along at 75 mph to fight their way across three or four lanes of traffic and sample the wares.

Halloween

We celebrated Halloween as children do today, by dressing up in costumes and going down the street to extort candy from the neighbors. Today, small children go under parental escort. Only teenagers go on their own, and then always in groups. You never know who might be lurking. 

In our childhood, parents did not go along. Only kids went, usually in fair-sized groups. There might be children as old as twelve or as young as four in a group. A child too young for attachment to such a group was not yet old enough for trick-or-treating. And groups of kids straggling about the neighborhood on Halloween night were ostensibly safe. After all, what could happen?

Besides trick-or-treating, Halloween parties were sometimes arranged at schools, churches, or private homes. As best I can recall, what one did at such a party was bobbing for apples. If you’ve never bobbed for apples, Gentle Reader, then you have missed the fun of sticking your face in a tub of cold water, rooting about aimlessly for an eternity of minutes, likely damaging one or more of your possibly still-emerging teeth, and being laughed at because you were unable to sequester a single globéd fruit.

Thanksgiving

Less than a month after Halloween comes Thanksgiving. Our modern American holiday is a mashup of traditional harvest festivals such as the one held in Plymouth, Massachusetts, in 1621 and a national need, felt strongly during the Civil War, to thank God for his blessings. When the Pilgrims held their feast with Massasoit and his braves in 1621, it was just a party to celebrate the fruits of the harvest. Had they considered it a time of special thanksgiving, they would have fasted and prayed for three days instead. Our Reformed forebears were gravely attentive to the task of thanksgiving. 

Thanksgiving at Plymouth, oil on canvas by Jennie Augusta Brownscombe, 1925, National Museum of Women in the Arts. Public Domain.

We modern Americans say “Thank You” best by eating vast quantities of food and falling asleep. When I was young, a new fillip had just been added to that program: You ate, settled down in the living room, and took your nap in front of a televised football game. 

Ollie Matson, 1959,
when he played for the Rams.
Public Domain.

I remember watching, with Dad and Grandpa and various uncles, as Ollie Matson of the Chicago Cardinals made an amazing touchdown run that none of us could actually see, on account of snow. Not meteorological snow at Soldier Field, but electronic snow on the television screen. And a vertical roll so persistent that Uncle Richard stood behind the set tweaking the vertical hold knob throughout the game. They don’t make TVs like that anymore.

(Upon checking the Internet, I find that the Chicago Cardinals did not play a Thanksgiving Day game with Ollie Matson in the lineup in any year of my childhood; so I must be remembering a non-Thanksgiving Day game. But you get the idea.)

Winter Wonderland

Woollybear caterpillar.
Photo by Micha L. Rieser,
used by blanket permission.

We have arrived back at the subject of snow. Soon all this fall frivolity will be done, and we’ll be clamped in the grim vise of winter. It’s hard to wax nostalgic when you’re up to your schnozzola in peaceful, downy-white, hexacrystalline flakes. They’re so tiny—how could they possibly amount to anything?

My friends among the woollybear caterpillars inform me, and my own 75 years of finely-honed instincts confirm, that this will be a humdinger of a winter. It will both hum and ding.

Button up your overcoat.

Blessings,

Larry F. Sommers, Your New Favorite Writer

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

Price of Passage

Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois

BUY NOW

(History is not what you thought!)

01.21.20
by

Cool Runnings, with Lateral Displacement

Groundhog, without shadow. April King photo, licensed under CC BY-SA 3.0.

Today is January 21. In twelve days The Groundhog will emerge and see, or not see, his shadow. Either way, we in Madison, Wisconsin, may not reasonably expect warmth until May. 

The question inevitably arises: Where would I rather be? 

That’s easy: The 1950s! Where else? 

Care to join me? 

Those Winters

It was no more than ordinarily cold in those days. Snow did gleam white—except on city streets, where it sank into a purple-pink paste after workers laid down coal cinders for traction. Snow tires being, at that time, hidden somewhere in the future.

The house we lived in sat on high ground. Behind it, a wooded hill tumbled down to the river bottoms. From the corner of our backyard, a narrow trail twisted between scrub maple and willow trees. We called it “The Snake Path.” 

Flopping down on your wood-and-steel sled at the top of The Snake Path, you hurtled downward through a patchy meadow, picking up speed. Then you entered the trees, where dodging left and right became a survival skill. Sleds had wooden bars for steering, but steel runners could warp sideways only so far. Kids with short sleds and pointy-toed engineer boots had an advantage. My sled was long, and I wore round-toed, five-buckle galoshes. 

Boy on sled. Photo by father of JGKlein, used with permission. Public Domain.

If one made it through the trees—and all of us got very good at doing so—then one shot forth from the woods like a bottle rocket and zoomed up a mound of earth near the bottom of the hill. Just short of supersonic, we flew off the top of that mogul and sailed as much as ten feet through the air. If you were still connected to the sled when it slammed down on Mother Earth, you wrenched the steering bar violently and shot off to starboard like those little cash carriers that skimmed the ceiling at J.C. Penney’s, and with full momentum intact, coasted a quarter mile down an old dirt road to the little bridge that spanned the perfectly-named Stink Creek.

This place, I tell you, does exist in the 1950s.

But not now. The coordinates can be plotted. There is still a hill, a road, and a meandering river; but the woods are gone, The Snake Path is no more. The mound of dirt that flung us skyward was leveled long ago. If you knew the place in the Fifties, and if you stood today at the bottom of that hill, you might note the routes traced by all those steel runners, etched invisibly in the air about you. But to see that vision, you must bring the software inside your head. 

Flexible Flyer sled. The Children’s Museum of Indianapolis, licensed under CC BY-SA 3.0.

Disappointingly, the historical society has not even posted a plaque.

Other events in life have occasionally yielded more excitement—a commodity of dubious worth—but few have ever matched the plain satisfaction of navigating The Snake Path on a Flexible Flyer.

#

“But wait, wait—what’s this about cash carriers at J.C. Penney’s?”  

Oh, did I mention cash carriers? 

Perhaps you have heard—or have you?—that in bygone days, we operated on a cash economy. People paid for things, if not with gold eagles like in the Old West, at least with metal coins, or with paper money that was, in theory, redeemable for precious metals. We carried dollar bills that looked much like those of today. But ours were Silver Certificates. 

A silver certificate, this one specially issued for use in pre-statehood Hawaii. National Numismatic Collection,
National Museum of American History, licensed under CC BY-SA 4.0.

Each bill was emblazoned:

“This certifies that there is on deposit in the Treasury of the United States of America One Dollar in silver payable to the bearer on demand.”

If I happened to be in Washington, D.C., I could walk into the Treasury Building (which is still there, by the way), present my paper dollar, and get a silver dollar for it. Good deal, eh? 

Still, not many of us actually did that. We simply believed, as we do today, that the piece of paper itself was worth a dollar. We just spent them. Or we put them in a bank and wrote paper checks against them for large purchases or for monthly bills. 

No Credit

Old BankAmericard “welcome sign.” Photo by Infrogmation of New Orleans licensed under CC BY-SA 4.0.

We did not use credit cards. There were a few credit cards or “charge plates,” issued by stores or gasoline companies for favored customers. But the general purpose credit card did not make its way into our lives until the launch of BankAmericard (later called Visa) in 1958. For most purchases, we used cash—crumpled up dollar bills or fives (but seldom a ten or a twenty, because then you would be talking about Real Money); and silver dollars, half dollars, quarters; dimes, nickels, and copper or steel pennies.

This worked well at your Mom and Pop grocery store down the block. You bought a quart of milk for twenty-four cents and handed Pop a dollar. He punched a key on his cash register and the lap drawer flew open with a bang. He placed the dollar in the drawer, fished out a half dollar, a quarter, and a penny, and added them back up as he handed it to you: “… And one is twenty-five, fifty, one dollar. Thank you, call again.”

Flying Gizmos Like Skates

But big stores, like J.C. Penney, preferred not to have cash registers on the sales floors. They needed to record their transactions. So, say you bought a little flimsy scarf at Penney’s—something that cost twenty-four cents—and you gave the saleslady a dollar, then the routine went like this: She wrote down the transaction on a sales slip. She put the sales slip and your dollar inside a little skate-like gizmo; and she stuck the little gizmo to a circulating-cable rail system inside an elongated cage strung across the store’s ceiling; and it zoomed upstairs to the bookkeeping office on the mezzanine. There, Unseen Hands opened the little gizmo—a cash carrier—took your dollar out, and put back in a half-dollar, a quarter, and a penny, along with the sales slip marked “PAID.” The Unseen Hands then sent the cash carrier shooting back through its cage. The sales lady opened it, handed you the receipt, and counted back the change: “… And one is twenty-five, fifty, one dollar. Thank you, call again.”

The best thing about this process, to a small boy, was simply watching the cash carriers ricochet along the ceiling. And the stellar thing about that was how they turned right angles with no loss in velocity, just a tantalizing thunk!

If you’ve never had the pleasure, do yourself a favor and watch this little video: https://www.youtube.com/watch?v=w75jOy-r5rg. Be patient, Gentle Reader; the demonstration starts at 00:54. This demonstration video was shot at Joyner’s, a general store in Moose Jaw, Saskatchewan, in 1994, when the store closed its doors. They ran the cash carrier system just once more, for old times’ sake. But in the heyday of our all-cash economy, this same system was used, hundreds of times a day, in many stores all over the country. It became obsolete when credit cards and electronic registers were invented. 

The careening little cash pods, with their abrupt changes from one plane to another, defied all normal laws of physics, in precisely the same way extraterrestrial spacecraft are thought to do. 

Or, as in our first example, kids on sleds at the bottom of the snake path. 

“. . . and I only am escaped alone to tell thee.” 

Blessings,

Larry F. Sommers, Your New Favorite Writer

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

Price of Passage

Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois

BUY NOW

(History is not what you thought!)

04.30.19
by

Come away with me, Lucille . . .

Photo by Franck V. on Unsplash

. . . in my merry DeLorean–but, of course, modified with nuclear fuel compartment, flux capacitor, and date/time indicators!

Time travel is nothing new. People have been doing it for eons. Everybody from H.G. Wells to Doctor Who. They travel in time machines; they leap across time by hypnosis; or sometimes, they just stumble through an unseen portal that happens to be in their path.

You can travel Forward into the Future, or Backward into the Past. Travelers to the future discover new civilizations, which are either utopian dreams or the stuff of nightmares—seldom anything in-between. (The most shocking plot twist would be if the hero landed in a future society just as ho-hum as our own, differing only in trivial details. I suppose it’s already been done.)

Into the Past

The other kind of time travel, Backward into the Past, is more interesting to me because it is based on reality: a real world that we know did exist, once upon a time. People who travel to the past either want to right some wrong in the present; or they simply hope to be detached observers . . . but somehow, they can’t quite avoid Interfering with the Fabric of Time and Space. Often with amusing consequences.

One of the best time romps of recent decades seems to go both directions—at least such is the implication of its title: Back to the Future. Everybody has seen this film, directed by Robert Zemeckis and written by Zemeckis with Bob Gale. (NOTE: If you are the only person in North America who has NOT seen it, put down this blog right now—just leave it open, face down, on your reading table—and go see the film. Then come back and finish reading this post.)

The title is a bare-faced marketing ploy. The filmmakers knew people would not have much interest in the Past—just mention “history” and observe the yawns—so they put the word “Future” in the title. To support that concept, they filled up the early scenes with gee-whiz gadgets, most notably Doc Brown’s gull-winged sports car with the Y-shaped gizmo inside that makes time travel possible. 

But then, Dear Reader, the bait and switch: When Marty McFly climbs in and steps on the gas, the souped-up DeLorean takes him straight to the 1950s—an era when his own dorky parents were mere angst-ridden teenagers. 

This movie is all about the past and how its influence seeps into the present. Setting it in the Fabulous ’Fifties gave Zemeckis and Gale dozens of cute cultural references to make viewers smile. But this tight screenplay has no room for idle nostalgia. There’s no archival footage of Chuck Berry doing the Duck Walk while performing “Johnny B. Goode”—but we do get to see Marty McFly do a fair imitation of it in a scene that helps move the plot forward in an entertaining way. All the while, Messrs. Zemeckis and Gale exploit every nostalgic-comic possibility from the situation.

Reality is Bumpier than Fiction

Marty’s task is to rescue his father, a teenager in the ’Fifties,  from the personality flaw that made the McFly family’s subsequent life a disaster. Through the simple device of having the brilliant, eccentric Doc Brown inhabit both time frames, Marty is led to shred the pre-formed shape of the Time-Space Continuum and write a new future. That is, you know . . . a new present.

Marty’s woes of today trace directly to his parents’ woes in the past. If only the past could be fixed, the present would turn rosy. 

But real life is not that simple. What if a great heartache of the present stems directly from a triumph or blessing in the past?  What if you must do your grandfather an injustice in his boyhood to prevent injustice to your family in the present? 

Such imponderables make me dizzy. Which is why I will probably continue trying to write fiction that only suggests the depth and complexity of life in earlier times, without trying to trace the tangled skeins of causality through decades or centuries. 

Nevertheless, reading time-travel adventures can be a delightful diversion. I’ve mentioned before the intriguing works of Jack Finney, who had a time-travel fixation. Right now I’m reading Stephen King’s experiment with time travel, titled 11/22/63. Maybe I’ll comment further in a future edition of this blog. Stay tuned.

And now, for something completely different:

©Larry F. Sommers, 2012.

What do you suppose this thing is? Any guesses? Tune in next Tuesday, and I’ll try to remember to tell you the answer!

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

BUY NOW

(History is not what you thought!)