Tag Archives: history

The Bully Pulpit


Theodore Roosevelt“I suppose my critics will call that preaching, but I have got such a bully pulpit!”

US President Theodore Roosevelt uttered those words in office (reported in the February 27, 1909, issue of The Outlook magazine), coining the phrase ‘bully pulpit’ in referring to the presidency as an ideal platform from which to expound his ideas and advocate his causes.

Of course, in his day, bully – a word with which Roosevelt was very fond – as an adjective meant ‘excellent,’ ‘first-rate,’ ‘jovial’ or just ‘good’ – a usage we still share when we say ‘bully for you.’ His bully pulpit, however, was a moral platform.

Roosevelt wasn’t commenting on having a platform of influence from which to bully people in today’s more common use of the noun to describe “a blustering, quarrelsome, overbearing person who habitually badgers and intimidates smaller or weaker people.”*

Both uses of the word bully come from the Dutch boele, meaning ‘lover’ and it was originally a term of endearment. They migrated to their odd, double meaning in the 17th century.

National Post reviewI came across the term recently in the title of Doris Goodwin’s book, “The Bully Pulpit: Theodore Roosevelt , William Howard Taft and the Golden Age of Journalism,” which I picked up last week, mostly for its references to the historical development of journalism.** But the politics also interest me and, since I am not as well-versed in American history and politics of that era as I am in other periods, I wanted to educate myself.

Roosevelt is fascinating in that he was a Republican and very progressive – yet it’s a party today we associate with backwardness, the entitlement of the 1%, racism, promoting anti-Christian policies while pretending to be devout and religious***, anti-environmental, anti-science, intolerant, corrupt, petty, mean-spirited spokespeople for whichever industry or corporation buys their votes.

Yet remarkably, in Roosevelt’s day, the Republicans were the progressive party, and it was under Roosevelt that the government put limits on corporate greed, stifled the robber barons, sponsored economic and monetary reform, protected the environment and created national parks, passed socially progressive laws for education and labour… quite the opposite of today’s narrow-minded and suspicious Republicans.

In part, I wanted to read Goodwin’s book to understand, if I can, how the GOP fell from such socially responsible heights to become the despicable, misanthropic and misogynistic party it is today. As the New York Times wrote in reviewing Goodwin’s book:

Let her transport you back to the turn of the 20th century, to a time when this country had politicians of stature and conscience, when the public believed that government could right great wrongs, when, before truncated attention spans, a 50,000-word exposé of corruption could sell out magazines and galvanize a reluctant Congress. The villains seemed bigger, too, or at least more brazen — industrial barons and political bosses who monopolized entire industries, strangled entire cities. And “change” was not just a slogan. “There are but a handful of times in the history of our country,” Goodwin writes in her introduction, “when there occurs a transformation so remarkable that a molt seems to take place, and an altered country begins to emerge.” The years covered in this book are such a time. It makes a pretty grand story.

In his career as a politician, Roosevelt had a very good, close relationship with the media. He engaged them in debate and discussion, created a separate room for the media in the White House, and challenged reporters over their stories – Roosevelt also coined the phrase ‘muckraker’. But it was a relationship based on mutual respect and civility. As Goodwin writes:

…Roosevelt had established a unique relationship with numerous journalists. He debated points with them as fellow writers; regardless of the disparity in political rank, when they argued as authors, they argued as equals. He had read and freely commented upon their stories, as they felt free to criticize his public statements and speeches.

Goodwin calls the relationship between Roosevelt and the media “collegial” – the New York Times suggests ‘symbiotic” as a better choice. As the NYT tells it, Roosevelt

…allowed reporters to question him during his midday shave. Editors and writers who caught his attention would be invited for luncheon conversations that might last until midnight. With his many favorites, Roosevelt exchanged voluminous correspondence, sometimes two or three letters a week. He shared early drafts of his major policy speeches and legislative proposals, and they briefed him on their reporting projects before publication.

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Family, a Century Ago


Syndey and William Pudney
The gentleman in the uniform on the right is William Gordon Pudney, Chief Petty Officer and engineer on the cruiser, Niobe, one of the earliest ship’s in Canada’s fledgling navy. William (Bill) was born in Canada, in 1893. He is perhaps in his early 20s in this undated photograph, taken a century or more ago, maybe even younger.

William, my grandfather, served on the Niobe shortly after it was acquired from England, and later served on it in WWI, when it patrolled the Atlantic. He may have also served on another ship when the Niobe was put out to pasture as a depot ship in 1915, or continued to serve as engineer on her (I’m still looking for information about that time).

I don’t know when he joined the navy, but it must have been at the early age of 16 or 17, because he told me he was in the Canadian contingent sent to London, in 1911, for the coronation of George V. He had a tin of medals, I recall, one of which was for attending the coronation, as well as photographs of the event.

He had just been released from naval service in late 1917, when the Niobe, sitting in harbour,  was damaged in the Halifax explosion.

William had just returned to civilian work, for Canadian Pacific Railway, the day before. He was in the engine of a train in the Halifax yard when the explosion blew the town apart. It was so fierce, it blew the engine he was in over onto its side. In the tumble, William severely damaged his knees, which would bother him through his life until his death at age 94. He continued to work for CP, however, until his retirement.

William married Jean Dunlop around that time. Jean traced her line back through the Dunlops and MacDonalds – Clan Donald – who left Scotland for Nova Scotia in the late 18th and early 19th centuries.

Several members of the MacDonald clan – Jean’s ancestors, whose tale was passed along over the generations through the family – arrived in Canada (Cape Breton) on the Hector, in 1773, fleeing the harsh times and repression of the Highland Clearances that followed the Battle of Culloden (1746). The MacDonalds had fought for Bonnie Prince Charlie, in the Jacobite Rebellion, but it was the losing side at Culloden and the Scots were to pay for it for the next two generations.

A William Dunlop shows up in Pictou on the 1817 census, although I’m not sure he was my ancestor. Other Dunlops arrived over the next 30-40 years. One day, I must travel to Cape Breton to examine the historical records and sort this out.

On William’s right is his dapper-looking father, Sydney Hale Pudney, born in Sittingbourne, Kent, England, in 1866. He emigrated to Canada with his family in 1890, a few years before William was born. He had married Mabel Pentecost, of Maidstone, Kent. Sydney and Mabel had four children.

My grandparents, William and Jean, had three children, of whom my mother, born in 1919 and a veteran of WWII as had been her brothers, is the last remaining one. I borrowed this photograph from her this past weekend, to scan and share.

I can only vaguely remember meeting my great grandfather, and only once. I was four years old, and he lived in a two-story wooden house in Toronto – the same house where my father met my mother (he was a lodger when it was a boarding house). My great grandfather was upstairs in his room, in bed – his deathbed, I later learned – when we visited. I can still remember climbing the stairs to the room with the shades drawn and the old man in the bed. I didn’t know who he was, then.

Looking at the photograph, his smile and his bearing make me wish I had known him, wish I had known to ask about him of my late grandfather.

 

Weaponized Aryan Jesus?


Not the real guyThe term “weaponized Jesus” comes from an article I read on politicsusa.com, from November 2013, titled “The Religious Right With Their Weaponized Jesus Are Not Christians.”  It’s worth a read, if you enjoy the political-religious debate.

I eventually traced the phrase back to a 2010 story in Mother Jones. It’s a good description of the way some fundamentalist Americans are taking their religion. But that’s not at issue right now. It’s the guy on the left of the movie still that I want to write about.

Someone on my Facebook stream recently posted the picture above and talked about how she loved the show. It shows a still short from a movie called “Son of God.” I hadn’t heard of the movie before this FB post, so I had to read more about it because I’m pretty sure that the hippie guy in the still doesn’t look anything like what a Middle-Eastern, radical Jewish preacher called Jesus* would have really looked like.

This guy looks a little too much like Russell Brand, or a younger Brad Pitt, and not quite enough like the Roman-era, Palestinian Jew he would have been. And where was his hat?

If you watch the trailer, you’ll see I’m right.  That might be one reason the movie got a one-star rating on Rotten Tomatoes, but there are many more. The movie, it turns out is a spin-off from the History Channel’s apparently successful Bible series (didn’t see it), but the film was apparently crafted from content edited out of the TV series. As it says on the IMDB site:

…there was a reason all of that footage was cut. If it wasn’t good enough for television, how can this possibly be good enough for the cinema? Well, it’s not. This movie is a bore. With an unnecessary 138 minute run-time, the film drags through dialogue delivered at a pace slow enough for the slothful to keep up. Even then the script isn’t interesting. The selections of the gospel that get quoted are mercilessly butchered. And that’s another thing, if not the most important criticism of a movie of this caliber — the filmmakers had no respect for the source material.

But this isn’t a movie review, per se, since I haven’t seen the film (nor have I seen Mel Gibson’s overly-violent Passion of the Christ, although from the stills I’ve seen, actor Jim Caviezel, playing the Jesus role looks like he, too, is miscast…). It’s about history, ideology and cultural prejudices.

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Human Smoke


Human Smoke“The truth of history,” Napoleon wrote in his memoirs while exiled on St. Helena, “is a fable agreed upon.” Agreed upon mostly by the victors, one should add. The losers seldom agree with it.

In 1865, Mark Twain added in his work, Following the Equator: “The very ink with which all history is written is merely fluid prejudice.” Two centuries after Napoleon, Dana Arnold wrote in Reading Architectural History:

Historical reality is then a ‘referential illusion’, in which we try to grasp the reality… In this way history becomes a Myth or an ideology as it purports to be reality. Indeed, storytelling is often seen as one of the most important functions of writing histories and fundamental to the nature of the discipline.

When I was growing up, like so many millions of other post-war children, I was taught the history – the accepted, official history that was indelibly stamped on every page of our textbooks, and woven into our national identity – of World War II. The absolutely defined, cut-and-dried good=us vs. evil=them. Our bravery, their cowardice. Our sacrifices, their terror. Our victory, their loss. History was like a game of cowboys-and-Indians: two sides, one struggle, one outcome.

As a child of two veterans – whose own fathers had been veterans in the previous war-to-end-all-wars – and nephew of other veterans, I was inoculated with the “right” history that coloured our own family sense of honour, pride, loyalty and duty. Our bloodline fought the good fight and we were damned proud of it.

It was only decades later, when I started playing wargames and writing for a military history magazine that I started to read wider and deeper into the history of the century before I was born. And in doing so, learned that there were many more facets to the story than I had ever been led to believe. It proved both fascinating and unsettling. There’s more we’re not taught  than what we are taught. Continue reading

Poor King Henry VII


Henry VIIAs Rodney Dangerfield might have said had he been cast in a role as Henry VII, “I don’t get no respect.”

Henry VII is one of those English kings who never seem to get any attention, outside the rarefied realms of academia. Only of late, it seems, have a few writers and TV producers turned their heads towards him – no doubt because a lot of the other, more exciting monarchs have been thoroughly covered on screen and in print.

Although he was the first of the short Tudor dynasty, his reign is overshadowed by those of his son, Henry VIII, and granddaughter, Elizabeth I. His continental contemporaries – Louis XI of France and Ferdinand II of Aragon – also outshone him.

Take Shakespeare, for example. The Bard wrote plays about Henry IV, V, VI and VIII. Just skipped VII as if the old geezer hadn’t been worth the price of a goose quill and paper. Plus he wrote about Kings John, Richard II and II and possibly Edward III. H7 is ignored.

Well, okay not completely. Just as far as top billing goes. He’s called the Earl of Richmond in Henry VI, part 3, a youngster who shows up towards the end – Act IV, Sc IV, a bit player without even a speaking part. Not very auspicious for the man who would be king not many years later.

Later, in Richard III, set in the finals years of the War of the Roses,  a somewhat older (28) Henry defeats the king (Richard III) at the Battle of Bosworth Field in 1485. Again, Henry doesn’t show up until the end: Act V, Sc II – and his character is dull and stiff, compared to the vibrant and dynamic – albeit evil – Richard. He takes the crown to become King Henry VII, although the coronation itself is not shown (Derby removed it from the dead Richard). Yorkists win, Lancastrians lose. Sic friat crustulum.

(Apparently the 2016 sequel to the BBC’s superb Hollow Crown series will include Shakespeare’s Henry VI and Richard III plays, so you can watch them on DVD…)

Henry VII had long been dead by the time Shakespeare wrote Henry VIII, and so he gets short shrift there, too. Queen Katharine mentions him in passing in Act II :

The king, your father, was reputed for
A prince most prudent, of an excellent
And unmatch’d wit and judgment…

Henry VIII also mentions him in passing in Act III. Neither call him by his name or title, just “father.”

Otherwise, H7 was just bypassed by the Bard and other playwrights.

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Larry & Jerry’s Inferno


InfernoI had forgotten about this book until recently when I came across a reprint. I read it originally in the late 1970s when I was reading a lot more sci-fi than I do today. (Many years ago, I ran a Toronto computer convention where I invited the authors to be the keynote speakers. I got to spend many hours and a memorable dinner with them.) I finished the reprint only a few days ago and started the sequel, Escape From Hell, shortly after.

I was researching Dante of late for something I’ve been slogging at for the past couple of years, when I came across the novel again. I’m always looking for something to sharpen my understanding of Dante, and sometimes a perspective like this can help.

Dante’s Inferno, the first of the Divine Comedy trilogy, has always fascinated me for its complex subject matter; its politics, theology, human drama and vision. I have numerous translations of it on my bookshelves. Some I keep just for the introduction and notes – the poetry is almost unintelligible without a guide (which is amusing; you need a second Virgil to guide you through Dante’s references and make sense of them in modern terms).

Dante is tough, but not for his words. Those are easy to read, but the poems are full of historical and literary references that make little sense to the average (non-academic) modern reader. Some of those references were contemporary to Dante, others are classical. Archaic politics have little resonance today.

He also had a rather ornate, medieval theology that furnished his view of Hell (apparently influenced by the writings of Thomas Aquinas (who I have not read but may some day tackle the 3,500-page Summa Theologica if i can work up the nerve). Without having some background knowledge or at least an edition with good notes, the words themselves often don’t tell you as much as you need to know.

Pinsky’s version was my favourite, although Kirkpatrick’s translation made it a close second last year. I recently started reading Mary Jo Bang’s colloquial version and it so far intrigues me, although it seems to have annoyed some critics for her modern (and not literate) interpretations. I also have the Ciardi, Wordsworth and Musa translations. Musa’s notes are worth the book alone.

Since its first translation into English, in 1782, the Inferno has been the subject of much literary discussion and the merits of each translation heavily debated. Ciardi’s version seems to have garnered the most accolades before Pinsky. I am somewhat iffy about versions that attempt to replicate Dante’s three-line rhyming scheme – it can seem rather strained – and tend to like blank verse versions better.

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Cold Mountain Poems


Han Shan and Shih TeI first became aware of the Tang dynasty poet, Han Shan, in the late 1960s, when I was engrossed in reading the poets of the earlier Beat generation. It was at that time that, through them, I started to discover and explore Western Buddhism – as it was adapted and represented through their experiences and words. I eagerly read everything by Alan Watts and Jack Kerouac, Allen Ginsburg and others from the era.

Sometime around then, I discovered a few of Han Shan’s poems. Beat poet Gary Snyder had translated 24 poems for the Evergreen Review in 1958, and later included them with a collection of his own poems in his 1959 book, Rip Rap and Cold Mountain Poems. My copy of that book, in its 1966 reprint, has long since vanished from my shelves. But I remember the effect they had on me: their austere simplicity, their sincerity, their unfeigned naturalness.

I found Snyder through Kerouac’s portrayal of him in his novel, The Dharma Bums (which I also still have on my shelves). Around the same time I discovered haiku, Kenneth Rexroth’s translations, and translations of other T’ang poets: Li Po, Wang Wei and Tu Fu in particular… books which I still have. Snyder’s translations were crisp, clear and poignant.

Han Shan means “Cold Mountain” in Chinese. It’s not simply a place: in the poetry it’s a metaphor for both a state of being and a spiritual destination. The reader is not simply looking at a person: he or she is looking at a mirror: Han Shan is telling us to look within. The poems are important in the literature of Ch’an Buddhism, which later migrated to become Zen in Japan.

Clambering up the Cold Mountain path,
The Cold Mountain trail goes on and on:
The long gorge choked with scree and boulders,
The wide creek, the mist-blurred grass.
The moss is slippery, though there’s been no rain
The pine sings, but there’s no wind.
Who can leap the world’s ties
And sit with me among the white clouds?
translated by Gary Snyder.*

His original name has been lost in the ages between us. He has been dated to a wide range of years in the T’ang dynasty, between about 577 and 901 CE. He has also been identified as different individuals during that period, as well as a collective of poets. He travelled and wrote with a companion, Shih-te, although some authorities suggest they were the same person. No one knows for sure. All we know is that he wrote his poems on rocks (and maybe on bamboo and the wood or the walls of houses).

His only contemporary biographer, Lu Ch’iu-yin, Governor of T’ai Prefecture, wrote this of Han Shan:

He looked like a tramp. His body and face were old and beat. Yet in every word he breathed was a meaning in line with the subtle principles of things, if only you thought of it deeply. Everything he said had a feeling of Tao in it, profound and arcane secrets. His hat was made of birch bark, his clothes were ragged and worn out, and his shoes were wood. Thus men who have made it hide their tracks: unifying categories and interpenetrating things. On that long veranda calling and singing, in his words of reply Ha Ha! – the three worlds revolve. Sometimes at the villages and farms he laughed and sang with cowherds. Sometimes intractable, sometimes agreeable, his nature was happy of itself. But how could a person without wisdom recognize him?

You can read other biographical accounts online, including this one at Hermitary.

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