Thursday, December 7, 2017

Blessed are the Merciful



©2017 by John LaTorre


As news of more sexual harassment is proliferating, it is obvious that it's a bigger problem than we supposed it was. It's also obvious that the issue won't go away, and shouldn't go away. But there's also a rush to judgment on the part of many observers, with fingers pointed everywhere and at anybody. We all agree that the problem exists, and we're grasping for some fair solution, but we're not getting there.

As a way out of this, may I suggest the South African model of "Reconciliation." As you remember, when apartheid was no longer sanctioned by that government, there arose a great cry for retribution by those who had suffered under it. Instead, the government chose to allow those who practiced apartheid to come forward, apologize for their deeds, and ask for forgiveness. Those who did so would be spared further persecution. Reconciliation was a way for offenders to put the past behind them and move forward with their lives.

We have now seen that the scope of sexual harassment has gone beyond a single party or industry. It's in business, entertainment, religion, and politics. It involves Democrats and Republicans alike. No industry seems to be exempt. It involves people we have trusted to speak for us and guide us in our ethics. We have found that their public personae are not the same as their private ones. As more evidence of this impropriety surfaces, there are cries for these people to resign their government offices and their businesses, sometimes on the basis of anonymous testimony. And it will get worse, if we don't address the problem with clear heads.

That's why I think that reconciliation is the best way to go about the process of healing. If people wish to come forth and admit their deeds and seek forgiveness, we should give them an avenue to do that without forcing them to quit their jobs. We will serve notice that while we can forgive past transgressions, we will not forgive future ones. "Go and sin no more," we will say, "but we'll be watching you, buddy."

Let me state that this is not a "get out of jail free" card. Unlike the South African model, there is no amnesty for those who have broken the law. These people should be punished for the crime, but only after having received due process of the law. That means an arraignment and, if necessary, a trial. (The problem comes when the statute of limitations has expired on certain incidents; in this case, while we are powerless to punish the crime, we are not powerless to decry it and insist that its perpetrators apologize for it. The crime doesn't go away, even if the ability to prosecute it does.)

In going through the process of reconciliation, the South African people have been spared many of the repercussions that would have ensued had people cried for vengeance, and the process of healing is continuing to influence their history. We can follow that course, too. I think that many of the accused, notably Senator Franken, have already taken steps to begin this process through their own public apologies and pledges to behave differently in the future. This is an initiative we should support.

When it was apparent the Civil War would be lost by the Confederate States of America, Abraham Lincoln foresaw that there would have to be a period for healing. He allowed the defeated soldiers to keep their arms, and called for "malice toward none, and charity for all." Sadly, he was assassinated before he could put most of that plan through, and the result was a period of punitive "Reconstruction" that only fanned the flames of hatred and intransigence. We have been feeling the pain of that disaster ever since. But if we take his words to heart, if we can forgive and use the opportunity to re-shape our values in a way that heals and affirms our dignity, then perhaps we can avoid much of the acrimony we're likely to see.

We can do this. Americans are a forgiving people. We believe that given the opportunity, most people with clouded pasts will put those pasts behind them and seek a better future for themselves whenever they can. If we can find a way to forgive our own friends and relatives, we should be able to forgive those of our greater community. They don't have to take the opportunity to be forgiven, of course, and many of them won't, either from pride or a simple disregard for ethics. Those people should suffer the consequences of that lack of contrition ... removal from office, social exile, and all the disrespect we can heap on them.  But let them make that choice for themselves, and let those who choose to ask for forgiveness be forgiven.

I realize that there's an argument for removing people from positions of power if they admit wrong-doing, but here's the thing: if we put pressure only on those who admit wrongdoing (like Al Franken), we'll end up protecting those who do it but don't admit it (like Donald Trump). If we take this to a logical conclusion, the people ending up with the power will be the scumbags. I don't see this as a way of resolving the problem.


Sunday, November 5, 2017

Community, Part Two


©2017 by John LaTorre




In my last blog post, I talked about a few of the communities I’ve been associated with over the years. I was recently reminded of another one. It was one that Albert Schweitzer, the physician and philanthropist, called “the Fellowship of Those Who Bear the Mark of Pain.”

He saw the members of that fellowship daily in his hospital in Africa, and wrote about it in his book On the Edge of the Primeval Forest:

“Who are the members of this fellowship? Those who have learned by experience what physical pain and bodily anguish mean, belong together all the world over; they are united by a secret bond. One and all they know the horrors of suffering to which man can be exposed, and one and all they know the longing to be free from pain. He who has been delivered from pain must not think he is now free again, and at liberty to take life up just as it was before, entirely forgetful of the past.”

I became a member of that fellowship on March 31, 1965, when I was hit by a car. I broke both thigh-bones and went in and out of consciousness over the next couple of days. (I’ll spare you any details of what caused the pain; let me say only that it made me faint after only a few minutes of wakefulness, and that the unconsciousness proved to be a blessing.) I was to spend the next ten weeks in traction, another six weeks in a body cast, and then another two weeks in traction. I was eventually able to walk normally again and even achieve a sort of shambling run for a few steps, but there hasn’t been a time, from that day to this, when I haven’t been in at least a small degree of pain.

Dr. Schweitzer was right about pain leaving a mark on people. Even when the acute pain is gone, your behavior is changed, and you can no longer look upon others in pain without understanding what they are going through. The more chronic the pain is, the longer lasting are the effects. I can sometimes tell when a person is in pain from a look in their eyes or a certain carefulness in their motions. In them, I see myself.

But this fellowship is more than one of shared experience, and Dr. Schweitzer knew that. He continues:

“He is now a ‘man whose eyes are open’ with regard to pain and anguish, and he must help to overcome those two enemies (so far as human power can control them) and to bring to others the deliverance which he has himself enjoyed.”

I saw this myself in the Army hospital where I recuperated. They used to set up a sixteen-millimeter projector and a screen and show movies in the hallway of the orthopedic ward. Some of my fellow patients helped the orderlies roll my bed, and those of other bed-ridden patients, out of the room and into the hall so I could see the movies, too. And there was a large auditorium at the hospital, two floors below my ward, which showed first-run pictures for the hospital staff and patients. For these shows, my fellow patients would load me onto a freight elevator, bed and all, and take me to the auditorium, which had a large open space for hospital beds like mine. We’d watch the movie, and then they would wheel me back to the elevator and return me to my room. The important thing is that my friends were ordinary GIs with the same blue pajamas that all the patients wore. They didn’t know me, and I didn’t know them. With their arms in slings, or their hand in bandages, they navigated my bed down hallways and into elevators, with no thought of recompense.

What motivated them? I think Dr. Schweitzer hit on the answer: in my situation, they saw a bit of their own situation. In their pain, they sought to relieve a little of mine. And in this way—so small to them, but so big to me—they demonstrated Dr. Schweitzer’s conviction that this fellowship existed. I never learned their names, but I’m grateful to them, even at the interval of half a century. If you happen to be one of those people, and you’re ever in Sacramento, I’ll be glad to buy you a beer at the tavern of your choice.



Wednesday, September 20, 2017

Community


©2017 by John LaTorre



Last weekend, I went to a Volkswagen bus show in Antioch, California, about seventy miles away from home. On the way back, I passed a VW split-windshield bus with its engine compartment lid open, usually a sign of automotive distress, like the open hood of a conventional car.

I made a U-turn and put my flashers on. The driver of the bus said that the engine was stumbling, and thought that it might be related to some bubbles he was seeing in the plastic fuel filter. We sat there for a while, as he tried various things to solve the problem. I noticed that the engine was hot, and he told me that he’d had similar problems, which turned out to be vapor lock.  There wasn’t much I could do apart from offering him water, tools, and such spare parts as I carried. After about a half an hour, he decided to press on for home, using back roads to avoid the freeways. I followed him for about twenty miles, parting company with him when I reached Interstate 5, where I veered off to meet an appointment I had in downtown Sacramento.

The striking thing about this episode wasn’t that it happened. In fact, it happens all the time to vehicles that are upwards of fifty years of age. It was that, while we were on the side of the road, a half a dozen buses passed us by, all coming back from the show. Some of them honked or waved, but none of them stopped to see if they could help. The fact that I had already stopped may have persuaded them that their help wasn’t necessary, of course. But it made me wonder if the community ties weren’t as strong as I thought they were.

I’ve traveled all over the country in these buses, and often found myself on the side of the road dealing with some problem or another. If a VW bus passed by, it could almost certainly be counted on to stop. The owner would get out, ask what the problem was, and offer tools or a beer or a ride to get help. As these cars became more rare, I thought that the community would become stronger over time. It apparently isn’t so.

Or, maybe, the community has different assumptions now. In an age where everybody is carrying a cell phone (I was, and the other driver was, too), the people who passed us were confident that we didn’t need their help. After all, we weren’t that far from the city, cell phone coverage was good, and tow trucks were a call away.

Humans are communal animals, by and large. We crave associations with people who have things in common with us. When my family moved to a military base in Germany in the 1950s, my mother was quick to make connections with other military wives. There was such a club on nearly every military base, because it provided a ready-made community that transients could plug into. It was a lifesaver for her.

Society has communities galore. Some are based on geography: neighborhood clubs and political groups. Some are religious, Some are cultural, allowing immigrants to our country to preserve something of their native culture in an alien environment.  Some are charitable, some are educational. Some are purely social. And some of these organizations combine these elements in novel ways, like the historical re-creation groups that blend history education and socializing, or the National Rifle Association, which combines firearm safety training with Second Amendment political action. (This blending doesn’t always sit well with some of the members of these groups, since there is a fear that overly stressing one aspect leads to the weakening of another.)

Kurt Vonnegut didn’t think much of many of these organizations. His targets were institutions like the Daughters of the American Revolution, the Veterans of Foreign Wars, and “…the General Electric Company, the International Order of Odd Fellows – and any nation, any time, anywhere.” He called them “granfalloons” in the calypso cosmology he invented for his novel Cat’s Cradle. They are artificial communities, he said, that have outlived whatever unifying principle they may have had, and now are only useful for those who feel that they must have something to belong to. His calypso prophet Bokonon wrote:

“If you wish to study a granfalloon
Just remove the skin of a toy balloon.”

Despite his distaste for granfalloons, Vonnegut recognized the need for community. In his book Slapstick, his main character proposed a novel way to combat the fragmentation of the traditional family. A citizen would be randomly assigned to an artificial clan. Membership in this clan would make it certain that wherever you went, you’d have some family to take you in, laugh at your jokes, loan you a few dollars, and do other things that you might expect from a family member but not from a stranger. You didn’t have to like your new relative, any more than you like all of your natural ones, but there would be some kind of bond that you’d have to recognize.

I currently belong to three active “communities” with whom I share a common interest. For over thirty years, I’ve belonged to the Society for Creative Anachronism, a non-profit group comprising some thirty thousand people around the world. They study medieval history and attempt to recreate the arts, crafts, and martial arts of the European Middle Ages, with varying degrees of authenticity. They also party a lot. The attraction is that the authenticity is enforced not mainly by rules and strict guidelines but by peer pressure; the longer you hang around with them, the more you want to emulate the ones who do it best. The local group I play with is very big on camping, with the aim being to create a semblance of a medieval village where we can forget for a while that we’re in the twenty-first century.

The second group, as I’ve mentioned above, is the community of Volkswagen bus aficionados. There are specific local interest groups that cater to this strange attraction to old cars, but I don’t formally belong to any of them. (The one I’m most involved with is one that simply consists of an Internet presence. As its founder explains, “We have no membership, no officers, no dues, and precious little common sense.”) But we all tend to know each other, and form bonds based on our common interests. We also camp out a lot together, but in VW campers rather than in medieval-style tents.

The third group consists of about a half a dozen people who meet twice a month to play music. None of us is a full-time musician, although some of us play gigs in local venues. Our musical tastes run mainly to the folk and folk-rock of the sixties and seventies, with some later stuff and a few originals thrown into the mix. It’s amazing how quickly the four hours pass, particularly when we seem to have fallen into some groove. Until I started playing with them, I never felt comfortable performing in front of other people, but now I find it refreshing in a way I cannot explain. I can only thank my stars that I have found some people who get the same sort of reward and make it an important part of their lives, too.

I used to belong to another community for a while: those who make and fly hang gliders. For a long time, they were really my only community, and nearly all my friends of the period belonged to it, too. I have never been a natural athlete and, to be really good at the sport, I had to devote insane amounts of time, energy, and money into it. Most of my social life came from the same source, possibly because only they could understand the particular spell this activity cast on me. I had to quit flying about twenty years ago for health reasons, and my old community has for the most part eroded away. I miss them.

I haven’t mentioned one last community I used to associate with a lot, and its loss has been the hardest to bear. I’m speaking of the extended family I have in upstate New York. For years, they were part of my life. I watched my cousins grow up, took part in the family gatherings, bought ice cream with them from the local stands, and vacationed with them on Otisco Lake, the easternmost of New York’s Finger Lakes. But I haven’t been back there since my father died in 2004. True, there’s Facebook and phone calls, but they don’t really take the place of face-to-face contact.

Two of these communities have something else in common. When you interact with them, there are times when you’re putting your life into their hands. For example, when I get advice from somebody on how to do a brake job, I’m trusting that they’ll let me do the job properly, rather than having my brakes fail at a critical moment. At the urging of the community, I replace the fuel lines every five years and safety-wire them to the carburetor, since not doing those simple tasks has resulted in scores of fires in which the buses were destroyed.

There’s even more of this in the hang gliding community. You rely on experienced service technicians to keep your wing airworthy, or course, and if you’re spotted doing something wrong or possibly going beyond the limits of your experience, somebody can usually be counted on to point it out to you. And then there’s a rather tricky maneuver called a “wire launch” that is practiced when you’re launching off a cliff or down a steep ramp into turbulent air. Other people will guide you into position holding on to your nose and wing wires to steady the glider. They’re constantly telling you what pressures they’re feeling on the wing – up, down, or neutral. Your job is to position the glider so that all the forces are balanced evenly, with no inclination to change position. When everybody says “Neutral” or “Nothing” or whatever the pre-arranged code is, you yell “Clear!” Everybody lets go at once, and you launch. If any of them releases too soon, or too late, you are likely to be blown back onto the cliff, to your glider’s ruin and possibly yours as well. So these people, too, are holding your life in their hands in the most literal sense of the word.

Which brings us finally to the quintessential human community, a community of shared need. We’ve seen this in hurricanes, earthquakes, and other natural catastrophes. Suddenly a community pops up where there were only strangers before. The common bond, and there’s only membership requirement: they need you, and you need them. You help each other out. Bonds form.

These ad-hoc communities, based on mutual need, are also things that Kurt Vonnegut knew about. In The Sirens of Titan, that old sage has one character summing up everything that she’s learned in a tumultuous life:  “‘The worst thing that could possibly happen to anybody,’ she said, ‘would be to not be used for anything by anybody.’”  She wasn’t talking about abuse, although she’d suffered reams of it over her long life. She was speaking of a human’s need to make a difference to somebody else, to find a purpose in an otherwise purposeless life.

Most of these ad-hoc bonds won’t last, but they are none the less real for that, at least while the crisis continues. We see reunions of survivors all the time. They smile at each other, enjoying each other’s company, but they will not readily speak of the events that brought them such horror. And when they do, it’s because only their fellow survivors can know the depth of that horror. They would prefer to let those memories fade, but treasure the companionship they’ve found. They’re the combat veterans sitting quietly at a table in the local pub or at the Veteran’s Hall. The community that saved their mutual lives once is still sustaining them now, in a way that few onlookers will realize.

So find your community, in whatever form you find it. Put something into it, and take something from it, and leave some of yourself there. It’s the human thing to do.



Tuesday, August 22, 2017

Navigating the Sea of News


©2017 by John LaTorre



I’ve been reading a book of essays that E. B. White wrote for the New Yorker magazine from 1926 to 1976. It’s a remarkable collection, not simply for the quality of its writing — Mr. White was one of the last century’s great literary stylists, whose writing largely shaped the magazine’s flavor — but for the insights he had regarding the world he was living in, and for the world it was shaping up to be.

On September 11, 1948, he wrote about Presidential candidate Harry A. Wallace’s opinion of the press. "He keeps saying that you can’t learn the truth from the papers," White wrote. "We agree. You can’t learn the truth from the papers. You can, however, buy at any newsstand a ten-cent assortment of biased and unbiased facts and fancies and reports and opinions, and from them you are allowed to try to assemble something that is a reasonable facsimile of the truth. And that’s the way we like it, too."

Of course, the price of those papers nowadays will be more in the range of ten dollars than ten cents, and the number of daily newspapers has become vanishingly small, but we have sources of news from radio and television and the Internet that somewhat counterbalance that dearth. And they have the same range of bias. But the burden of assembling a reasonable facsimile of the truth still falls to us; as war is too important to be left to the generals, journalism is too important to be left to the pundits.

The difference between his era and ours, however, is that much of this news comes already filtered for us. For example, Facebook has identified me as of the liberal persuasion, and has tailored its feed to include mostly sources such as the Other 98%, Occupy Democrats, and the Resistance Report. (I should point out that I didn’t “friend” any of these services, but that doesn’t prevent them from popping up on my Facebook feed. I probably clicked on some of their links, and that brands me as a leftist.) Unless a friend specifically shares a post from a right-wing site, I’ll never see it, and never know that there was a difference of opinion on the matter. Similarly, I doubt if my friend sees anything that doesn’t support his own conservative viewpoint unless I send it to him. He lives in a world of Fox News, Breitbart, Red State and InfoWars. Is it any surprise that his view of the world differs so much from mine?

Earlier that same year, White published a column in which he described what he considered a disturbing trend. He quoted an article that appeared in Editor & Publisher:

"San Francisco — Public opinion polls are scientific tools which should be used by newspapers to prevent editorial errors of judgment, Dr. Chilton Bush, head of the Division of Journalism at Stanford University, believes.
   "‘A publisher is smart to take a poll before he gets his neck out too far,’ he said. ‘Polls provide a better idea of acceptance of newspaper policies.’"

Now I’m quoting Mr. White’s response:

 "We have read this statement half a dozen times, probably in the faint hope that Editor & Publisher might be misquoting Dr. Bush or that we had failed to understand him. But there it stands — a clear guide to the life of expediency, a simple formula for journalism by acceptance, a short essay on how to run a newspaper by saying only the words the public wants to hear said. It seems to us that Dr. Bush hands his students not a sword but a weather vane. Under such conditions, the fourth estate becomes a mere parody of the human intelligence, and had best be turned over to bright birds with split tongues or to monkeys who can make change."

It has taken close to seventy years, but we seem to be on the verge of the victory over journalism that White had envisioned. More than ever, we get our news from sources that do not wish to disturb our world-view. I’ll quote another writer, George Orwell, who said, “Journalism is printing what someone else does not want printed: everything else is public relations.” To which I might add another quote whose source I cannot trace: "Journalism consists of telling people not what they want to hear but what they need to hear."

So where should one go for news? For me, the best sources fall into three categories. First are those newspapers that have shown some degree of journalistic integrity, such as the New York Times or England’s Guardian. In my area, I have the Sacramento Bee and the San Francisco Chronicle, which routinely win awards for investigative reporting. Conservatives may dismiss them as "liberal" publications, a label they probably deserve in some measure, because editors tend to be more liberal than their readership. But they print other viewpoints than those of their editorial staff, and invite comment on their articles.

The best thing about these sources is the diversity of their subject matter. My mother used to tell me that she made a point of reading the first two paragraphs of any news article in the newspaper, whether the subject interested her or not. (I presume that this did not include the sports pages.) She said that it gave her some insight into what other people consider important enough to report on. I can’t say that I’ve followed that regimen, but I do try to read every headline.

The second family of sources consists of magazines that do in-depth articles on current events. Of these, the New Yorker magazine is most valuable to me, because I trust their fact checking and their ability to cover a story in ways that newspapers, television and radio cannot. If it takes them ten pages to get the full story out in a way that makes sense, that's what they'll use. (They once gave an entire issue to printing John Hersey’s book Hiroshima in full, rather than condensing or serializing it.) And any public library worth its salt has a subscription, although I subscribe as a way of keeping them in business. Mother Jones is another such magazine; while they have never tried to hide their progressive agenda, their stories are well researched and have stood up to the worst that their adversaries have thrown at them.

The third source is from independent, non-sponsored radio, which includes National Public Radio and Democracy Now. These agencies get almost all their funding from contributions of their member stations, which in turn depend on support from you and me and a few corporations willing to give them grants. They don’t look for commercial revenue to subsidize their news-gathering staff, which allows them to go where the story leads them.

Which brings me to a final point: in news as in anything else, you get what you pay for. If you're not paying for it, somebody else is, and they're telling what they want you to know, which all too often is not what you need to know. That goes for local newspapers, too, if they're serious about reportage. You can usually gauge their commitment to journalism by noting which ones have their own reporters, and which ones simply print press releases and articles off the news service feeds.

I see the information-screening process as a form of navigation. Pilots will tell you that a single beacon is next to useless, because you only get limited information from it: its direction from you, and possibly its distance from you. To get a more accurate fix on your location, you need at least two beacons, widely spaced apart. For maximum accuracy, you need three beacons, so that you can use triangulation to determine where you are. News sources are your beacons here; too few of them, spaced too closely together, will not get you where you need to go.

So read as much as you can, from as many different viewpoints as you can. Subscribe to newspapers and magazines, so they have the revenue to continue to report the news.  Check your facts with sites like Wikipedia, Snopes, and Politifact. and give them your financial support as well as your patronage. Do the same for NPR and Democracy Now, because they can’t do their jobs without your money.

And here’s the hardest one: go out of your way to talk with people who disagree with you, and find out what your common interests and goals are. I remember folksinger/activist Pete Seeger’s response to somebody who asked him if he subscribed to the Daily Worker, the U.S. Communist Party’s paper. "Yes, I do," he said. "And I subscribe to the Wall Street Journal. And what I would like to do someday is get the editors of both publications in the same room, and start a discussion."

Tuesday, July 25, 2017

A Crystal Radio to the Stars


©2017 by
John LaTorre



Return with us now to those thrilling days of yesteryear, when a twelve-year-old boy is tuning into a radio station with a crystal radio set. It is past his bedtime, but he tweaks the dial, listening for the strains of  “Jupiter, the Bringer of Jollity,” from Gustav Holst’s The Planets, in his World War II surplus headset. Finally, it comes, and the boy’s imagination soars. The year is 1960. It is the sunset of radio drama’s Golden Age, but the boy doesn’t know that. That crystal radio is his ticket to the doors of imagination.

When I was that twelve-year-old boy in Germany, I was a child between generations. Most of the families that I knew back in the United States had television. Our family had television, too, for a couple of years before we moved to Europe in 1957. I remember watching a cartoon adventure show called Winky Dink and You that you could interact with, after a fashion. Your mother would buy special kit at the drug store or the five-and-dime store for fifty cents. The kit contained a sheet of vinyl plastic and some “magic” grease pencils (as the pitchmen put it) of various colors. The idea was to slap the vinyl sheet onto the television screen, where it would adhere through the “magic of static electricity.” Winky Dink would need your artistic abilities in some fashion. For example, he might need to escape in a car, but the car on the screen would have no wheels. It would be your job to draw the wheels so that the hero could drive away. It would also be your job to clean the vinyl sheet and get it ready for the next adventure. (You didn’t really need the vinyl sheet, but your mother would be very upset at you if you forgot to put it up, and used your magic grease pencils directly on the picture tube instead. Ask me how I know this.)

I remember watching Kukla, Fran, and Ollie, a show featuring hand puppets. Speaking of puppets, there was also the marionette Howdy Doody, who lorded over the airwave with one of the most popular kidvid shows of the era. And who could forget Captain Kangaroo?

 This was also the heyday of the TV western.  Roy Rogers, Hopalong Cassidy, and the Lone Ranger were marketed mostly to the younger audience, while Gunsmoke and Wyatt Earp appealed to the older crowd. (I only met the latter two some years later, through reruns.) A housekeeper would commandeer the set to watch Queen For A Day, and my mother had a few regular soap operas whose names I don’t remember.

All that changed when we moved to Europe. We’d brought the TV set along, but there were no English-language television broadcasts then in Frankfurt. For the next five years, we’d watch mostly German sports shows and dramas, although I remember seeing a few episodes of Dennis the Menace, dubbed into German. Rather than break shows for commercials, the broadcaster would lump them all together in a ten- or fifteen-minute slot after the show. Believe it or not, people actually watched them, because each advertisement would be followed by a short cartoon featuring “Onkel Otto,” the mascot of the Hessian Broadcasting system. Onkel Otto was a mustachioed pear-shaped figure with a television antenna sprouting from his head. The cartoon would be a gentle spoof of the ad; for example, after a commercial for bar soap, he would be in a bathtub, with a slippery bar on the floor, just out of reach.

But for the most part, I was raised on radio.

English-speaking radio, at the time, consisted of the single station operated by the Armed Forces Network, or AFN. It aired a bit of everything during the daylight hours: news on the hour, popular music, game shows, and the occasional sports show, usually in the form of game highlights. But at night, the programming shifted to comedy and drama, and I would be there, in the bottom bunk of the bed (my older brother claimed the top bunk), listening on a crystal radio that my father had given me.

The crystal radio itself was a relic of times past. It was the simplest possible radio circuit. It required no batteries or household current, drawing its energy from the transmitter of the radio waves it picked up. My device was a “cat’s whisker” setup which used a thin copper wire whose tip made contact with a galena crystal. These radios would only power earphones that could pick up the faint signals that the crystal would produce, but they were the first to introduce the general public to the wonders of radio in the early years of the last century. By the 1920s, radios powered by batteries (and, later, household current) could drive speakers that the whole family could listen to, and the lowly crystal radio became the object of interest mainly to hobbyists who could build them from scratch. I remember that they needed a lot of antenna wire to capture a signal efficiently, which meant that the springs of my brother’s upper bunk suspended not only the radio itself, but a network of wires. (We’d even tried to use the springs of the bed itself as an antenna, but it didn’t work as well.)

When I was researching this essay, I was surprised to find that many of the radio shows I remember were still current at that time. Gunsmoke was still being issued in a radio format, with William Conrad (who was TV’s Cannon later on) still performing the role of Matt Dillon while James Arness was doing it on television. Joining Matt was Paladin from Have Gun, Will Travel which ran concurrently as a television show and radio show. There was also Yours Truly, Johnny Dollar, a drama about a wise-cracking insurance investigator who solved cases while narrating his expense account. (Sample dialog: “Item twelve: two dollars and fifty-seven cents for dinner at Joe’s Diner. I was meeting a dame who swore she knew where the painting was…”)

Then you had the horror shows. The king of them was Suspense, which ran from 1940 to 1962 and featured a succession of directors, writers, and stars. There was also Inner Sanctum, featuring macabre stories that reflected the aura of the famous horror comics put out by EC publications during the fifties. The radio version only ran from 1941 to 1952, so I must have been listening either to transcripts of the original show or radio versions of the television show that briefly replaced the radio show in 1952.

That’s not surprising, because I also heard episodes of shows that had gone away or moved to television years before, such as The Shadow and The Magnificent Montague. They were joined by Our Miss Brooks and Father Knows Best. But AFN still had access to recorded transcriptions of the radio shows and made liberal use of them in their programming. To me, they were as current as they could be, because unlike television, radio’s production values hadn’t changed remarkably over the past twenty years. (One of the drawbacks of television re-runs is how quickly their mise-en-scène becomes dated – think of the black-and-white Twilight Zone shows or the garish color design of the original Star Trek.) So I was listening to some of the same radio shows of a half a generation or more before me. 

Of all these radio shows, the one that I recall most fondly was a science-fiction show. It started with a countdown, followed by the sound of a rocket ship taking off. Then you heard a voice saying, “From the far horizons of the unknown come transcribed tales of new dimensions in time and space. These are stories of the future, adventures in which you’ll live in a million could-be years on a thousand maybe worlds.  The National Broadcasting Company, in cooperation with Galaxy Science Fiction Magazine, presents [echo effect inserted here]  X … Minus … One!” And off you went, your imagination taking you far from that bottom bunk in a bedroom in Germany and toward … well, anyplace that excellent writing and voice-acting cared to take you.

And excellent writing it was, too. X Minus One used a host of science fiction writers who were already famous among their fandom, having been published in Galaxy and other magazines for years: Robert Heinlein, Isaac Asimov, Ray Bradbury, Katherine MacLean, and dozens more. If you’re a sci-fi fan, I’ll only need to give you some of their last names: Dick, de Camp, Blish, Bloch, Leiber, Pohl, Scheckley, Simak, Sturgeon. A veritable Who’s Who of science fiction, they were, many of them at the beginning of long, distinguished careers.

That twelve-year-old boy could not have had a better introduction to science fiction, as he lay in the dark, crystal radio suspended from the springs in the upper bunk, headset clamped to his ears, straining to hear the faint sounds of the crystal radio, as if the radio broadcast itself was coming in from beyond the stars. He listened to stories of alien visitors, dinosaur hunters, expatriates from Earth, sentient computers, apocalypse survivors, and other flights of imagination.  The Golden Age of Radio also ushered in the Golden Age of Science Fiction, when aspiring writers could actually make a living from selling to the numerous magazines of the genre and eventually become the established authors we revere today.

Tropes such as space travel and robots and misbehaving computers, boringly trite now, were fresh and exciting back then. And radio was the perfect medium, requiring nothing beyond what a competent sound-effects man could produce. There was no need for the Styrofoam boulders and papier-mâché props and stop-action animation of those sci-fi movies and television shows of the era. If you wanted a Tyrannosaur for a scene, well, you said that one was there, and had people screaming as they ran away, and maybe provided a lion’s roar for effect, and there was your Tyrannosaur, as convincing as anything.

Nor was there a need to figure out what a computer of the far distant future (say, 1995) would look like. A few beeps and boops, and perhaps a teletype clattering in the background, was all you had to provide, and you could count on the listener to fill in the rest. Rocket ships? We already knew what they looked like, because we all had seen pictures of them in Galaxy and Amazing Stories and even, by that time, in the newspapers that followed the space program’s Project Mercury. You could even buy plastic model kits of them, and assemble a “lunar lander,” although it looked more like a Bell X-1 than the spider-shaped contraption that actually went to the moon in 1969.  So when you listened to the radio show, you could hear the roar of the rocket taking off, and let your imagination fill in the rest. Those were good times.

I have nothing in particular against the proliferation of “computer-generated imagery” in today’s movies and television shows, but I am saddened when I see them now. I envy the people who storyboard them and figure out how to put them on the screen. They’re the only ones who are allowed to use their imagination to create these scenes. The rest of us have them delivered to our brains all wrapped up and tied with a ribbon … every explosion, every tumbling car, every phaser blast, and every monster imaginable (although it’s always somebody else’s imagination, not ours). All we can do is appreciate them as best we can (and that usually means suspending belief not only in our real world but the very laws of physics), and wonder if the inevitable sequel will be able to live up to the standards of the show.  They engage my senses, and sometimes my admiration, but seldom do they engage my imagination. What good is imagination when you don’t need to provide any of it on your own?

Well, there’s nothing to do about it now. Or rather, there is one thing you can do: you can click on one of these links below, put on a seat of headphones (and earbuds will do, yes they will, if that’s all you have), close your eyes, and let your imagination soar. I just did, and for a little while, I was that boy in the bottom bunk again. It was good to be back.

L. Sprague de Camp’s “A Gun For Dinosaur”

Katherine MacLean’s “Pictures Don’t Lie”
https://www.oldtimeradiodownloads.com/sci-fi/x-minus-one/pictures-dont-lie-1956-10-24

Murray Leinster’s “A Logic Named Joe”