Archives for May 2018

The Paradox of True Love And Artificial Intelligence

Image of simulated fashion shoot

The Finding True Love Department

Making the trip there to return his AI-lover,
it occurs to him that he may want to keep her.
What makes him feel doomed has to do, mostly,

with a longing to feel, again, night-wet grasses
and not then have to hear the voice of someone
whose talk is about the expectations of speech

and filling an hour. A glass wall is instructions.
Where to stand. What line offers which service.
And ads for ice cream and Bahamian vacations

and an off-Broadway musical Of Mice and Men.
Those beside him are making similar choices—
that she sings his name causes him to hesitate.

Of course his AI-comrade Grace has some say.
The prototype has constitutional rights, most
of which are ignored or at risk in this America.

At the facial recognition kiosk she starts to cry.
Big, locomotive tears. Machine-imperfect, real.
They move forward together under lighting as

chemiluminescent as Desire—he’s stroking
a hand and algorithms that frankenstein flesh,
like Lenny stroking a pup or a woman’s hair—

the parts of longing resurrecting in the blood
keep her and she votes to stay beside him.
Later, she’ll ask who John Steinbeck is.

Dogging John Steinbeck Getting a Hair Cut: True Story

Image of John Steinbeck at home with Charley in Sag Harbor

The summer I was 12 years old, my step-grandfather Jimmy Tyson suggested that the two of us drive over to Sag Harbor, on Long Island, to meet John Steinbeck. Jimmy, as I called him, lived along the ocean in nearby Amagansett, in a renovated 18th century saltbox house that was authentic in every way. The driveway was long and meandered through a potato field—a signature feature of eastern Long Island when Jimmy and John were alive and Sag Harbor was a good place to be anonymous.

I knew who John Steinbeck was, but until Jimmy’s suggestion I had no idea that the author of The Red Pony, which I’d read at school, had a home in Sag Harbor. On that bright and sunny eastern Long Island day in 1961, the two of us got into Jimmy’s car—a blue Dodge station wagon—and drove the 15 or so miles from Amagansett. Jimmy knew where the Steinbecks lived, and when we pulled up to their modest Cape Cod style house, Elaine emerged to say that her husband was in town having his hair cut. They probably got hounded all the time, and I don’t know if she was nice to everyone or just to us because I was a kid, but I remember that she was friendly. Now I think about it, my grandfather might have brought me along for that very reason.

Jimmy knew where the Steinbecks lived, and when we pulled up to their modest Cape Cod style house, Elaine emerged to say that her husband was in town having his hair cut.

So we drove into Sag Harbor to the town’s only barbershop, parked, and went inside. Sitting in one of the chairs was John Steinbeck. I remember his face, bearded and distinctive, and he was a towering figure when he took jimmy’s hand, though I don’t recall if he shook mine. It was a short visit, and as we drove out of the parking lot we caught a glimpse of a large poodle—the soon-to-be-famous Charley—sitting in Steinbeck’s converted truck.

I was too young to feel intimidated when I met John Steinbeck. But I’m sure my grandfather realized the importance of the event, and that must have made it enjoyable for him. Thinking back, I wonder who benefited more—Jimmy in the moment or me, much later, in memory.

Photo of John Steinbeck with dog Charley in Sag Harbor courtesy of The New York Times.

Lifelong Learning Through Travels with Charley

Image of lifelong learning class at the University of Richmond

Like most of the middle age-plus pupils in the Osher Lifelong Learning Institute classes I teach at the University of Richmond, I first read John Steinbeck’s fiction as a young adult. But I chose a work of nonfiction written by Steinbeck in middle age—Travels with Charley In Search of America—to open the course I teach in American literary classics. Before we begin, I advise those who read Travels with Charley when they were young, as I did, to disregard first impressions and read it again with fresh eyes. As Steinbeck observes at the outset of the journey, what we see is determined by how we view: So much there is to see, but our morning eyes describe a different world than do our afternoon eyes, and surely our wearied evening eyes can report only a weary evening world. You don’t even know where I’m going. I don’t care. I’d like to go anywhere. I set this matter down not to instruct others but to inform myself.

As Steinbeck observes at the outset of the journey, what we see is determined by how we view.

Later, discussing the book’s significance in middle age, we recall how we explored Steinbeck’s America in our teens and twenties—driving, and riding trains, buses, and planes; experimenting with ideas; testing the patience of people who were our parents’ and Steinbeck’s age during the turbulent decade of the sixties. For many of us, the need to experience our parents’ world through the “morning eyes of youth” was the reason we read Travels with Charley the first time around. Even in middle age, Steinbeck understood the impulse to escape: When I was very young, and the urge to be someplace else was on me, I was assured by mature people that maturity would cure this itch. When years described me as mature, the remedy prescribed was middle age. In middle age, I was assured greater age would calm my fever and now that I am fifty-eight perhaps senility will do the job . . . I fear this disease incurable.

Even in middle age, Steinbeck understood the impulse to escape.

Reading Travels with Charley in maturity gives my students renewed respect for Steinbeck’s courage in answering the call of the road by driving a fitted-up camper solo from one coast to the other, with his wife’s poodle as companion and a deep understanding that “after years of struggle that we do not take a trip; a trip takes us.” Steinbeck’s itinerary in 1960 included destinations he visited on book tours years before—places he visited without fully experiencing them—and avoided high-speed super-highways, which were spreading like cancer across the map of post-war America. Steinbeck’s recognition that “When we get these thruways across the whole country . . . it will be possible to drive from New York to California without seeing a single thing” resonates with us as we recall the places we passed through along the way and reflect on the influence Travels with Charley continues to exert on how Americans think America is or was or ought to be.

We reflect on the influence Steinbeck continues to exert on how Americans think America is or was or ought to be.

All of us are amazed that Steinbeck could travel cross-country incognito until he came to Salinas, the home town he abandoned in 1925, and some identify with the sense of rejection he felt from family members and friends who failed to understand the values and ideas he expressed in the books he wrote in the 1930s. Like Thomas Wolfe, he became a stranger among his own people, though he knew better than to blame them. “Through my own efforts,” he notes, “I am lost most of the time without any help from anyone,” and he recognizes lost-ness in the people and places he encounters in Travels with Charley. A waitress has “vacant eyes” which could “drain the energy and excitement” from a room. “Some American cities are like badger holes, ringed with trash . . . surrounded by piles of wrecked and rusting automobiles [and] smothered in rubbish.” Observed firsthand, the anger of housewives protesting school desegregation in New Orleans seems inhuman and insane. “I’ve seen a look in dogs’ eyes,” he concludes, “a quick and vanishing look of amazed contempt, and I am convinced that basically, dogs think humans are nuts.”

Like Thomas Wolfe, he became a stranger among his own people, though he knew better than to blame them.

We try to avoid issues of race in class (though everyone recognizes that they still exist). As Steinbeck notes, “A dog is a bond between strangers,” and because many of us are empty-nesters, we focus instead on Steinbeck’s feelings for his dog Charley, who “loved deeply and tried dogfully,” and on the improved status of pets in his writing after Of Mice and Men. Reading or rereading Travels with Charley opens middle-aged eyes to the need for connection and companionship Steinbeck felt at a time of life when sudden loss or change—in a family or a country or a culture—can lead to alienation, loneliness, and depression. Those who think and feel after 50 will recognize the danger of despair. John Steinbeck, who made lifelong learning a creative enterprise, responded by creating an adventure for himself and us that makes Travels with Charley rewarding reading at any age.

Photo of Osher Institute for Lifelong Learning class courtesy University of Richmond.

How John Steinbeck Read US-Mexico Relations: Book

Image of Boston University professor Adela Pineda

Mexico was a magnet for John Steinbeck, a frequent visitor and sympathetic observer who explored the threats posed by assumptions he questioned to a culture he admired in fiction (The Pearl), film (The Forgotten Village), and history (the writer’s superbly researched introduction to Viva Zapata!). Fresh evidence that the feeling was mutual can be found in Steinbeck y Mexico: Una Mirada Cinematografica en la Era de la Hegemonia Norteamericana by Adela Pineda, Associate Professor of Spanish at Boston University and Director of Latin American Studies Program at Boston University’s Frederick S. Pardee School of Global Studies. “Steinbeck’s engagement with the history and the cinematic archive of revolutionary Mexico took place in an embattled field of political and cultural activity on both sides of the Río Grande, hence it could not be but complex and contradictory,” explains Pineda, winner of the Malcolm Lowry Fine Arts Literary Essay Award from the Instituto Nacional de Bellas Artes for Las Travesías de John Steinbeck Por México, El Cine y Las Vicisitudes Del Progreso. Pineda’s archival research revealed “the many facets of Steinbeck as a novelist, scriptwriter, film collaborator, and public intellectual”; writing a book about “Steinbeck going global from the vantage point of Mexico” is a fitting tribute to an admiring author whose research into a vanishing way of life became material for enduring art.