A Geek and Her Pilgrims
Sarah Vowell, The Wordy Shipmates (Riverhead Books, 2008)
How does Sarah Vowell do it? Despite her deep-seated geek tendencies, the writer and radio contributor has parlayed her persona into a best-selling brand. The Wordy Shipmates, Vowell’s exploration of the Puritans of the Massachusetts Bay Colony, is but the latest addition. For Vowell, these settlers—led by John Winthrop, who first described America as a “city on a hill”—are not only personally engrossing but a way to understand contemporary America. Take the Massachusetts Bay Colony seal: a picture of a Native in a loin cloth with the inscription, “Come over and help us.” This foreign policy—ostensibly benevolent meddling—has trumped what Vowell sees as the founding fathers’ call for isolationism. “For a ten-year stretch, the 1980s,” she continues, “Winthrop’s city on a hill became the national metaphor. And looking into the ways [his] sermon, or at least that one phrase in it, was used, throws open the American divide between actions and words, between what we say we believe versus what we actually do.”
That divide between actions and words is also the heart of the Vowell paradox. Although her prose verges on annoying, her sensibility is appealing. She grew up Pentecostal in Oklahoma, attending church three times a week, but is now a member of New York’s media elite. These kinds of contradictions run through The Wordy Shipmates: her account of the Puritans’ settlement in New England is not just a narrative but a scrutiny of personality and motive, filtered through her own fractured lens.
Vowell’s tone is conversational, intimate, filled with peculiar asides and so-called jokes: “I just feel sorry for [Roger Williams] that he lived in a time before air quotes,” and “severed body parts [are] the seventeenth-century equivalent of a gift-basket of mini-muffins,” and a lot of talk about sitcoms. The trouble is that Vowell’s writing reads like a friend who’s had too much to drink. In conversation—even on the radio—this style can work. In writing, however, it feels shallow.
“Here is a useful mantra,” she writes, “for maintaining some basic empathy for Winthrop and his English compatriots at their racist, persnickety, Indian-killing, puritanical worst: Harbottle Grimstone. [...]Is there a creakier, more British name? […] I would mutter ‘Harbottle Grimstone’ under my breath to keep in mind that these are more or less medieval people who are chronologically closer to Chaucer’s Canterbury Tales than to The Wire.” So do these sassy appraisals of history and wanton pop culture references fall flat, or do they make history zing off the page? I’m inclined towards the former perspective: I can’t help hearing Vowell’s voice in my head narrating her essays on This American Life, her timing slightly off, and the laughs accordingly sparse.
Yet somehow Vowell’s self-described “smart-alecky diatribe” develops into more than the sum of its parts. Despite her lefty politics, Vowell takes comfort in Winthrop’s words, especially after 9/11. And she supports American exceptionalism and the Puritans’ belief that their community, their future, was special. “Because even though my head tells me that the idea that America was chosen by God as His righteous city on a hill is ridiculous,” she confesses, “my heart still buys into it.” This is one woman’s idiosyncratic wrestling with history, her emotions, and book-learning, like combatants fighting to understand what happened nearly four centuries ago.
As a friend pointed out, Vowell is so comfortable in her own awkward skin that you cannot help but respect her. By the end of The Wordy Shipmates, she slowly, surprisingly won me over. Roger Williams, the Algonquin-speaking, separation-between-church-and-state-loving, hardnosed exile and founder of Rhode Island, becomes a character as nuanced and compelling as any in more staid historical writing. The author’s anguish over the lamentable fate of the heretic Anne Hutchinson convinces me too. And ultimately, Vowell does what she sets out to do: tell you a meandering, dorky story about a group of people who, for better or worse, shaped her crazy country.
Quentin Curry: A Brand New DayBy Jason Rosenfeld
SEPT 2022 | ArtSeen
Fanciful and chromatic things are afoot in AB NYs converted mechanics garage tucked behind the pristine boutiques and galleries of summery East Hampton. There are eight acrylic paintings, two small reliefs, and five free-standing sculptures representing the past two years of Sagaponack-based artist Quentin Currys production. The show forms a panoply of sun-washed surfside elements ranging from the artists trademark surfers to flitting birds and shimmering sunbursts, interspersed with vaguely visage-like abstractions that look like riffs on Carvel cakes.
Enemyby José Carlos Agüero, translated from the Spanish by Alonso Llerena
MAY 2022 | Poetry
José Carlos Agüero (author) (Lima, 1975) Peruvian historian and writer. Researcher on issues of political violence and historical memory. He has publishedamong other texts related to disappearances, political violence and public education in Peruthe essay Los rendidos: Sobre el don de perdonar (IEP, 2015), the poetry book Enemigo (Intermezzo tropical, 2016), the set of stories Cuentos Heridos (Lumen, 2017), and Persona (FCE 2017), published by Fondo de Cultura Económica that was awarded with the 2018 National Prize for Peruvian Literature in the Non-fiction Category.
Citizenship, Persona, and Testimony: Hafizah Geter’s Un-AmericanBy Madeleine Cravens
JUL-AUG 2021 | Books
My grass-stained knees pledge allegiance/to a country that belongs to no one/I love, writes Hafizah Geter in the title poem of Un-American, a debut that interrogates citizenship, statehood, police brutality, and national identity.
fiveBy Álvaro de Campos/Fernando Pessoa, translated from the Portuguese by Margaret Jull Costa and Patricio Ferrari
JUNE 2023 | Poetry
Álvaro de Campos is a heteronym created by Portugals greatest modernist writer Fernando Pessoa. According to Pessoa, Campos was born in Tavira (Algarve) in 1890 and studied mechanical engineering in Glasgow (Scotland) though never managed to complete his degree. Orphaned at an early age, he embarked to the East in his early 20s where he became an opium addict, much like the Portuguese symbolist poet Camilo Pessanha (1867-1926). Back in Portugal, on a visit in the Ribatejo province, Campos met Alberto Caeirothe literary master of Pessoas fictitious coterie. A dandy and flaneur, Álvaro de Campos read Blake, Whitman, and Nietzsche, among others. In his own day he was celebrated and slandered for his vociferous poetry imbued with Whitmanian free verse rhythms, his praise of the rise of technology and polemical views on the industrial civilizationalso attested in manifestos, interviews and essays. Some of his most notable works such as the Ode Marítima [Maritime Ode], Ultimatum, and Tabacaria [Tobacconists Shop] were published during Pessoas lifetime. Fernando Pessoa didnt end Camposs life, so that this heteronym would survive his author who died in 1935.