Book Reviews by Cindy

 The American Spirit in Florida: A Review of Patrick D. Smith’s A Land Remembered

A Land Remembered is a uniquely American epic—set in Florida, but reminiscent of the best of the Western histories and sagas. It reflects and retells the settling of Florida, boca-histroy-e1551384777224incorporating stouthearted characters who survived swamp, jungle, hurricanes, wild animals, to conquer the humid and often unfriendly Florida territory. The story also has themes redolent of the tales of Wild West: the arguments between those who want to fence the land and the earlier settlers who want the land left free and open; the fiercely independent spirits of those who dared to settle and conquer this hazardous, uncivilized land.

The tale covers 3 generations, beginning with Tobias MacIvey, the bold pioneer who first entered the Southern wilds, and continues with his son Zech and then grandson Solomon. Each man represents (and furthers) a specific era in the development of Florida. Tobias, the patriarch, is the one most in tune with nature, as with his wife and baby he attempts to survive in the free, open lands while battling the elements. His attitude towards the Native Americans is one of friendly coexistence, and when his son Zech grows up, he inherits this attitude, and falls in love with a young Seminole woman—instead of choosing between her and the white woman he marries, he loves them both, thus symbolizing the tenuous “marriage” of the two cultures, and the influence of each upon the other.

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Tobias at day’s end; Rick Powers, artist

The story also exhibits the ways in which this uncultured land, like the west, equalizes the races, as African-American ranch hand, “Frog” becomes part of the warp and woof of the MacIvey family. This primitive land, untouched by “culture,” providentially allows for all peoples to meet on a level plane, and they build the future together, rather than as master and servant. Florida is a new kind of “south.”

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Lake Kissimmee

The grandson, Sol, chooses not to live on the land, but instead becomes a real estate developer, thus introducing us to the “new” Florida we know today: a land of entrepreneurs and people who, for the most part, do not live in the agrarian and ranching culture of those white people who previously populated the land. The story begins with a flashback as Sol, aged and dying, chooses to return to the cabin of his forefathers, leaving behind the life of luxury he has led, regretful that he has not kept the values of his father and grandfather. A Land Remembered is a profoundly “American” piece of literature in every way, genuine in its telling. It pulls powerfully at the spirits of those of us who love the pioneer character, with all of its bravery, faults, and independence of mind; the spirit which created America.

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“All I’m trying to tell you is to be strong. Don’t ever let nothing get you down. Don’t be afraid or ashamed to love, or to grieve when the thing you love is gone. Just don’t let it throw you, no matter how much it hurts.”
― Patrick D. Smith, A Land Remembered

A young people’s version of A Land Remembered is available, and is used in many Florida schools.

©Cindy C. Lange, MA

integritasacademy.com


The Truth of Fiction: I Heard the Owl Call My Name

What does constitute a great piece of fiction? In our Literature & Composition: Year 1 class, we are reading the bittersweet classic by Margaret Craven, I Heard the Owl Call My Name. The story is about a young Anglican pastor, Mark Brian,  who is sent to a rural native community in British Columbia, and concerns his spiritual and internal growth as Great Grey Owl 2he learns to love this land and people, unaware that he himself will soon die. Each year when I reread it, I choke up, no matter how much I’ve prepared myself beforehand for the moving conclusion. The book has such power because it speaks truths with beauty and simplicity; the author’s restrained diction causes the reader to genuinely feel the unspoken, deep emotions which the characters express, often through what they do not say as they face their trials and joys. The straightforward yet imagistic style of the book also goes along with the setting and flavor of the native culture, since the people there, in addition to living without most of the material comforts of modern life, are without guile. I Heard the Owl Call My Name also speaks to what is best in us, pointing our souls towards the spiritual values which lie deep within through its symbolic language, borrowed from the natural world.

The novel uses foreshadowing and contrasts between two disparate cultures in organic ways which function as a tapestry, weaving together plot development, theme, and tone to connect the reader emotionally with the characters and their culture. From the first page wherein we a learn that the young pastor is unaware that he is dying, until the closing chapters in which the earthly and spiritual pilgrimages of Mark come to a fitting and moving conclusion, the reader accompanies Mark on his journey towards Love.

The perfect novel is a vessel which contains a unity of subject, thought, and spirit. The perfect novel inspires and rejuvenates our souls, calling us towards the transcendent. The perfect novel leaves us with the sense that we are more complete than we were before we read it; we are more than the sum of our parts; we more keenly know and feel our connections to humanity and to our spiritual roots.

Cindy Lange, MA

integritasacademy.com


Neil Gaiman’s The Ocean at the End of the Lane, Part I:

Furrows of Fabric in Jungian Cloth

This article will be presented in two parts: the first is an interpretation of Gaiman’s book; the second will be my commentary on the book in terms of the sacramental Christian worldview.

OCEAN

In The Ocean at the End of the Lane, Neil Gaiman investigates the ways in which we interpret and assimilate events and memories, and how our ability to incorporate our past affects and determines our present understanding of our selves and the world around us. Gaiman re appropriates disparate myths and symbols in a complex manner; the unifying theme is Jungian psychology, brought to life through traditional symbols the author has synthesized. Reading Ocean is a bit like watching Christopher Nolan’s movie Memento, wherein the character and audience experience the events of his life in reverse, and each slide back into the past presents a different aspect of key events of the protagonist’s life, because we can only cope with the harsh realities of life when they are put into context with the present. In Ocean, though, we are left not solely with the conclusion to a specific story, but rather, the working out of a theory as to how our minds and memories adapt as we grow up and learn about evil in the world and the failings of those we love. It is a book about how we help ourselves understand the vagaries of existence.

The plot revolves around an unnamed artist’s return to his family home in the British countryside which jettisons us into a flashback; our artist is a bookish boy, aged 7, in the 1960s, alienated in his life with his parents and sister, none of whom are sympathetic to his sensitive, artistic nature. Not exactly original—but Gaiman uses the boy’s sense of disjointedness, of not belonging, to introduce the broader theme of the individual’s psychological journey into self integration. Carl Jung posits that the self can only become whole by assimilating past experiences with personal values and farmhousedesires. In Ocean, the artist must recall his past in order to incorporate his understanding of painful memories into who he is now. (Though the boy is only 7 years old, that number is probably symbolic; his internal conflicts are those of an adolescent who is trying to “complete” himself and come to an adult understanding of the world.) The book investigates the traumatic events which led to the boy’s entrance into adulthood, and therefore, full personhood, but ultimately, we learn that he has returned many times to the ocean; i.e., we all must go back to revisit our memories periodically if we are to continue the process of understanding who we are, and in order that we may make sense of our personal “worlds” within the context of our larger reality.

Ocean is a full blown myth which explores our subconscious and conscious motivations and memories; Gaiman questions the validity of our recollections while at the same time affirming the importance of them as the fabric by which we know ourselves. However–and this is the crucial conflict in the book–we cannot directly access our URSULApainful experiences–the “raw” data–without experiencing a disintegration of the self; we can only accept and integrate major changes in our lives through symbols and archetypes,  which facilitate the integration of these occurrences and memories into the “self.”

Jung’s anima or animus is the vehicle through which experiences are sorted, interpreted, and assimilated into the self, and in Ocean, the Hempstock family, and particularly Lettie, play that role. The name Hempstock points the reader clearly in the direction of alternative understandings of reality, since the women, like a drug, help him access hidden recesses of the mind. If the boy allows them to, the Hempstock anima will lead him into fully integrating all of his experiences, both negative and positive. Lettie, her mother and grandmother are guides to the personal unconscious. As the young boy’s personal anima, Lettie is his Beatrice, his psychological guide.

The boy initially meets the Hempstock women because he and his father discover the body of a man they know who has committed suicide in their family car–down the lane. The three women take the boy through the perilous waters of coming adulthood, self-understanding and acceptance of reality. They give him safe harbor–a psychological safe “place” which is apart from his increasingly unpleasant and unacceptable home life. They feed him comfort food, a stark contrast to the “burned toast” of his home, and in their role as anima they bring maternal support, teaching him psychological boundaries, “dressing” him in the clothes of his anima– the feminine (opposite) side of his self which must be unearthed and appropriated in order for him to “find” himself.

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Throughout the book, Lettie Hempstock asserts that she will keep the boy safe, and it is only when he lets go of her hand while traveling on her land that his foot is invaded by the “wormhole” that allows Ursula Monkton into his world. A cursory reading might seem to indicate that Ursula is evil personified, but that is not the case: several times, Lettie and her relatives state that Ursula must be “contained,” and “sent home,” not destroyed. She must be “put in her place”–categorized and restrained– but the women will not confirm that she is evil, and even assert that she is just doing what she was created to do. When the boy lets go of Lettie’s hand during their initial confrontation with Ursula, he is allowing his raw memories to invade his consciousness; this is why he asserts over and over that it is “his fault” that Ursula has appeared. His recollections will only be put into context when Old Mrs. Hempstock is able to take a needle, dig deeply into his foot, extract the invader, and close the hole up–after which Ursula will “disappear.” Whatever ways in which he has ignored his anima,  the “other side” of his soul, have caused destructive, unprocessed memories to invade and poison him. Only through excising such raw memories can he/we have unity and understanding of “self.”

While Lettie’s farm contains the friendly pond she calls an ocean, and it is a place of solace, the boy’s home down the lane is inhabited by a family that expresses no love, and presents meals of burned toast which his father alone cooks.  In his home, water becomes a force of destruction when his father, in a rage, nearly drowns the boy in the bathtub in reaction to his son’s lack of acceptance of Ursula as nanny and apparently, as the father’s lover. This event may or may not have occurred, but the symbolism of it is key: the boy’s emotional break with his father, his realization that his father is fallible, signifies the boy’s entrance into the adult world. He has been “baptized” in the painful waters of recognizing that his parents, who have been his refuge, are imperfect, and will not always be able to guide and protect him. The “fabric” of his childhood has been ripped apart, leaving him afraid and vulnerable, but in accepting the help of the Hempstocks, he will eventually come to terms with reality.

When Lettie first takes the boy for a walk on her farm, they meet the piece of ugly canvas fabric which is Ursula, waiting to be “set free” to enter the boy’s world. Because he lets go of Lettie’s hand, the fabric is able to enter into the sole of his foot. Lettie has used a divining rod, and the two of them have found “something brown and furry, but flat, like a huge rug, flapping and curling at the edges, and, at the front of the rug, a mouth, filled with dozens of tiny sharp teeth, facing down” (38). They immediately see a manta wolf, and Lettie says they have “gone too far out”–they are past the bounds where the boy’s psyche can integrate the dangerous events into his memory safely. This is when he lets go of Lettie’s hand, and the fabric of Ursula reveals herself and invades him and his world.

The middle section of the book consists of Ursula’s ripping apart the fabric of his family in a series of gripping and painful events that leave the reader drained as Ursula emotionally abuses the boy and locks him in his room. As he writes after seeing Ursula and his father embracing, “My parents were a unit, inviolate . . . the train of my life had jumped the rails  30gaimanDand headed off across the fields and was coming down the lane with me, then” (80). He escapes down the drainpipe and makes it to the Hempstock farm–to the safe “place” in his mind–and there his anima (the Hempstocks) treats him to a warm bath–a stark contrast to the life-threatening, cold dunking his father has just given him. It is at this time that Old Mrs. Hempstock pulls the wormhole out of him.

But we soon discover that part of the path Ursula has used has inexplicably gone to his chest–he can feel it there. This never leaves him, even when Ursula is banished, because the blithe innocence of his childhood cannot return. Instead, he must learn as he grows to adjust his view of reality by incorporating aspects of the painful until they no longer dominate him.

The last section of the book is a battle wherein Ursula attempts to stay, and the boy must decide to choose whether or not to live in the protection of the “fairy ring” of self-assimilation. It’s worth a read to find out the conclusion, if you like myths, and Neil Gaiman. Not recommended for children.

Neil Gaiman:

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(Picture of Ursula: facebook.com/LinkLovesColouring)

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