→ October 28, 2023
→ By

Stick to baseball, 10/28/23.

Nothing new from me at the Athletic this week as I’ve been working on my top 50 free agents rankings, which will run on Wednesday. My only new content outside of this site was a review of the game Forest Shuffle over at Paste Magazine; it’s got some lovely art but it’s a heavy thinker for a game that’s entirely made up of a large deck of cards. I do like it, though.

My guest on the Keith Law Show this week was Dr. Lee McIntyre, a philosopher at Boston University who discussed his new book On Disinformation: How to Fight for Truth and Protect Democracy. You can listen and subscribe via iTunes, Spotify, amazon, or wherever you get your podcasts.

And now, the links…

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→ December 10, 2022
→ By

Stick to baseball, 12/10/22.

I’ve written a lot for the Athletic over the last two weeks, reacting to:

Over at Paste, I wrapped up everything I played or saw at PAX Unplugged last weekend. That board game convention is why I didn’t run this post last week, of course. I’ll have my best new games of 2022 post up this upcoming week.

On my podcast, I spoke to Prof. Scott Hershovitz, author of Nasty, Brutish, and Short: Adventures in Philosophy with My Kids, about his book and some of the big themes in it. You can buy the book here, and you can listen and subscribe via iTunes, Spotify, Stitcher, amazon, or wherever you get your podcasts.

And now, the links…

  • Esquire has the story of Robert Telles, former Clark County Public Administrator, now charged with murdering the Las Vegas Review-Journal reporter who exposed his misdeeds in public office.
  • Mississippi, a backwater region in the American South that ranks 50th among all states for health care, 43rd in education, and 49th for its economy, took funds from a federal program aimed at helping poor families with children and used them to pay for volleyball practice facility at Southern Miss that Brett Favre had promised to pay for. They also paid $1.1 million from the same program to pay Favre for services never performed. In a functioning democracy, there’d be at least an investigation in the legislature into current Gov. Tate Reeves (R), but Mississippi is gerrymandered into oblivion and has disenfranchised 15% of Black residents, giving Republicans a supermajority in both houses, so nothing will happen.
  • ProPublica normally does great work, but they ran a garbage story about the debunked lab-leak hypothesis for COVID-19’s origins, and it was rife with obvious mistakes.
  • There’s a ridiculous anti-vax film circulating online, called Died Suddenly, which is so shoddy that it claims that people who are indisputably alive actually died from the COVID-19 vaccine. Other anti-vaxxers are attacking it, saying it’s hurting their (bogus) cause. If you want more information on the various lies of Died Suddenly, much of which focuses on false claims of blood clots, you can find a lengthy takedown here on Science-Based Medicine.
  • Grant Wahl, an acclaimed and respected soccer writer who has been an outspoken critic of the World Cup and the human rights abuses taking place in Qatar, died last night at a World Cup game. He was 48.
  • A lobbyist for a Saudi alfalfa company that has been has been elected to the Maricopa County Board of Supervisors, where he would have influence over a dispute about water usage in the state. Thomas Galvin’s employer grows alfalfa with scarce water in Arizona and ships it to Saudi Arabia to feed livestock there.
  • Michael Harriot dismantled the defenses of Jerry Jones after a photo emerged of the Cowboys’ owner, who has never hired a Black coach, at the door of a school in 1957 where white students blocked Black kids from integrating.
  • Why does the media continue to take billionaires at their word? Mark Zuckerberg, Elon Musk, Sam Bankman-Fried … they promise things that the media just accepts without question, and then don’t deliver, or it turns out they were lying.
  • Speaking of which, the forces trying to get public funding for a new stadium for the Titans have made a lot of big promises of economic returns. Turns out they’re probably exaggerating.  
  • Back in high school, Frank LaRose, Ohio’s Secretary of State (R), “willed” a classmate “a rope and a tree” as part of a series of racist jokes he and friends made in the class yearbook.
  • Shake that City!, a sort of roll-and-place puzzle game from Alderac, is also fully funded with four days to go. You shake a device with nine cubes in it and they come out in a random pattern that tells you how to place the related tiles on your board.
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→ October 1, 2022
→ By

Stick to baseball, 10/1/22.

Since my last weekend post, I’ve had three few posts up for subscribers to the Athletic, including my annual column on players I was wrong about, my annual Prospect of the Year column, and a quick scouting take on last weekend’s Future Stars Main Event showcase for the 2023 draft.

For Paste I reviewed the board game Cellulose, from Genius Games, which produces science-themed games that try to be both accurate and educational. It’s definitely the former, but I’m not sure about the latter, as it’s a good worker-placement game that you can play well without getting into a lot of the technical stuff.

On the Keith Law Show this week, my guest was author and sportswriter Will Leitch, who wrote the wonderful 2021 novel How Lucky and who has a new novel coming out in May that you can pre-order here. We discussed his writing, his beloved Cardinals, and the upcoming slate of movies for this fall and winter. You can listen and subscribe via iTunes, Spotify, Stitcher, amazon, or wherever you get your podcasts.

My free email newsletter should return next week. COVID and some travel and other stuff just knocked me for a loop.

And now, the links…

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→ October 23, 2019
→ By

The Queen.

If you’d like to win a free, signed copy of this book, sign up for my free email newsletter by this Friday, October 25, at 12 pm ET. I’ll choose one subscriber at random to win the prize, graciously donated by Josh and Little, Brown & Co.

Josh Levin has been writing for Slate since 2003 and has co-hosted their podcast Hang Up and Listen for a decade now. (I appeared on the show way back in 2013.) His first book, The Queen, has nothing whatsoever to do with sports, however; it is an engrossing profile and history of Linda Taylor, the woman tabbed by Chicago newspapers and made infamous by Ronald Reagan as a “welfare queen,” whose fraudulent activities were widely embellished by the media and conservative politicians … and who also probably committed other, far worse crimes during her long life of malfeasance.

Linda Taylor was a welfare cheat, and got caught multiple times doing so, although attempts to prosecute her weren’t always successful, and authorities didn’t always follow through even when she was caught because the laws didn’t adequately address this type of public assistance fraud. She used different identities to apply more than once for aid, and used the names of children who weren’t hers, or didn’t exist at all, to ask for more. It’s possible that she was among the most financially successful people exploiting the public aid system in the 1970s, and that that alone would have been enough to make her story newsworthy.

Levin does way more than tell the story of Taylor’s misdeeds around welfare, however. For one thing, he gives readers a detailed biography of Taylor, from birth to death, giving much-needed balance to her story. He explains the roles that uncertain parentage and mixed-race status in a time when that could leave someone ostracized from white and black circles had in shaping her life, while also using interviews and public records to show that Taylor was more than just a con artist, with credible accusations of kidnapping and even murder following in her wake. One of the more interesting threads in Taylor’s biography is her false claim that she was the daughter of a man in Chicago who died and left behind a maybe-illegal fortune, leading to a trial that hinged as much on her own history of lying as anything else.

That alone would make for a pretty good, if short, book, but Levin adds a second and more substantial layer to Taylor’s story by explaining how she became the front-page welfare queen whose thimblerigging became fodder for politicians and activist journalists in Illinois and, eventually, across the country. Levin details much of the life of George Bliss, a Pulitzer Prize-winning journalist for the Chicago Tribune, whom Levin credits with putting Taylor in the spotlight and helping create the image of her as both an extensive welfare cheat and a symbol of wrongdoing around the public aid system, both by recipients and by people working within the government. That was then picked up by members of the Illinois state legislature, who at one point managed to create their own extrajudicial investigative team to go after welfare frauds, and subsequently by Ronald Reagan in his 1976 presidential campaign.

Reagan, who had left office as California’s governor after two terms in 1974, was a primary challenger to Gerald Ford, who of course was the first unelected official to ascend to the Presidency and was seen as vulnerable for that reason and his tie to the disgraced President Nixon. Reagan began using the story of the “Chicago woman” who used dozens of aliases and the names of hundreds of children to collect hundreds of thousands of dollars in undeserved welfare checks. He was referring to Taylor, but overstated the extent of her crimes and her takings, and continued to embellish the story as the campaign continued – even over objections of some of his own campaign staffers. Levin spins this into a larger point about Reagan’s penchant for dissembling, misrepresenting, or outright lying – and the lack of accountability even from the media covering his campaign at the time – and while Levin never draws the direct parallel to our current President or the contemporary environment of “alternative facts,” I found it impossible to read The Queen without thinking that even Trump’s original campaign was a direct descendant of Reagan’s. Trump is just more blatant about his lies, and perhaps more unrepentant about it, but he was hardly the first – especially when it comes to demonizing people of color.

And that’s the other significant theme of Levin’s book: This is very much a story about race. Taylor’s precise ethnicity is unclear, and she passed for white, black, Latina, and Filipina at different points in her life, but at a time when the “one-drop rule” still existed through the American south, she was generally seen as black. That made her the ideal target for politicians courting white voters angry over the stagnant American economy of the post-oil crisis 1970s and the societal changes that resulted from the civil rights movement. Race-baiting is hardly new in American politics, but Taylor’s race and the breadth of her actual or presumed crimes made her the perfect talking point for candidates looking to appeal to the “economically anxious” non-Latinx white voters who, in 1976, constituted 89% of the U.S. electorate. As I write this, we’re dealing with the current President accusing Democrats pursuing an impeachment inquiry of a “lynching,” invoking a term used almost exclusively to refer to the murders of black men across the American south between the civil war and 1981, when Michael Donald was lynched in Alabama by multiple members of the Ku Klux Klan. Levin makes the case that this sort of coded language is hardly new, and was widely used by a candidate who would go on to serve two terms as President, winning re-election by a historic landslide in 1984.

There’s quite a bit more detail in The Queen, including side threads on the officers who first brought Taylor to some measure of justice (and led to her infamy), Taylor’s daughter and her role in some of the ongoing scams, and comments from people whose lives were affected, almost all adversely, by Taylor’s involvement. The possible murder committed by Taylor for a modest financial gain is an appalling enough story, although Levin can only go so far with that subplot because Taylor was never even arrested for that crime, and the same goes for the accusations that she kidnapped children and either sold them or used their identities to gain more public aid while neglecting the kids. There’s a lot of misery in The Queen, some of it belonging to Taylor herself, but it’s also very much a story of the modern United States – of race and class divides, of lying and self-serving politicians, and of a media culture that still is learning the importance of holding people accountable for their words.

Next up: Just about done with the second book in Paul Theroux’s Riding the Rails trilogy.

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→ July 15, 2019
→ By

Furious Hours.

Casey Cep’s Furious Hours: Murder, Fraud, and the Last Trial of Harper Lee is more like three non-fiction novellas in one package, tied together by overlaps in the stories but not by any significant theme, so the inclusion of all three in a single tome feels a bit forced. Each of them is interesting and tightly told, none more so than the first of the three, as Cep has done substantial research, although ultimately she can’t create a conclusion where none exists.

Harper Lee did not write another book after the runaway success of the novel she would refer to as “the Bird” for the rest of her life, and barely wrote any words at all for publication, leading to a popular myth around her that she had said all she wanted to say – a myth into which her famously reclusive nature also played. Lee did try to write another book, however, about the story Cep unfurls in Furious Hours, that of the Reverend William Maxwell, a black preacher and timber worker in Alabama in the 1960s and early 1970s who took out numerous life insurance policies on family members, including two wives, and then killed at least five of them to collect the payouts. He was arrested and charged with one murder but acquitted mostly due to the lack of direct evidence, and the killings only stopped when the uncle of his last victim executed him point-blank at the funeral service. Lee heard about this story and spent years researching the Maxwell case, interviewing the man’s killer and Maxwell’s longtime attorney, Tom Radney, among others, but for reasons Cep tries to address in the final third of the novel, she was never able to finish it – or even submit part of a manuscript.

Maxwell’s story is a crackerjack, right up to his dramatic death. He wasn’t just a cold-blooded, calculating murderer, but a traveling, revivalist preacher, a longtime con man, and a hard worker on timber sites, respected if a bit feared by the men with whom he worked. His decision to kill off his first wife, and then continue to kill off several other family members, for no other apparent purpose than to collect insurance money, came fairly late in his life: he was around 44 when his first wife was found dead in her car – this was a common method for Maxwell, with four of the five corpses for which he is assumed to bear responsibility discovered in or under cars – and he was killed at age 52, right after delivering the eulogy for his last victim. Cep details the murders and how Maxwell managed to get away with so many, even as a black criminal in 1970s Alabama – although the fact that all of his victims were also black may also have helped him.

Maxwell spent a lot of time over those eight years in court, sometimes defending himself against murder charges but more often fighting insurance companies that tried not to pay him for deaths they thought he’d caused. His lawyer through all of those cases was a white man, Tom Radney, formerly an idealistic state legislator who came home to open up a private practice and made good money off Maxwell, since he was so frequently at war with the law. Radney’s story makes up the middle third of the book and it’s the weakest by far; he’s not as fascinating a character as Maxwell or Lee, nor is any part of his life as interesting as what they both did, but there’s also a reliability problem with Radney’s story that isn’t present in the other two – he helped Lee in her research, which then became part of Cep’s. History is told by the survivors, and Radney outlived Maxwell by over 30 years, while Lee was alive but chose silence.

The third section tells Lee’s story, not just the story of her work on the never-submitted book she titled “The Reverend,” but her whole biography – no small task given the author’s disdain for media attention and her nearly half-century of self-enforced silence. Cep does her best work here, because there is so much in the Lee section that I never knew about her – details from her childhood and adolescence, the extent to which she worked with Truman Capote on In Cold Blood (and perhaps wrote, or rewrote, parts of it), her reactions to the book’s enormous and almost immediate success, and some of the real explanations for the writer’s block that kept the world from ever seeing “The Reverend,” or anything else, in print. (The book that was released a year before her death, Go Set a Watchman, was her first manuscript, which multiple publishers rejected before J.B. Lippincott responded favorably but asked for major revisions; the revised book is the one we know.) Perhaps there isn’t enough material for a full-length biography of Lee, who wrote numerous letters but was obviously very protective of her privacy, but this is a very good use of the limited material that is available.

So Furious Hours is a good read – three good reads, really, or at least two, and the middle one is fine – but a disjointed one. The first section is a true crime story with lots of drama and salacious details; the last one is a thorough if short biography of a pivotal figure in American literature who, herself, was a flawed, regular human whose success contributed to her undoing. The through line of Furious Hours is a tenuous one: it’s the Maxwell case, but without Maxwell there, the connection feels forced. If you approach this book as three distinct reads that share a particular connection, it’s probably going to be far more satisfying than the series of loose ends left by trying to into the three a single narrative that isn’t quite there.

Next up: Sadegh Hedayat’s novella The Blind Owl, in its first translation.

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→ June 29, 2018
→ By

American Animals.

American Animals is based very closely on a true story – the 2004 attempt by four college students in Kentucky to steal several rare books from Transylvania University’s special collection, including John James Audobon’s The Birds of America. Rather than unfurling as a traditional heist movie, however, the script focuses more on the four kids involved, interspersing interviews with all of them throughout the movie to try to get at why they tried something so stupid and so incredibly unlikely to work.

Spencer Reinhard (Barry Keoghan) and Warren Lipka (Evan Peters) are both friends living in Lexington, Kentucky, where Reinhard attends Transylvania and studies art, when he sees the Audobon book on an orientation tour of the library and learns it’s worth about $12 million. He tells Warren, and during one (or more) of their weed-fueled conversations, they decide to try to steal and sell it, less for the money than for the adventure, as Warren in particular talks about how pointless and empty their lives seem to be. They eventually recruit accounting student Eric Borsuk (Jared Abrahamson), who at least brings some rational thinking to the logistical planning, and Chas Allen (Blake Jenner), the getaway driver, and spend months cooking up a plan after doing “research” like watching old heist movies. The robbery itself goes very poorly and they’re arrested not long afterwards, but by that point in the film, the theft seems beside the point, as the unclear motivation of the four stooges overtakes questions of whether it’ll work.

The movie starts with confessional interview clips with the real Reinhard and Lipka, as well as comments from their parents and an old teacher or two, before shifting into the ‘fictional’ part of the movie (although the intro takes pains to tell us the story is true). Director Bart Layton continues to sprinkle comments from the four men, all since released from prison, throughout the film, and uses their differing recollections to show the same scene in two ways, and elucidate how unreliable our memories can be. The trick is clever, although I’m not sure it gets enough to what seems to be the main point of the script, which is that no one, including the four men themselves, can fully explain why they wanted to do this or thought it might work. They refer to it as an “adventure,” which sort of makes sense, until the plan starts to involve subduing the librarian through force, which should have snapped at least one of these four out of their delusion. They’re clearly not dumb, although the plan itself was; Reinhard and Lipka are both thoughtful and articulate, and with the more reticent Borsuk they all seem better able to express now how ill-considered the plan was and how remorseful they feel now for the people they hurt. But can being bored and maybe a little rudderless in life really take a kid like Reinhard, who appears to have never been in any trouble before this, and make him the co-mastermind of a multi-million dollar heist?

The problem with American Animals isn’t the story, but the direction by Layton, who also wrote the script. Layton, perhaps best known for the documentary Imposter, has made his first non-documentary feature here, and has far too heavy a hand, making his influence felt everywhere in the movie when he needed to just let it breathe. The constant rotating camera shots are beyond distracting to the point of dizzying – it’s clearly a gimmick for Layton, and it adds nothing to the film at all, especially since scenery is never the point here. The music is even more distracting; the movie uses few songs contemporary to the time of the planning or heist, with a ton of music from the 1970s, and the volume is often overpowering.

The actors playing the four thieves are solid, although Peters particularly stands out for his portrayal of Lipka as the driving force behind the plan – emotional, erratic, daring, and above all charismatic. Keoghan gets at the hesitation Reinhard expresses in interviews after the fact, although he gives the sense throughout the film of someone who’s physically and emotionally tired more than someone who’s bored and looking for a thrill. And nothing the actors do can touch the emotional responses the men give in confessional clips shown at the end of the movie, where several fight back tears (of shame or embarrassment) as they consider the consequences of their actions. Maybe American Animals would have worked better as a straight documentary, or just if Layton had eased up on the throttle and let the story drive the direction more.

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→ April 9, 2018
→ By

Killers of the Flower Moon.

David Grann’s Killers of the Flower Moon: The Osage Murders and the Birth of the FBI is a non-fiction ‘novel’ that manages to combine a real-world mystery with noir and organized crime elements while also elucidating historical racism against a population seldom considered in modern reevaluations of our own history of oppressing minorities. Drawing on what appears to be a wealth of notes from the initial investigation as well as private correspondence, Grann gives the reader a murder story with a proper resolution, but enough loose ends to set up a final section to the book where he continues exploring unsolved crimes, revealing even further how little the government did to protect the Osage against pitiless enemies. It’s among the leading candidates to win the Pulitzer Prize for Non-Fiction on Monday.

The Osage were one of the Native American tribes banished to present-day Oklahoma when that area was known as “Indian Territory,” marked as such on many maps of the late 19th century; Oklahoma as we know it didn’t exist until 1907, when it became the 46th state. (It always amused me to think of the ‘hole’ in the map of the U.S. as late as 1906, before Oklahoma, Arizona, and New Mexico attained statehood.) By a fortunate accident, the plot of apparently useless land to which the federal government exiled the Osage sat on top of one of the largest petroleum deposits in the continental U.S., which made the Osage mineral millionaires. The government couldn’t quite revoke their rights, but instead ruled that the Osage, being savages, were incompetent to run their own affairs, and that Osage adults required white ‘guardians’ to oversee their financial decisions, which, of course, led to much thievery and embezzlement and, in time, foul play, such as white citizens marrying Osage members and then poisoning their spouses to gain legal control of their headrights and the income they provided.

Two murders in particular attracted the attention of authorities outside of the county, however, as both Osage victims were shot in the head at close range, so there was no question of claiming natural causes, as was often the case when victims were poisoned (often in whiskey, so alcohol could be blamed). These murders were part of a spate of dozens of killings, many of which didn’t appear at first to be connected other than that the victims were either Osage themselves or were in some way investigating the crimes; the sheer scope of this and some media coverage brought in the attention of a young, ambitious bureaucrat named J. Edgar Hoover, who decided to put one of his top agents at the nascent Bureau of Investigation (no ‘federal’ in its title) on the case. The subsequent unraveling of the deceptions and the revelation that the mastermind of the plot was someone closer to the Osage than anyone expected included both early forensic science and dogged investigative work, leading eventually to one confession that toppled the criminal enterprise – only to have the trial twist and turn more than once before the final verdict.

Grann couldn’t have picked a better subject for the book, because these characters often seem plucked from Twin Peaks, from the Osage woman Molly, a survivor of a poisoning attempt whose sister was one of the victims killed by gunshot and who had several other family members die in suspicious circumstances, on up to the head of the scheme, a man whose greed and malice lay hidden behind a façade of benevolence toward his Osage neighbors. Killers of the Flower Moon would make an excellent dramatic film if told straight, but it would take just a little artistic license to turn it into the sort of crime tapestry in which HBO has excelled for years by sharpening or exaggerating some of the individuals’ personalities.

The story of the murders and the federal agents’ work to convict the killers is, in itself, more than enough to stand alone as a compelling narrative work, but Grann explains how the federal, state, and county authorities regularly worked to strip the Osage of their rights, fueled by outright racism and by jealousy of the tribe’s good fortune (with, it appears, no consideration of how racism and avarice drove the tribe to Oklahoma in the first place). After the verdict and what might normally stand as an epilogue, Grann himself appears, writing in the first person about his experiences researching the book and how he found evidence that the Bureau didn’t solve all of the murders, or even most of them, but assumed that they’d gotten the Big Foozle and had thus closed the case. Grann may have solved one more murder himself, but as he interviews more surviving relatives of the victims – many of whom ask him to find out who killed their fathers or uncles or sisters – it becomes clear that the majority of these killings will remain unsolved, a sort of ultimate insult on top of the lifetime of indignities to which these Osage victims were subjected.

It’s hard to escape the conclusion, although Grann never makes it explicit, that this would never have happened if any of the governing (white) authorities viewed the Osage tribe members as actual people. Dozens of killings went unsolved and unaddressed for several years before Hoover’s men arrived, and some unknown but large percentage of the killings will never be solved. What white officials didn’t do for the Osage in the 1920s continues today in what mostly (but not always) white officials don’t do today to address violence in urban, mostly African-American communities, including right near me in the majority-black city of Wilmington, nicknamed “Murder Town” for its disproportionately high rate of deaths by gun. If the governments responsible for the safety of these citizens don’t see those citizens’ deaths as important, or as equal to the deaths of white citizens, then it is unlikely that anything of substance will be done to stop it.

I listened to the audio version of Grann’s book, which has three narrators, one of whom, actor Will Patton, does an unbelievable job of bringing the various characters, especially the conspirators, to life. The other narrators were fine, but Patton’s voice and intonations made this one of the most memorable audiobooks I’ve listened to.

Next up: I just finished George Saunders’ Lincoln in the Bardo, which won the Man Booker Prize in 2017 and is among the favorites to win the Pulitzer Prize for Fiction next week; and have begun Joan Silber’s Improvement, also from 2017.

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→ January 20, 2016
→ By

The Executioner’s Song.

Norman Mailer’s The Executioner’s Song, winner of the Pulitzer Prize for Fiction in 1980, is the longest work to take home that award, a strange historical footnote in the prize’s history because it’s almost certainly not a work of fiction. Mailer, who had previously won the Pulitzer Prize for General Non-Fiction for Armies of the Night, had access to an unbelievable depth and breadth of source material on Gary Gilmore, the very real subject of The Executioner’s Song, and just about everyone else involved in his life, crimes, imprisonment, and eventual execution, producing a work that moves as quickly as any thousand-page book I’ve ever read*. It would have been more than enough for Mailer, using the recordings and notes compiled by his collaborator Lawrence Schiller, to produce a work of great academic scholarship by providing all of this detail on Gilmore’s life and ultimate desire to rush from sentencing to the firing squad. Instead, Mailer manages the nearly impossible task of humanizing Gilmore without making him the least bit sympathetic, while populating his world with countless well-described, three-dimensional characters, into whose private struggles we gain access thanks to their candor with Schiller and to Mailer’s ability to turn their thoughts into richly developed portraits.

* N of 6.

Gary Gilmore was a lifelong ne’er-do-well who had spent much of his childhood in reform school, then ended up in jail, and just a few months after he was paroled at age 36 after serving about four years of a term for armed robbery he committed while on conditional release, he killed two service workers in the course of two separate armed robberies, with both murders taking place after he’d already obtained the money. The Supreme Court had suspended the use of the death penalty across the United States in 1972 after a 5-4 ruling in Furman v. Georgia, which held, among other things, that sentences of death were applied inconsistently based on the races of the defendants – black defendants were much more likely to be sentenced to die than whites, which three of the five justices ruling for the plaintiff held to be a violation of the Eighth (cruel and unusual punishment) and Fourteenth (equal protection of the laws) Amendments to the Constitution.

(Two other justices held that the death penalty was per se unconstitutional, which I think should be blindingly obvious but, sadly, is not. The death penalty is not a deterrent to capital crime, and is not cost-effective, which means its use is merely a case of the government providing vengeance for the victims’ families.)

Shortly before Gilmore committed the two murders, the Supreme Court ended the suspension of capital punishment in Gregg v. Georgia, as long as the trial in question contained two separate phases for the determination of guilt and for sentencing. Gilmore’s case was egregious and his lawyers, recognizing that they had no defense (there was a witness in one of the cases who saw Gilmore leaving the scene with the gun in his hand), merely hoped to get him life imprisonment. However, Gilmore not only accepted the death penalty but attempted to waive all appeals, asking the court to carry out the sentence as quickly as possible – within 60 days, as required by the Utah statute at the time (which, by the way, did not include a mandatory appeal of any death sentence, because Utah). That stance turned Gilmore into a national celebrity, drew in the ACLU to give Gilmore a defense he didn’t want, and resulted in some darkly comic scenes of legal wrangling that went on right up until a few minutes before Gilmore was executed in January, 1977, the first person to be put to death for his crimes in the United States in nearly ten years.

Although Mailer’s name is on the book’s spine as the author, Schiller, a filmmaker and screenwriter, gathered all of the source material. Several journalists descended on Utah after Gilmore’s sentencing and pronouncement that he wished to die in search of a story; Schiller came out victorious, using various schemes and intermediaries to gain hours of recorded dialogue with Gilmore, Q&As that Gilmore filled out, and interviews with dozens of people relevant to the case, including the widows of the two victims and the girlfriend whose relationship with Gary was, he alleged, the reason he snapped and went out in search of someone to kill. (It’s a facile explanation not supported at all by everything Mailer and Schiller give us in the book.)

Gilmore himself was a complex character, which Schiller realized, driving him to keep attacking Gilmore with questions – asked by his intermediaries, Gilmore’s attorneys – designed to provoke more revealing responses about his childhood. Schiller was clearly looking for something, like a history of abuse or repressed sexual urges, that would explain the killer’s psychopathic behavior, including his controlling, manipulative hold on that girlfriend, 19-year-old Nicole Baker, herself a badly damaged child with a history of drug use and sexual victimhood. But Gilmore was in no way sympathetic, and Mailer doesn’t try to make him so; if you feel anything on Gilmore’s side of the battle over his sentence, it will be for his family members, including his invalid mother, and some of the people who poured their emotions into stopping a punishment that they believed to be morally wrong, only to lose thanks in part to a last-minute flight from Utah to Denver to overturn a judge’s stay. Indeed, the rush to kill Gary Gilmore does nothing to rehabilitate his image, but paints Utah in particular as a state so driven by bloodlust that it comes across as a sort of nightmare totalitarian society. (Mailer also seems to have little use for the domination of the state’s government, including its courts, by Mormons, other than Judge W.W. Ritter, who twice ordered stays to Gilmore’s execution; the book includes Gilmore’s accurate paraphrase of the speech given by Brigham Young where the preacher and openly racist Governor of the Utah Territory said that it would be right and just if he, finding one of his wives in the act of committing adultery with another man, ran them both through the breast with a knife, sending them to the afterlife where their sins would be cleansed. I don’t think you include that passage unless you want the reader to know just where you stand on the Mormon church.)

The first half of the book proceeds like a disaster unfolding in slow motion; we begin with Gilmore’s parole, and get an almost daily look into his struggle to assimilate himself into normal life outside of prison, especially in relations with women. When he meets Nicole Baker, who comes across as a space cadet throughout the book and is always described as stunningly beautiful (you can judge this for yourself, but I don’t see it), he finally gets the reliable outlet for his sexual desires – including disturbing threesomes with an underage friend of Nicole’s – but enters into a relationship toxic in both directions. Nicole, pressured by family members concerned about Gilmore’s manipulative tendencies and violent temper, breaks it off with Gilmore, after which he commits the two murders that ultimately send him to jail.

The second half diverages from your standard true-crime, non-fiction novel, however, by making the chase for Gilmore’s story the actual story. Schiller enters the pages and never lets go of them, while we also get a cast of lawyers with conflicting interests, other journalists, Hollywood producers seeking film rights, and enough clowns to fill a clown Escalade. The media takes a special beating in the book, largely well-deserved. Geraldo Rivera was apparently a soulless hack at the time, trying to do a live TV interview with Gilmore’s cousin Brenda right after the execution while she was still in the hospital recovering from major surgery. (He actually asked to do the interview in the hospital room itself.) Newsweek cited a couple of verses of poetry that Gilmore wrote, failing to recognize that the verses were from Percy Bysshe Shelley’s “The Sensitive Plant.” Reporters and photographers throw all ethics out the window to get images of Gilmore or Nicole, or a quote from anyone in the case, even barging into people’s houses without permission. While I’m sure such things still happen today, the frequency of such events in this book – with no apparent repercussions – is nauseating.

Mailer and Schiller even manage to humanize the many lawyers involved in the case, those seeking to uphold the death sentence and those trying to at least delay it and push through what we would, today, consider a standard process of appeals. Gilmore became a peculiar folk hero and a target for letters from women and girls across the country (gah) because of what was perceived as his stoic acceptance of a just penalty, but as the first execution after nearly a decade-long gap, the last four years under a Supreme Court moratorium, Gilmore’s trial and execution had ramifications for many capital cases to follow. He may have been okay with the sentence handed out to him – and his lack of emotional response to it would seem to support Schiller’s belief that Gilmore had some sort of mental infirmity, like dissociation – but groups like the ACLU needed to fight for his rights to try to establish rights for future defendants.

I don’t see how anyone could read this book and avoid at least feeling a tug toward the side of the debate that opposes capital punishment. It is a brutal sentence, and an expensive, wasteful process to adjudicate it and carry it out. It is also increasingly seen in the developed world as barbarous. Only one other country in the entire Western Hemisphere actively uses the death penalty, and that one, St. Kitts and Nevis, has executed one person in the last 17 years. The only country in Europe that has the death penalty at all is Belarus, ruled by a repressive dictator and serial human-rights violator. Japan still has the death penalty and executed one person in 2015. The United States has more in common with countries like Iran, China, or Saudi Arabia than with any western democracies when it comes to capital punishment. So while the death penalty is decreasing in usage in other nations to which we might compare ourselves, it has little or no deterrent effect on violent crime, and it’s damn expensive to put into practice, Mailer, without appearing to take a side, shows the real human cost of a death sentence by focusing on all of the people besides Gilmore who were hurt by his execution. And while Gilmore destroyed many lives – the two men he murdered, their wives, the three infants left without fathers – killing Gilmore did not restore what he took away. (Both widows cooperated with Mailer and Schiller in providing their stories with their late husbands, acts of significant grace given the amount of shock and grief they must have been suffering.)

Apropos of nothing else, I caught two quotes in the book with some connection to baseball. Gilmore’s first comment or question to a reporter after he was first sentenced to death was, “Who the hell won the World Series?” (That was the Reds, four games to none.) And both Gilmore and his cellmate after his final conviction, the enigmatic Gibbs, had “used the same drug, Ritalin, a rare type of speed not in common use” as their first experience with illicit substances. Yes, Ritalin and Adderall have valid pharmaceutical uses in the treatment of ADHD, but there are far more MLB players with exemptions to take these drugs – Adderall is a combination of two amphetamine salts; Ritalin is not technically “speed” but is also a CNS stimulant and dopamine reuptake inhibitor like amphetamines – than you’d expect from a random sample of men in that age range. And the evidence that these stimulants are performance enhancers, while still anecdotal, is strong.

I read the book via the Kindle app on my iPad – it’s also available via Apple’s iBooks – since, at nearly 1100 pages, it seemed like it would be a bit much to tote around. It was also on sale for $2 on Christmas Day on amazon, along with the book I’m reading now, Herman Wouk’s The Caine Mutiny.

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→ March 24, 2015
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Charlatan: America’s Most Dangerous Huckster.

Pope Brock’s Charlatan: America’s Most Dangerous Huckster, the Man Who Pursued Him, and the Age of Flimflam tells the story of con man J.R. Brinkley, the forerunner to today’s “FoodBabe” and “HealthRanger,” a man whose scams were so successful (at extracting money) and popular that he nearly won an election to become governor of Kansas. He helped create the modern radio industry, launched the first real “border blaster” from just over the border with Mexico, and spent about twenty years evading the pursuit of the American Medical Association’s lead investigator Morris Fishbein before finally coming to justice. It is so bizarre and so extreme that it defies belief, both that anyone could get away with a scam so brazen and that his name isn’t that well known today.

Brinkley’s main con was to pass himself off as a surgeon (despite a lack of any medical degree other than honorary ones he received later) who invented an operation where he would implant the glands from goat testicles into the scrotum of a human to give the latter added virility. In other words, he was selling penis pills before Al Gore invented the Internet. And it worked – the con, that is, not the operation, which was complete bullshit and left many patients maimed or worse. Brinkley built a huge practice in the backwater town of Milford, Kansas, in part by also constructing one of the country’s first radio stations and using it to promote his own business. He also filled much of the station’s airtime with country music, spreading the popularity of that genre and thus further building the audience for his promotion of his own business.

When the authorities in Kansas eventually forced him to stop killing people with scrotal operations, Brinkley first staged a write-in campaign for governor that, in just five weeks, may have garnered him enough votes to win, only to have a back-room deal invalidate thousands of those votes and hand the election to one of his rivals. Brinkley later decamped for Del Rio, Texas, opening a new surgery and setting up a half-million watt radio station just over the border that was so powerful there were days the signal could reportedly reach Canada. That station, XERA, introduced mexican and “tex-mex” music to the broader public and later gave us the outsized personality known as Wolfman Jack. Brinkley was a ruthless, sociopathic confidence man, but he was also quite brilliant and kept ahead of his enemies and adversaries for so long because he was a visionary. He saw potential in radio before anyone else did, and rewrote the rules of political campaigns, and also found a fine new way to part gullible people from their money, whether they had it to give him or not.

Fishbein enters frequently into the story as a secondary character, giving the story some narrative greed as he and Brinkley collide several times before the final denouement at a trial where Brinkley was actually the plaintiff, suing Fishbein for libel for calling the fake doctor a charlatan. Whether Brinkley actually believed his “operation” – which barely qualified as such – helped the patients is never clear, as he may simply have been convinced of his own invincibility regardless of the truth. He succeeded for nearly twenty years, running variations of the same scam, frequently upping the ante after he had to pull up stakes in one location, amassing enormous wealth and political power before his ultimate downfall.

That power in particular reminded me of the recent efforts by the soi-disant “FoodBabe” Vani Hari, a woman with no scientific or medical training (and no evident knowledge of either) who has used social media to run protests against specific ingredients in processed foods while encouraging people to do stupid things like take useless “natural herbs” or buy her book. Her post on staying healthy while flying is legendary for its ignorance (such as her beliefs on the chemical composition of air), and she fosters the same kind of anti-science sentiment that encourages vaccine deniers, climate change deniers, and 9/11 “truthers.” Her effort is hardly the only one of its kind; look at NaturalNews, another anti-science site run by a mountebank who peddles misinformation like claiming a raw food diet can cure cancer and fibromyalgia in what amounts to one giant appeal to nature. (Prepare to be shocked: Mike Adams, the self-styled “Health Ranger” who runs Natural News, is a vaccine denier and an all-around quack.) So while it’s easy to read Charlatan and convince yourself that such a sham could never happen today, in reality the fraudsters have just moved online.

Next up: I read S.S. Van Dine’s first Philo Vance mystery, The Benson Murder Case (just $1.99 for Kindle), on the flight yesterday, and will start Nobel Prize winner Mo Yan’s Red Sorghum later today.

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→ November 30, 2012
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The Orchid Thief.

Susan Orlean’s 1998 book The Orchid Thief: A True Story of Beauty and Obsession showed up in Allison Hoover Bartlett’s The Man Who Loved Books Too Much as one of that author’s favorite narrative non-fiction works, so I grabbed a used copy as soon as I came across one. “Narrative” is only loosely applicable to Orlean’s work, which violates one of my main rules on non-fiction works – unless the author is the subject, the author shouldn’t appear in the book much, if at all – but The Orchid Thief mostly succeeds in spite of Orlean’s heavy presence on the pages because her twin subjects, orchids and the wackadoos who collect them obsessively, are so fascinating. The book was adapted, loosely, by Charlie Kaufman for his script for Adaptation., which is more about Kaufman’s difficulty adapting the book for the big screen than it is about the story in the book itself.

The thief of the book’s title is John Laroche, who was arrested in 1994 while working for the Seminole Nation in Florida as a horticulturalist who wanted to build a nursery and lab that could clone rare orchids, creating a sustainable revenue source for the tribe while feeding Laroche’s own mad obsession with the flowers. Laroche hoped to exploit a loophole in federal laws on taking endangered plants from federally-protected lands by employing Seminole tribe members to take these rare orchids from lands technically under the Seminole Nation’s control, a legal inconsistency that opens up into an ethical quandary over adminstration of lands under Native American control, which Orlean unfortunately chooses not to address. Instead, she follows the crazy people in the orchid world, each one more eccentric than the last, while also explaining the botany of orchids and why people from so many walks of life become so obsessed with them.

Laroche has much in common with Bartlett’s own anti-hero, the book thief John Gilkey, between the psychology behind his madness and his ability to rationalize actions that are immoral and often illegal. Laroche isn’t quite the unrepentant thief that Gilkey is, as the latter merely deluded himself into believing that it was right for him to steal rare books because he couldn’t afford them, whereas Laroche had concocted a broader environmentalist rationalization that by exploiting the loophole, he’d force the government to close it, all while making money for the Seminole Nation and himself. Orlean describes Laroche as rakish and charming, even as good-looking, but on the printed page he comes off as erratic, self-centered, and exasperating. I couldn’t imagine being friends with this man, so it’s hard to see him as an object of desire for women – and there’s no evidence beyond Orlean’s own descriptions to indicate that he is one.

The strongest characters in The Orchid Thief aren’t the collectors or dealers, however, but the flowers themselves. Orchids – technically plants in the family Orchidaceae, which includes over 20,000 species and over 100,000 hybrids, according to Wikipedia – are tough to grow, requiring seven years from seed to bloom; bloom only for very short periods, as little as a single day per year; and depend on complicated relationships with other species to propagate, which has led, through natural selection, to unusual colors and shapes in the flowers designed to attract and/or trap birds or insects, allowing for the spread of an orchid’s pollen. Wild orchids also require the presence of specific fungi to provide sufficient carbon for the seeds to germinate properly, a symbiotic relationship that Orlean doesn’t mention in an otherwise lengthy discussion about just how rare orchids are. The orchids that Laroche wanted to steal grow in the forbidding Fakahatchee Strand State Preserve in Florida, a low-lying swampy expanse that is very difficult to access or navigate, but that forms the largest known home for the rare dendrophylax lindenii, also known as the ghost orchid, which Orlean becomes mildly obsessed with sighting in the wild while writing the book. (Orlean does provide an entertaining diversion on Florida land scams in the same area, where operators sold useless parcels of swampland to gullible cold-weather inhabitants.)

By the end of The Orchid Thief, the Seminole nation has fired Laroche and hired a less ambitious, more practical horticulturalist to run their nursery, while Laroche swears off orchids forever, leaving Orlean scrambling a little for a resolution to her book that doesn’t read like Acheron Hades just went into the original and erased the final dozen pages. The final chapter, which covers her trip into the Fakahatchee with a park ranger to try to spot a ghost orchid, would stand alone very well as a magazine feature, but its tenuous connection to the remainder of the book is a major reason why I wouldn’t call this a narrative work. It’s more of a broad study of interconnected stories around a single, compelling subject, one that touches on themes from morality to biology to beauty and madness, with a nonlinear and thus non-narrative structure that works because Orlean’s language is strong and clean.

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