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White Tower Musings

~ This blog will be an attempt to explain the significance of various works of great writing, the authors that create them, and some effort to understand correlations between great writing and contemporary events.

White Tower Musings

Tag Archives: Eurocentrism

“America the Beautiful”, Or The Saving Grace of Comics and Soda-Pop: Lolita Part 2

27 Wednesday Sep 2017

Posted by Joshua Ryan "Jammer" Smith in Book Review, Essay, Literature, Novels, Satire/Humor, Sexuality, Writing

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Tags

"Legal" Lolitas, "New World" vs "Old World", American Landscape, Book Review, Comics, Delores Haze, Essay, Eurocentrism, Individual Will, John Colapinto, Literature, Lolita, Manifest Destiny, Nabokov's America, Novel, Rape, rape-culture, Sexuality, Vladimir Nabokov

Utah

Pedophilia and sexual corruption really shouldn’t be the first thing that comes to mind when looking at the great plateau’s of Utah. Fortunately it isn’t.  My first actual thought goes to John Ford’s The Searcher’s.  There’s plenty of shots of John Wayne and Jeffrey Hunter riding their horses over those endless seas of orange sand looking for Debbie Edwards (Natalie Wood) who’s been kidnapped by Indians and most likely sexually assaulted by them and by just following that line of thought I’m right back to where I started.  The desert is supposed to be a tabula rasa but instead, it seems, it’s just a breeding grounds for perverts.book-cover-lolita1

With that lovely observation however I think back to Lolita and my recent attempt to write about the novel.  My first essay about the book was to observe the sexual assault that is the primary content.  Humbert Humbert, a rambling European pervert, stays in the home of a woman named Charlotte Haze who has a young daughter named Delores who Humbert renames as Lolita.  He marries Charlotte, and when she dies in an automobile accident, he gains possession of Lolita and spends the rest of the novel traveling with her around the United States raping her until she escapes and takes up with another sexual deviant, a writer named Quilty, who Humbert eventually kills at the end of the novel.

Lolita is a book that is written in many reader’s minds before they have even picked up the book because Lolita as a word has gained a magnificent potency in our society.  Referring to a girl as Lolitaesque is enough to suggest that she is a sexual being that looks incredibly childlike.  Looking through the “key terms” section of my stats for White Tower Musings I can usually expect lovely search combinations like “Black Dick Lolita Fuck” or “Lolita suk dick,” “Lolita bukkake,” “Lolita pussy porn” or perhaps the ever lovely “paid money school legal cute Lolita teen blowjob dick.”  The tragic part is at this point I tend to be more depressed at the constant and atrocious grammar and spelling errors than I am by the fact there are people who want to fuck “legal” Lolitas.

Lolita-Kubrick-2011

Well, no, actually.  I’m seriously fucking bothered by this, but at some point the grammar becomes an issue.

The reader may be wondering whether there is any real artistic merit to Lolita other than using it as a means of discussing rape and pedophilia, but as I was reading the novel again I was reminded by another interpretation that’s been buzzing in my skull since graduate school.

As I mentioned in my previous Lolita essay, a friend of mine taught the novel to a group of largely unresponsive undergraduates who couldn’t, or in some cases wouldn’t, look past the rape to see if Nabokov was aiming for something different in terms of an aesthetic approach.  He attempted to bring in outside articles and critics to the debate, but the content tended to keep most people stubbornly resolved in their assessment.  My complete memory is a bit fuzzy, but as I recall he told me that one argument about the novel Lolita was that, rather than being solely a book about pedophilia, it was largely a satire about Eurocentrism and mocking Americans that are duped or suckered in by it.

Vladimir Nabokov was traveling the country with his wife and children collecting 7e6d899d49fd6f4f22276d5c573c625b--vladimir-nabokov-vintage-photographsbutterflies while he was writing Lolita, and this exercise allowed him the opportunity to really see the territory of the United States.  Many scholars have noted this inspiration in their many articles about the novel, one of which was a book review in the New Yorker entitled Nabokov’s America.

The essay appeared in The New Yorker in 2015, and in the article John Colapinto discusses biographies of Nabokov along with his travels and turbulent life.  In one passage Colapinto discusses a biography of Nabokov and uses it as a means of exploring Nabokov’s creative focus at the time:

Much of the novel’s energy derives from the love-hate relationship Nabokov had with America’s postwar culture of crap TV shows, bad westerns, squawking jukeboxes—the invigorating trash that informs the story of a cultured European’s sexual obsession with an American bobby-soxer who is, as Humbert calls her, the “ideal consumer, the subject and object of every foul poster.” Nabokov always refused the label of satirist, and it would be an oversimplification to say that “Lolita” merely skewers the materialism of fifties America; throughout the book, there is a sense of hypnotized wonder and delight at the happy consumerism of the country and its inhabitants, and Nabokov took overt joy at clipping and cataloguing examples of that consumerism, which he carefully worked into the very texture of “Lolita.”

Colapinto’s article is sporadic, jumping 56a903796e83bc51eb8e08b70299c893from point to point, and in fact after reading it again recently I’m not entirely sure it’s a boon in terms of commentary about Lolita, but within this paragraph at least there’s the start of an idea, which is that contained within the novel there is an examination about consumerism and the way the American landscape and consciousness feeds this passion.

The United States as a country and as an idea has always been intimately connected with the notion of enterprise.  The early European settlers who came to establish colonies for religious freedom were possessed by the idea that this “new world” held an opportunity.  The new land (or really “home” to the people who were living there already) was athumbnailImage chance to make a new life, establish a new society, and find an agency that hadn’t existed in the old world and the old life.  Even after the American Revolution this notion continued because with the sale of the Louisiana Purchase news ideas of Manifest Destiny were created to justify the Westerward push of Europeans deeper into the continent.  And even after the United States had pushed to the very Edge of California, the Klondike and Alaskan Territories offered new wealth, and the islands of the Pacific offered tropical paradises.  Consistent with a study of the history of the United States, there is the idea that this country is the “New World” and promises hope and possibilities for those willing, or brave enough, to try and conquer it.3760252_orig

But beneath this rhetoric there is always a heap of bodies and people getting screwed, both literally and figuratively.  Which leads me back to Lolita.

The character of Humbert Humbert seems a perfect embodiment of this rhetoric because Lolita is his story, his narrative of personal satisfaction and agency, and the reader would do well to remember that his victim never gets her story told.  While Lolita is a story about rape in the sexual sense, the far more pernicious element is the symbolic and psychologic abuse of Dolres Haze and the American landscape which allows the rapes to occur.

While reading Lolita, and reading more and more essays about the novel, I came upon a small quote which, delightfully, managed to sum up everything I’d been trying to say up to that point:001gwaBAzy732SOL3q343&690

And so we rolled East, I more devastated than braced with the satisfaction of my passion, and she glowing with health, her bi-lac garland still as brief as a lad’s, although she had added two inches to her stature and eight pounds to her weight.  We had been everywhere.  We had really seen nothing.  And I catch myself thinking today that our long journey had only defiled with a sinuous trail of slime the lovely, trustful, dreamy, enormous country that by then, in retrospect, was no more than a collection of dog-eared maps, ruined tour books, old tires, and her sobs in the night—every night, every night—the moment I feigned sleep.  (175-6).

On one side note I can never read this passage without cringing.  Granted there are plenty of passages in Lolita that leave one queasy (that is assuming you have a soul), but the image of Delores Haze caught in a hotel room in the middle of nowhere crying in the same room as her rapist is a hard image to forget, and, honestly, I don’t want to forget it.

This passage is one of many in which Humbert manages to reveal his true self throughout Lolita, and like each of his reveals, his repulsive character becomes clearer to the reader who at first is simply disgusted with him for the outright sexual assault.  Looking at this passage the reader gets the sense that it’s not just Delores Haze which has been molested by Humbert, but in fact the landscape of the American territory.  The plains, mountains, valleys, plateaus, villages, towns, tourist traps, forests, and cities in the great expanse of country are nothing but empty sights for Humbert who is honest 007_ltaabout the fact that he does not really care about such sights.  In fact he admits openly in one passage that the appeal of such wonders is simply for his own sick amusement:

[…]but also the fact that far from being an indolent partie de plasisir, our tour was a hard, twisted, teleological growth, whose sole raison d’etre (these French clichés are symptomatic) was to keep my companion in passable humor from kiss to kiss.  (154)

Behold ladies and gentlemen of the jury, the lord hath offered him unto my hand.  After reading this passage Humbert has more or less given away his entire position, because it’s clear that no matter how beautifully he expresses his adoration of the American landscape it’s all just bullshit to cover his criminal offences.  If one just looks a few pages earlier the reader is able to see such a bluff:

By putting the geography of the United States into motion, I did my best LargeEthnicToleranceMapfor hours on end to give her the impression of “going places,” of rolling on to some definite destination, to some unusual delight.  I have never seen such smooth amiable roads as those that now radiated before us, across the crazy quilts of forty-eight states.  Voraciously we consumed those long high-ways, in rapt silence we glided over theit glossy black dance floors.  Not only had Lo no eye for Scenery but she furiously resented my calling her attention to this or that enchanting detail of landscape; which I myself learned to discern only after being exposed for a quite a time to the delicate beauty ever present in the margin of our undeserving journey.  (152).

I suppose at this point my contester is probably owed the chance to speak.  So what?  We’ve addressed already that Lolita is a weird book about a creepy pedophile who rapes a little girl while traveling around the country.  What’s the point of digging deeper into that?  Once you get to the issue of sexual assault what could possibly be worse than that?

This is a tough question because it’s one I’m not entirely comfortable answering.  I don’t want to make it seem like I don’t care about Delores Haze, or about actual rape victims because I do.  Humbert Humbert is a sick creep but his offenses reveal a larger issue which can tie into the dilemma of rape and sexual violence.  Lolita is most certainly an examination of sexual assault, but by that same line of reasoning the book is an attack against Eurocentrism.vladimir-nabokov

If the reader doesn’t know this term it’s unfortunate because it’s a concept that every citizen of the U.S. should consider.  Eurocentrism refers to the practice or idea that European culture is inherently superior to American society, language, or culture at large.  The reader has probably experienced this in some capacity whenever they listen to British actors speak.  There is a lingering notion that the British accent is somehow more refined or sophisticated than the American accent, and while I could write whole volumes about this, all I need from the reader right now is recognition.  Humbert, when he appears in Charlotte Haze’s home is seen as this worldly, heavenly being simply for the fact that he can speak multiple languages and has some vague background in academia.  Humbert’s good looks and European accent hide his true nature to the Americans he interacts with.  And if I can push this a little further Humbert’s manipulation of Delores Haze ultimately reflects a larger trend of European people’s looking to the New World to find what they want.  Lolita bookIn the case of Humbert this involves the rape of a twelve-year-old girl, but looking at the way the man can become a symbol for the larger historical trend Humbert is simply another in a long line of Europeans who came to America and built a life at the expense of the people already living there.

Delores Haze loses everything in her life: her mother, her home, her magazines, her friends, her freedom, and even her name.  Humbert strips Delores, performing a kind of psychological imperialism until the girl is almost completely bare of something she could call her own.  At this point then the reader may complain, where is the hope then, for Delores?  Funnily enough, it’s in the idea of the American territory and consciousness that Lolita finds some kind of saving grace.

During the long road trip Humbert explains that while he is controlling virtually every aspect of Lolita’s life, but something is missing and remains beyond his grasp:

How sweet it was to bring that coffee to her, and then deny it until she had done her morning duty.  And I was such a thoughtful friend, such a passionate father, such a Secret Heart Lolitagood pediatrician, attending to all the wants of my little auburn brunette’s body!  My only grudge against nature was that I could not turn my Lolita inside out and apply voracious lips to her young matrix, her unknown heart, her nacreous liver, the sea grapes of her lungs, her comely twin kidneys.  On especially tropical afternoons, in the sticky closeness of the siesta, I liked the cool feel of armchair leather against my massive nakedness as I held her in my lap.  There she would be, a typical kid picking her nose while engrossed in the lighter sections of a newspaper, as indifferent to my ecstasy as if it were something she had sat upon, a shoe, a doll, the handle of a tennis racket, and was too indolent to remove.  Her eyes would follow the adventures of her favorite strip characters […]; she studied the photographic results of head-on collisions; she never doubted the reality of place, time and circumstance alleged to match the publicity pictures naked-thighed-beauties; and she was curiously fascinated by the photographs of local brides, some in full wedding apparel, holding bouquets and wearing glasses.  (165).1938-actioncomics1

I recognize that it’s near impossible to get past the graphic imagery of this passage, but the reader should try because what’s taking place in this scene is ultimately what redeems the novel in my eyes.  Delores Haze loses so much territory to Humbert Humbert as the narratives progresses, but what he cannot take away from her is that small ounce of integrity and personal territory which is her personal self.  He effectively rapes the landscape of the United States with his perversion and at the same time he attempts to control the territory of her body.  While he succeeds in this first endeavor he cannot take her independent spirit which, while it may seem largely shallow in its consumerism, is still some semblance of the American mindset.Lolita soda

Delores is a young woman who wants to read comics, drink soda-pop, and play with boys her own age.  That mentality may not be distinctly American, but at the time Lolita was written it was intimately tied up with consumerism and capitalism which was the defining American Philosophy.

There’s a victory then in Lolita, for even if Delores Haze is the victim of Humbert’s vicious and corrupt sexual deviance, he cannot manage to colonize and strip her of that small spirit which wants to make a real life for itself, free from the grasp of this failure who can only find in the beauty of the American countryside a few motels to work out his sexual problems.

Majestic Vista of the Grand Canyon at Dusk

 

 

 

*Writer’s Note:

All quotes taken from Lolita were cited from the Vintage International paperback edition.  All quotes from Nabokov’s America were taken from the New Yorker article which I have provided a link to below.  Enjoy:

http://www.newyorker.com/books/page-turner/nabokovs-america

 

**Writer’s Note**

While working on research for this essay I found a documentary entitled How do you Solve a Problem Like Lolita?  Apart from envying the title (then again I used this bit for my Eraserhead review so what the fuck am I jealous for?) I found it useful for these series of essays and thought my reader might be interested.  You can follow the link fellow for the first part of the documentary, and the other three parts should be on the suggested titles side of the screen.  Enjoy:

https://www.youtube.com/watch?v=sy6d6x29weI

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I Have a Voice: A King, A Radio, and an Australian Walk into a Bar

10 Thursday Mar 2016

Posted by Joshua Ryan "Jammer" Smith in Christopher Hitchens, Film Review, History, Speech

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Blood, Class, and Nostalgia: Anglo-American Ironies, British Aristocracy, Christopher Hitchens, Colin Firth, confidence, elocution, Eurocentrism, Film, film review, Geoffrey Rush, Helena Bonham Carter, Individual Will, Jurassic Park, King George VI, Lionel Logue, Max Hastings, Nostalgia, Speech, The King's Speech, Tom Hooper, velociraptor nazis, What's New About the War?, Winston Churchill, World War II, World War II Rhetoric

kingsspeech

I was only one of three people in the movie theater when The King’s Speech came to Tyler.  Despite the fact that I live in the Bible Belt, and that every three of four stories my father told me growing up were about World War II (the fourth story was about Reagan during The Cold War) I couldn’t manage to find anyone willing to see the movie with me.  I sat alone, in the dark, and felt reality slip away and I watched what was perhaps the first decent film about the war in Europe since Band of Brothers.  I recognize though, that calling this a World War II film is giving the wrong message.  The King’s Speech is not about the Second World War, it’s about a man trying to find his confidence.

And what better way to do it than smoking?

Lionel Logue: [as Albert prepares to light a cigarette] Well, please, don’t do that.

King George VI: I’m sorry?

Lionel Logue: I believe sucking smoke into your lungs will… will kill you. 

King George VI: My physicians said it relaxes the… the… the throat. tumblr_nehmhcrdnl1repoz9o1_500

Lionel Logue: They’re idiots.

King George VI: They’ve all been knighted.

Lionel Logue: [sarcastic] Makes it official, then.

Apparently I spoke too soon.

Before I began to actually write this essay I consulted with a friend of mine who, apart from being brilliant and having a better beard than me, her name is Caroline and she’s fantastic, he has more experience with film theory and history.  He recommended, when writing this, to focus on what the director is doing visually alongside concerns about the narrative, and remembering this point the preceding quote assumes more significance.  What struck me the first time I watched The King’s Speech was not just the acting, the Armani suits, or Colin Firth’s perfect chin, but Tom Hooper’s set up of a shot.  This scene in particular is odd to watch the first time because the characters are placed either on the far left or far right side while the empty space of Lionel Logue’s office swallows up most of the audience’s attention.  That space is in fact found throughout the film as Hooper (the director) attempts to place his characters within massive, contained period places so that the viewer either recognizes the emotional depth of the character or else is able to feel these characters existing in England during the 1930s.  As such watching The King’s Speech is often a diagonal affair because the viewer is torn to either angle their attention towards the character or allow that space to maintain the focus.

Though eventually politics seeps back into the plot and eventually the viewer is reminded that Bertie is the future King of England, and at some point he was going to have to deal hitler_inspecting_troopswith Hitler:

Stanley Baldwin: Sir, I have asked to see you today in order to tender my resignation as Prime Minister.

King George VI: I’m so sorry to hear that… Mr Baldwin.

Stanley Baldwin: Neville Chamberlain will take my place as Prime Minister. It’s a matter of principle. I was mistaken. I have found it impossible to believe that there is any man in the world so lacking in moral feeling as Hitler that the world may be hurled for a second time into the abyss of destructive war.

King George V: [hearing the voice of his father] Churchill was right all along. This was always Hitler’s intention.

Stanley Baldwin: I’m only very sorry to leave you at this great time of crisis. I’m very much afraid, sir, that your greatest test is yet to come.

I’ll get to Churchill in a moment.  Mr. Baldwin is referring to the fact that Bertie, who at that time had become King George VI, would have to become the symbolic leader against Hitler and the Nazi’s.  Many viewers who watch The King’s Speech are likely to be bogged down either by the paradigms that govern the English aristocracy, the elitism of National identity (Australians were not highly regarded on the social ladder), the references to foreign currency, or even the constant references to Shakespeare.  It’s hard for an American audience, who often entertain a pseudo-symbolic erection for English history kings-speech-22and culture, to understand these guidelines because, for the most part, class is not so ingrained into our consciousness.  As such some jokes may not reach every viewer:

King George V: In the past, all a King had to do was look respectable in uniform and not fall off his horse. Now we must invade people’s homes and ingratiate ourselves with them. This family’s been reduced to those lowest, basest of all creatures. We’ve become actors!

Despite this The King’s Speech does not take the time to criticize English aristocracy because its larger aesthetic goal is to place the viewer in England completely so that they may understand Bertie’s Struggle.  It also offers an opportunity to remind viewers that unless you were English/English, you had to expect people to act like a dick to you on occasion

KLionel Logue: Would I lie to a prince of the realm to win twelve pennies?

King George VI: I have no idea what an Australian might do for that sort of money.

The King’s Speech is a biopic about the actual King of England during the Second World War  Albert/Bertie/King George VI (I know it’s confusing at first, but to spare you I didn’t mention that he’s also the Duke of York…damnit) is the second son of King George V and stutters.  This creates a conflict for, since he is the Duke of York (Second-in-line for the throne, see I explained it) he has to do a great deal of public speaking.  The beginning of the film offers the viewers this and demonstrates what a clusterfuck this was for the man when he has to address a large crowd at Wembley stadium and can’t even make it through the first sentence of his speech.  His wife (Helena Bonham Carter in the first non-hag role of her career in the last six years) Elizabeth eventually finds an elocution instructor by the name of Lionel Logue(Geoffrey Rush in one of his best performances to date).

Lionel Logue: Well, we need to have your hubby pop by. Uh, Tuesday would be good. He can give me his personal details, I’ll make a frank appraisal, and then we’ll take it from there.

Queen Elizabeth: Doctor, forgive me, ah… I don’t have a “hubby,” we don’t “pop,” and nor do we ever talk about our private lives. No, you must come to us.

Lionel Logue: I’m sorry, Mrs. Johnson – my game, my turf, my rules. 

It should be noted that Logue manages to get Bertie to actually attends his sessions article-1352957-0CF3DB8F000005DC-937_634x491regularly and as the film continues they develop a confidence and friendship that is not only believable, it is vital for Bertie who confides in the man in a way that was impossible for royalty at that time.  From the very start Bertie was abused and berated to the point that his confidence was near shattered and his stuttering most likely a result of that.

King George VI: You know, ih… if I’m a… a King, where’s my power? Can I… can I form a government? Can I… can I l-levy a tax, declare a… a war? No! And yet I am the seat of all authority. Why? Because… the nation believes that when I s… I speak, I speak for them – but I can’t speak.

Confidence is not acquired easy and I more than most can speak to that.  It’s often been remarked by those close to me that they can’t believe that I was a shy kid.  My favorite activity growing up was burying my face into the folds my mother’s dresses and pant legs because I was terrified of people in general.  I have no real memories of this period, but even as I grew up the thought of making a fool of myself in any way was horrendous, until the-kings-speech-15I got to college.  Working as an SI tutor and addressing large classrooms (usually around 200 people in total) every day I quickly developed a thick skin and to this day I’d rather talk to large groups than small clusters.  That confidence however came from a lot of mistakes, a lot of experience, and the influence of my parents who are outgoing people.

The King’s Speech to me is always a film about confidence first.  Bertie is (was, he’s dead now, his daughter’s on the throne) the King of England, but Hooper’s effort as a director is demonstrate the man as a man first.  One who recognizes his faults:

Lionel Logue: What was your earliest memory?

King George VI: What on Earth do you mean?

Lionel Logue: Your first recollection. 

King George VI: I’m not… m… here to discuss… personal matters.

Lionel Logue: Well, why are you here, then?

King George VI: Because I bloody well stammer!

Within the last five years I’ve developed a general distrust of any and all films that are about, or deal with topics connected to the Second World War.  The reason is not that I despise the period or am in any way a closet Nazi, though reading The Catcher in the Rye kings_speech_opening_shotseven times and owning a paperback copy of Mein Kampf hardly convinces the government of that.  Nor is the reason that I feel many of the films and television programs, that aren’t broadcasted on the Discovery Channel, are in any way inferior art pieces.  The answer is far simpler: I don’t trust the level of pathos that is delivered to, as is often the case, largely American audiences.

Americans just can’t forget World War II and how fun it was.  Nazis and Hitler and Normandy and Patton and flags and Garand rifles and heroes and French girls and saving Europe…also there was something or other happening in the Pacific, but who cares?  Europe!

This observation is not without basis.  Max Hastings captures this sentiment in one of the most recent articles published in The New York Review of Books, What’s New About the War?:

It is a publishing phenomenon, for which some of us who are authors have cause to be grateful, that seventy years after the conclusion of World War II, works about the conflict enjoy a popularity second only to cookbooks. This is unsurprising, because it was the greatest event in human history, a saga that offers narratives about a collision between the forces of good and evil much less nuanced—apparently so, at least, to 61YIRqwwBIL._SL1048_unsophisticated readers—than the modern struggle between militant Islam and the West.

The Second World War allowed an unfettered, unrestricted observation of good vs evil with little, if any, gray area thus allowing the whole damn war to become almost archetypal.  Churchill and FDR become archaic father akin to the founders of humanity, while the soldiers become titans defending that precious notion: liberty.  However all this myth-making comes with a consequence.

Romanticizing of the past amounts to little else besides Eurocentric penis envy, and every time a new film emerges that deals with the time period I watch as over and over again Americans swell with nationalistic pride, puffing up their chests like bloated Chanticleer’s, and no that’s not a reference to Rock-a-Doodle.  It’d be cool if it was but few people would actually get that reference I think.  I, like many others, have noted America’s obsession with England, America’s obsession with beating Hitler, America’s obsession with World War II, and most of all the collected memories, History Channel biographies, Tom Hanks’s endless stream of Bi-opics, and of course the entire collected works of Steven Spielberg (if you look really close in Jurassic Park one of the velociraptors is wearing 51ehU9IJ-TL._SY344_BO1,204,203,200_a Swastika armband, I swear, this is a thing) only further demonstrate how in love America is with the war in Europe.

For all of these reasons I’ve come to distrust films and fictional narratives based in or around the period of World War II.  However I myself am not immune for one of my favorite films is the movie under review which happens to take place right before this period.

I promised though that I would write about Churchill, and when discussing all matters English it’s best to consult an Englishman.  The second book by  Christopher Hitchens I ever read was Blood, Class, and Nostalgia: Anglo American Ironies, and while the book is a dense series of references to historical figures, there is enough effort paid to understand Churchill as political icon that has assumed so much of America’s consciousness.  In a Chapter entitled The Churchill Cult, he explores this phenomena:

How and why is it that the name and prestige of Winston Churchill are so easily appropriated by Americans of the kind I described in the Introduction: Americans who are generally identified with privilege and conservatism to an extent that Churchill himself never was?

The Churchill cult in the United States, as currently practiced, makes its association with such aspects of American life practically inevitable.  The figure of the grand old man is the summa of “special relationship” politics and emotions.  Invested in the awesome grandeur and integrity of the 1940 resistance to Hitler, and gifted as few before or since with the power to make historic phrases, Churchill is morally irrefragable in American discourse, and can be quoted even more safely than Lincoln in that he was never a member of any American faction.

Given the universality of his standing and appeal Churchill is an icon of which jealous use is made by the political and military conservatives to whom the “special relationship” is a potent source of reinforcement.  But he also occupies an unrivaled place in the common stack of reference, ranging from the mock-heroic to the downright kitsch.  (180).churchill1

Imagine my chagrin then when in the film, during a house party entertained by Bertie’s brother King Edward VIII, Mr. Churchill makes his first plump appearance.  I cannot speak for every young man of my generation growing up, but I distinctly remember the figure of Churchill being synonymous with Ronald Reagan as a champion of conservative and military genius, because that’s what I was told growing up by my father and numerous other authority figures.  That image would change however as historians began to lift the post-cold war curtain from the man, and the image presented in The King’s Speech is, thankfully, brief.  It’s a small victory, but The King’s Speech achieves one of its greatest victories in making Churchill a minor character.  It may not be a popular choice, but the film isn’t about following typical World War II rhetoric, for the European War is only the backdrop to a man’s individual conflict.

King George VI: [Sees Logue is sitting on the coronation throne] What are you doing? Get up! You can’t sit there! GET UP!

Lionel Logue: Why not? It’s a chair.

King George VI: No, it… That is not a chair. That is… that is Saint Edward’s chair.

Lionel Logue: People have carved their names on it.

King George VI: [Simultaneously] That… chair… is the seat on which every king and queen…

Lionel Logue: [Simultaneously] It’s held in place by a large rock. 7986e70ec0df7bb2a18043f49376c451

King George VI: That is the Stone of Scone. You ah-are trivializing everything. You trivialize…

Lionel Logue: I don’t care about how many royal arseholes…

King George VI: Listen to me.

Lionel Logue: …have sat in this chair.

King George VI: Listen to me. *Listen to me!*

Lionel Logue: Listen to you? By what right? 

King George VI: By divine right, if you must. I am your king.

Lionel Logue: No, you’re not. You told me so yourself. You said you didn’t want it. Why should I waste my time listening…?

King George VI: Because I have a right to be heard! I have a voice!

Lionel Logue: [pauses] Yes, you do.

[Longer pause]

Lionel Logue: You have such perseverance, Bertie. You’re the bravest man I know. You’ll make a bloody good king.

It may simply be the lingering shadow cast by the atomic bomb, but “Great” or “World” wars seem to be steadily becoming a thing of the past.  As such the promises of glory and THE wall 8 webhonor may seem to be steadily dwindling and immortality an unattainable delusion.  I think that’s why stories from and about the Second World War continue to fascinate and intrigue us.  So many great and fascinating stories can be told from it and The King’s Speech at first seems to be yet another wonderful story from that box of goodies, but upon further inspection this simply isn’t the case.  The King’s Speech is a film about the power an individual voice can have upon others, and the struggle of one man trying to find his confidence.  The fact that his struggle is drawn so closely to World War II, and the cartoon characters of history, is simply the nature of the historical record.

Bertie fights a war against himself.  Against the ghost of his father.  Against the reality of his incompetent brother, supported only by his wife Elizabeth and his friend Lionel Logue.

The friendship between Bertie and Logue is what gives the film the charm that keeps me coming back to it over and over again.

King George VI: All that… work… down the drain. My own… b… brother, I couldn’t say a single w-word to him in reply.

Lionel Logue: Why do you stammer so much more with David than you ever do with me?

King George VI: ‘Cos you’re b… bloody well paid to listen.

Lionel Logue: Bertie, I’m not a geisha girl. 

King George VI: Stop trying to be so bloody clever. 910057_962

Lionel Logue: What is it about David that stops you speaking?

King George VI: What is it about you that bloody well makes you want to go on about it the whole bloody time?

Lionel Logue: Vulgar, but fluent; you don’t stammer when you swear.

King George VI: Oh, bugger off!

Lionel Logue: Is that the best you can do?

King George VI: [like an elocution lesson] Well… bloody bugger to you, you beastly bastard.

Lionel Logue: Oh, a public school prig could do better than that.

King George VI: Shit. Shit, shit, shit, shit, shit, shit, shit, shit, shit, shit, shit, shit!

Lionel Logue: Yes!

King George VI: Shit! 

Lionel Logue: Defecation flows trippingly from the tongue!

King George VI: Because I’m angry!

Lionel Logue: Do you know the f-word?

King George VI: F… f… fornication?

Lionel Logue: Oh, Bertie. The-King-s-Speech-2010-the-kings-speech-20525237-1280-720

King George VI: Fuck. Fuck! Fuck, fuck, fuck and fuck! Fuck, fuck and bugger! Bugger, bugger, buggerty buggerty buggerty, fuck, fuck, arse!

Lionel Logue: Yes…

King George VI: Balls, balls…

Lionel Logue: …you see, not a hesitation!

King George VI: …fuckity, shit, shit, fuck and willy. Willy, shit and fuck and… tits.

Films and books that explore the characters that fought and bled and lead during World War II will always be plagued by some level of pathos.  The energy of that great War has yet to truly wane, and some ways it may never settle, understandably so.  Never has there been so “great” a war. Never has there been a struggle so glamorized, celebrated, dissected, or mass produced.  Beneath the mountain of stories about Hitler and Churchill however, there is the story of Lionel Logue and Bertie, two men who, while they may not have led armies or crafted timeless speeches, helped a nation by giving it a voice.  Through the fires and blitzkrieg King George VI became a symbol for the resistance.  In face of oblivion was one man shouting into the dark, I have a voice.

the-kings-speech-007

 

 

*Writer’s Note*

I’ve included a link to Max Hasting’s Article.  I should forewarn the reader however that unless you have a subscription the site may not let you read the entire article.

http://www.nybooks.com/articles/2016/03/10/whats-new-about-world-war-ii/

I’ve also included below the original speech by King George VI, spoken on 3 September 1939.

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I'm Tired I've Been Down That Road Before I, Claudius Icarian Games Icarus Ice Cream that ISN'T Ice Cream Ida Tarbell Idealism identification Identity Identity Crisis Idris Elba If a woman is upset it's not because she's on her period it's because you're being a dick If they ask if you want Pepsi throw over the table throat punch the shit out of them and then proceed to burn that motherf@#$er down If you're reading this pat yourself on the back because you can read and that's awesome ignorance I have Measured Out My Life in Coffee Spoons and K Cups I know too many Michaels I Know Why the Caged Bird Sings I Like It Like That I Like it Like That: True Stories of Gay Male Desire Illuminated Manuscripts illusion Illusion of choice I Love Lucy I Love Lucy Mug I Love Penis...Mug iMac Imaginary Time imagination Immanuel Kant immigrants imperialism Imposter Complex Impressionists In Bed with David amd Jonathan incest Incorporation of images in Pedagogy Independence Day Independent Comics Indie Fiction Individual Initiative Individual Will Industrial Nightmare industry infidelity Infinite Jest Infinite Jest Blogs Infinite Possibility Infinity Informed Democracy Inherit the Wind Injustice innocence vs ignorance In One Person Inquisition insanity Insects Inside Out inspiration integrity intellectual Intellectual Declaration of Independance Intellectual masculinity Intellectual Parent Inter Library Loan internet interracial relationships Interview Inu Yoshi invert Invisible Man Invitation to a Beheading Ion IOWA iPad Ipecac iPhone ipod IRA I Racist Iran-Contra Irish Breakfast Tea Irish history Irish Writers I Ruck, Therefore I Am Isaac Asmiov Isaac Deutscher Isabel Allende Isabella St. James Ishmael Islam isolation Israel Issa Rae It It's an Honor It's illegal in the state of Texas to own more than six "realistic" vibrators It's time to adopt the Metric System in America for crying out loud It's truly truly difficult to find good coffee and by good coffee I mean the type that leaves you feeling as if you've actually tasted something beyond human understanding close to the furnace of all Italy Ivory Tower of Academia ivy I wandered lonely as a cloud I Want a Wife I Was a Playboy Bunny I Will Fight No More Forever I work at a Public Library J.D. 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