Wednesday, September 30, 2015

Popular 1960s Book List

The 1960s was a revolutionary time. A lot of things happening in society and in individual homes. Check out this book list...


1) "The Help" by Kathryn Stockett

The relationships between white middle-class women and their black maids in Jackson, Miss., circa 1962, reflect larger issues of racial upheaval in Mississippi-native Stockett’s ambitious first novel.

Still unmarried, to her mother’s dismay, recent Ole Miss graduate Skeeter returns to Jackson longing to be a serious writer. While playing bridge with her friends Hilly and Elizabeth, she asks Elizabeth’s seemingly docile maid Aibileen for housekeeping advice to fill the column she’s been hired to pen for a local paper. The two women begin what Skeeter considers a semi-friendship, but Aibileen, mourning her son’s recent death and devoted to Elizabeth’s neglected young daughter, is careful what she shares. Aibileen’s good friend Minnie, who works for Hilly’s increasingly senile mother, is less adept at playing the subservient game than Aibileen. When Hilly, an aggressively racist social climber, fires and then blackballs her for speaking too freely, Minnie’s audacious act of vengeance almost destroys her livelihood. Unlike oblivious Elizabeth and vicious Hilly, Skeeter is at the verge of enlightenment. Encouraged by a New York editor, she decides to write a book about the experience of black maids and enlists Aibileen’s help. For Skeeter the book is primarily a chance to prove herself as a writer. The stakes are much higher for the black women who put their lives on the line by telling their true stories. Although the exposé is published anonymously, the town’s social fabric is permanently torn. Stockett uses telling details to capture the era and does not shy from showing Skeeter’s dangerous naïveté. Skeeter’s narration is alive with complexity—her loyalty to her traditional Southern mother remains even after she learns why the beloved black maid who raised her has disappeared. In contrast, Stockett never truly gets inside Aibileen and Minnie’s heads (a risk the author acknowledges in her postscript). The scenes written in their voices verge on patronizing.

This genuine page-turner offers a whiff of white liberal self-congratulation that won’t hurt its appeal and probably spells big success.









2) "One Flew Over the Cuckoo's Nest" by Ken Kesey

This is a book which courts the dangers of two extremes. It can be taken not seriously enough or, more likely, critical climate considered, too seriously. Kesey's first novel is narrated by a half-Indian schizophrenic who has withdrawn completely by feigning deaf-muteness. It is set in a mental ward ruled by Big Nurse -- a monumental matriarch who keeps her men in line by some highly original disciplinary measures: Nursey doesn't spank, but oh that electric shock treatment! Into the ward swaggers McMurphy, a lusty gambling man with white whales on his shorts and the psychology of unmarried nurses down to a science. He leads the men on to a series of major victories, including the substitution of recent issues of Nugget and Playboy for some dated McCall's. The fatuity of hospital utilitarianism, that alcohol-swathed brand of idiocy responsible for the custom of waking patients from a deep sleep in order to administer barbiturates, is countered by McMurphy's simple, articulate, logic. This is a thoroughly enthralling, brilliantly tempered novel, peopled by at least two unforgettable characters. (Big Nurse is custom tailored for a busty Eileen Heckert.) Though extension is possible, make no mistake about it; this is a ward and not a microcosm.











3) "Do Androids Dream of Electric Sheep?" by Philip K. Dick

Mr. Dick's hero Deckard lives in a dying world where animals are a status symbol; you can dial an emotion to fit a mood and the Voigt-Kampff test for telling an android from its human counterpart appears to have become fallible. It's an empathy test...how would you respond to a purse made of homo sapiens baby hide? But it also seems that schizoids fit the android psychological (?) make-up. A problem for Deckard since he's an android bounty-hunter who only pauses long enough to go to bed with one of them. Even electric sheep could find greener pastures.





4) "The Bell Jar" by Sylvia Plath

It is difficult to read Sylvia Plath's novel (which appeared in England under a pseudonym in the year of her death, 1963) with any degree of objectivity since it deals with her earlier breakdown and suicide attempt. The telltale lesions are everywhere and in the hindsight of what has happened, the experience of the bell jar (""To the person in the bell jar, blank and stopped as a dead baby, the world itself is the bad dream"") becomes even more fateful. Certainly any marginal illusion of fiction is nullified. When first met Esther is a naive nineteen-year-old who reads and writes poetry, who remembers with some irritation the first boy she really dated at college, and who comes to New York for a few weeks in the summer of her junior year having won one of those magazine apprenticeship awards. Esther broods over the Rosenbergs' electrocution (some of Miss Plath's parallels are too obvious to even be justified as symbols); she overeats; she becomes immobilized in indecision and returns home to lie in bed and never sleep. After one or two visits with a non-verbal psychiatrist who gives her shock treatment, she attempts suicide and the rest of the account deals with her institutionalization and An occasional line (""A heavy naughtiness pricked through my veins"") offends, but there's some remarkable writing with a straightforward and irreducible simplicity: ""The silence depressed me. It wasn't the silence of silence. It was my own silence."" There is no mistaking or evading the airless suspension of life within the bell jar.











5) "In Cold Blood" by Truman Capote

"There's got to be something wrong with somebody who'd do a thing like that." This is Perry Edward Smith, talking about himself. "Deal me out, baby...I'm a normal." This is Richard Eugene Hickock, talking about himself. They're as sick a pair as Leopold and Loeb and together they killed a mother, a father, a pretty 17-year-old and her brother, none of whom they'd seen before, in cold blood. A couple of days before they had bought a 100 foot rope to garrote them—enough for ten people if necessary. This small pogrom took place in Holcomb, Kansas, a lonesome town on a flat, limitless landscape: a depot, a store, a cafe, two filling stations, 270 inhabitants. The natives refer to it as "out there." It occurred in 1959 and Capote has spent five years, almost all of the time which has since elapsed, in following up this crime which made no sense, had no motive, left few clues—just a footprint and a remembered conversation. Capote's alternating dossier Shifts from the victims, the Clutter family, to the boy who had loved Nancy Clutter, and her best friend, to the neighbors, and to the recently paroled perpetrators: Perry, with a stunted child's legs and a changeling's face, and Dick, who had one squinting eye but a "smile that works." They had been cellmates at the Kansas State Penitentiary where another prisoner had told them about the Clutters—he'd hired out once on Mr. Clutter's farm and thought that Mr. Clutter was perhaps rich. And this is the lead which finally broke the case after Perry and Dick had drifted down to Mexico, back to the midwest, been seen in Kansas City, and were finally picked up in Las Vegas. The last, even more terrible chapters, deal with their confessions, the law man who wanted to see them hanged, back to back, the trial begun in 1960, the post-ponements of the execution, and finally the walk to "The Corner" and Perry's soft-spoken words—"It would be meaningless to apologize for what I did. Even inappropriate. But I do. I apologize." It's a magnificent job—this American tragedy—with the incomparable Capote touches throughout. There may never have been a perfect crime, but if there ever has been a perfect reconstruction of one, surely this must be it.









6) "The Prime of Miss Jean Brodie" by Muriel Spark

An attention-getting writer (novels, Memento Mori. The Ballad of Peckham Rye, The Bachelors, and short stories, The Go-Away Bird) pursues her multi-personae interests, her concern with religion, and her refusal to allow the reader to be at one with her purpose. Here she disperses her story (a loose but provocative thing) over an extended -- and interrupted -- period (thirty years) during which Miss Brodie, (in her prime) holds young minds in thrall, at first in delight at the heady freedom she offers from the rigid, formal precepts of Edinburgh's Marcia Blaine (day) School, later in loyalty to her advanced sedition against the efforts to have her removed. Finally the girls grow up -- and Monica, Rose, Eunice, Jenny, Mary, and Sandy, (particularly Sandy with her pig-like eyes) separate, and the "Brodie set" dissolves- with war, death, marriage, career, and conversion to Catholicism. But there still is a central focus -- who among them betrayed Miss Brodie to the headmistress so that a long-desired dismissal was effective? In this less-than-a-novel, more-than-a-short story, there is the projection of a non-conformist teacher of the thirties, of a complex of personalties (which never becomes personal lives), and of issues which, floating, are never quite tangible. But Muriel Spark is sharp with her eyes and her ears and the craftiness of her craftsmanship is as precision-tooled as the finest of her driest etching. With the past record, the publisher's big push, and The New Yorker advance showing, this stands on its own.







7) "Franny and Zooey" by J.D. Salinger

In this cerebral exercise of precision in communication, is implementation to the Salinger saga. For this mirror held up to Franny and to her brother Zooey reflects also their mother and their other brothers and the two sections interlink as first Franny and then Zooey come into focus. Franny, unable to make her football date understand her new conversion, retreats to her home when Zooey moves in to dissect her submission to her new concepts. In a series of near monologues which fully cover the family background and education of these two, both work toward inner clarification. Not as effective as Catcher, this is nevertheless excellent fare for Salinger adherents which include countless young adults among them.





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