Secret Agenda: Watergate, Deep Throat and the CIA by Jim Hougan

Cover of Secret Agenda: Watergate, Deep Throat and the CIA, by Jim Hougan

(This was originally written for Astral Codex Ten’s annual book review contest, but did not make the final round. I’m posting it here for anyone interested in American political history, as well as for all the Watergate buffs out there. You know who you are. Enjoy.)


“I had this nagging feeling that the Watergate might turn out like the Reichstag fire. You know, forty years from now will people still be asking did the guy set it and was he a German or was he just a crazy Dutchman?”

– Howard Simons, editor, Washington Post

The master narrative

It’s not an airtight truism, but it appears to be a truism all the same: The first widely-accepted telling of a tragedy or scandal establishes it as the narrative all others must react to. The first popular narrative is “sticky,” and difficult to overcome entirely. This is especially true with the Watergate scandal.

Reporters Bob Woodward and Carl Bernstein’s All the President’s Men could arguably be called Watergate’s master narrative, even though the first edition was published in 1974, two months before Nixon resigned. It contains all the elements of the Watergate story, from the scandal’s basic outline to the political implications that rocked the nation.

The remainder of the 1970s saw a Senate committee investigation, the release of numerous Watergate memoirs and tell-alls from Nixon’s aides, and two books from Nixon himself. After a legal battle, Nixon’s White House tapes wound up in the hands of the National Archives. Every few years for four decades, transcripts of the conversations Nixon held in private with his aides were released to the public. (The final batch was released in 2013.)

Amazingly, none of these later revelations did much (if any) damage to the narrative that is All the President’s Men. For the master narrative of a major scandal, it’s proven quite sturdy.

My vote for the most significant challenge to the Woodward/Bernstein narrative is Jim Hougan’s Secret Agenda: Watergate, Deep Throat and the CIA (Random House, 1984). Hougan doesn’t offer a complete re-telling of the scandal, but he does fill in a number of omissions from the master narrative that leads him to many surprising (and some dubious) conclusions.

Hougan did not set out to write another Watergate book. He estimated in 1984 that there were some 150 books on the subject published before his. Secret Agenda emerged from a magazine story he intended to write on a colorful private detective named Louis Russell, an “alcoholic and womanizer” who, in the 1950s, was a “Red hunter” for the House Committee on Un-American Activities. By 1972, Russell was a Washington, D.C. fixture who hung out with call girls and specialized in wiretapping. Hougan’s description makes Russell come across like a character in a James Ellroy novel.

Hougan’s research uncovered that Russell was employed by Watergate burglar James McCord at the time of the break-in. Hougan also learned that Russell was present at the Watergate complex the night of the arrests.

While researching this bit of Beltway serendipity, Hougan came to realize that no one up to that point had done a proper accounting of the Watergate break-in itself. This led him to interview a number of eyewitnesses who’d been overlooked by earlier researchers, such as the arresting police officers. He also obtained via Freedom of Information Act (FOIA) requests “literally thousands of pages” of FBI documents on Watergate that, for most likely internecine reasons, were not made available to the Senate Watergate committee.

To get a sense of the difference between Secret Agenda and All the President’s Men, consider how Woodward and Bernstein’s book opens:

June 17, 1972. Nine o’clock Saturday morning. Early for the telephone. Woodward fumbled for the receiver and snapped awake. The city editor of the Washington Post was on the line. Five men had been arrested earlier that morning in a burglary at Democratic headquarters, carrying photographic equipment and electronic gear. Could he come in?

It’s a terse opening, the kind of brisk pacing one might find in a 1970s political thriller. It also opens the morning after the Watergate burglary. Woodward and Bernstein do touch on the burglary itself, but—like most other histories of Watergate—they don’t delve deeply into the break-in’s motivations, planning, or execution. Rather, they focus on the subsequent cover-up orchestrated by the Nixon White House.

Cover of the first edition of All the President's Men, by Carl Bernstein and Bob Woodward

And why should they focus on the break-in? The burglars were caught red-handed. They all pled guilty to the crime. As Hougan writes:

Because the burglars had been caught in the act, the burglary itself had not seemed to warrant intensive investigation. The best efforts of the press, the Senate and subsequently the special prosecutor were therefore applied to questions of political responsibility and culpability in the cover-up. For that reason, many questions about the break-in had been left unanswered—not the least of which was its purpose. [Emphasis mine.]

Those unanswered questions include: Why did the burglars break into the headquarters of the Democratic National Committee (DNC)? What did they expect to learn? And who ordered it? Fifty years after the fact, these basic questions have not been firmly answered.

More explosively—or absurdly, depending on your inclination—Hougan proposes Watergate “was not so much a partisan political scandal as it was, secretly, a sex scandal, the unpredictable outcome of a CIA operation that, in its simplest terms, tripped on its own shoelaces.” He proposes a high-priced call-girl ring in a nearby apartment complex was the actual motive for the break-in. He also speculates the CIA sabotaged the break-in to protect the Agency’s interests.

This might make Secret Agenda sound like sensationalized conspiracy-minded rubbish. It doesn’t help that Secret Agenda has been so overlooked that it’s now out-of-print and nearly forgotten.

The reputation Secret Agenda has earned in Watergate circles comes not in copies sold, but in its influence. Watergate researchers admit Hougan’s work is significant, and have incorporated its revelations into their own histories. BBC journalist Fred Emery (author of the superb Watergate: The Corruption of American Politics and the Fall of Richard Nixon) wrote in 1994 that Secret Agenda

effectively explodes the version of the first break-in told at the time. It was never properly investigated, mainly because the FBI, federal prosecutors, and eventually congressional committees became, understandably, more interested in political responsibilities than in forensic detail. Hougan’s is the most thorough expose of all the break-in anomalies. His revisionist version raises perhaps more questions than it answers and Hougan honestly admits ending up in many a cul-de-sac.

This, to me, is what’s required when reading Secret Agenda: To recognize when Hougan is working from corroborated or, at least, primary sources, and to smell when he’s off in a “cul-de-sac” and wildly speculating. As I read the book, I found myself wrestling with Hougan’s wilder claims and wishing he would stick to more sure-footed research.

Still, after shaking out the dross, I remain convinced that there is much gold to be panned here, if we’re ever to understand the entirety of the Watergate scandal.

Prelude to the break-in

Hougan’s book launches with biographies of two of the break-in accomplices: E. Howard Hunt and James McCord, both long-time operatives for the CIA.

Hunt’s bio is the more evocative of the pair. His intelligence career began at the Office of Strategic Services (OSS) during World War II before joining the CIA. He was involved in the Guatemalan coup of 1954 and the Bay of Pigs fiasco. On the side, he penned dozens of spy thrillers and adventure pulps about soldiers-of-fortune and treasure hunters.

McCord, on the other hand, was phlegmatic, hard-working, and demanding—a Baptist Bible-thumper. His resume is less documented than Hunt’s, and what’s known is less colorful. Hougan paints Hunt as cosmopolitan and adventurous, and McCord as the quiet technician who organized the team and got things done. He also presents the pair as the true leads in the Watergate break-in.

This arrangement turns the usual org chart presented by Watergate books on its head. G. Gordon Liddy is generally depicted as the leader of the White House Special Investigations Unit, the secret political team dubbed the Plumbers because they “fixed leaks.” Hunt (and, later, McCord) were nominally underlings taking orders from Liddy. Hougan submits that Hunt was the de facto ringleader.

Liddy was no slouch—he was ex-FBI and ex-Treasury Department before joining the White House—but his resume was not of the same caliber as Hunt’s. Liddy was brazen, outspoken, reactionary, and fond of guns. It’s easy to write him off as a big-mouthed goon. In Watergate circles, however, his 1980 memoir Will is considered one of the more reliable among the tell-alls penned by Nixon’s other men. Liddy also appears to be the only Nixonite who thought his role in the scandal enhanced, rather than stained, his legacy.

Notably, it was Hunt, not Liddy, who rounded up the men the Plumbers would use for their black bag operations. They were a loose confederation of Floridians dubbed “the Cubans,” although not all were Cuban. (They all appear to have been involved with the Bay of Pigs invasion, however.) Hunt spoke fluent Spanish, meaning Liddy had to go through him to communicate with some of the men he was ostensibly leading. Hougan asserts, with evidence, that all the Cubans remained affiliated with the CIA one way or another. In other words, everyone involved with the Watergate break-in—except Liddy and lookout man Alfred Baldwin—had ties to the Agency.

The Plumbers were first organized by Nixon’s White House in response to the leaking of the Pentagon Papers by Daniel Ellsberg. The group’s earliest mission was to break into Ellsberg’s psychiatrist’s office and photograph his medical file.

(Later, the White House team began to work with members of Nixon’s reelection campaign, where Liddy was reassigned. Calling these configurations “Plumbers” is a bit of a misnomer. For clarity, the team is referred to by their nickname whether or not all involved were members of the original Special Investigations Unit.)

Hougan is at his best when he’s covering the nuts-and-bolts of the Plumbers’ operations, and that includes the Ellsberg break-in. (As with the Watergate burglary, most narratives before Secret Agenda avoid investigating the execution of the Ellsberg break-in and stick to decoding its political implications.) Hougan pieces together the minutiae of the operation from disparate sources: Senate testimony, FBI and police reports, interviews, memoirs, and so on. He’s also good at weighing all the discrepancies in the stories. Like a fair-minded boss who insists all voices are heard in a meeting, he airs the Rashomon-like contradictions and attempts to synthesize them, reluctant to discard anything “just because.”

But as happens so often in the book, Hougan finds an unsubstantiated tangent, or a loose thread, or a whispered rumor, and runs with it. In this case, he writes that the CIA in the early 1970s was producing verbal models on foreign leaders (via “parapsychology”). These “machines” could predict those leaders’ reactions to a variety of political events and upheavals. Hougan speculates the CIA planned to turn this innovation on Americans. Once Hunt placed Ellsberg’s psychiatric file in the Agency’s hands, they would produce an “Ellsberg machine.” Even if the claim is entirely accurate, it contributes little to understanding the Plumbers and the Watergate episode.

This is the big problem with reading Secret Agenda, this constant need to sift the wheat from the chaff. I cannot imagine such a convoluted assertion making it into the pages of All the President’s Men, not even to dismiss it.

Watergate

Secret Agenda’s best chapters are devoted to the Watergate burglaries. As with the Ellsberg break-in, he paints a full and convincing picture by weaving together a multitude of often contradictory sources into a semi-cohesive story.

Over the Memorial Day weekend in 1972, the Plumbers tried three times to enter the DNC headquarters at the Watergate complex. The first attempt was a bizarre evening. The Plumbers rented an event room at the Watergate under the pretense of holding a corporate business party. (Stupidly, the Plumbers reserved the room under the name of a shell company registered to one of the Cubans.) The evening concluded with Hunt and one of the Cubans hiding in a closet after the others had left. The plan was to emerge later, allow the others to re-enter through a side door, and sneak upstairs to the DNC. Instead, like a French farce, the pair were locked inside the event room all night, and could only leave when building staff let them out the next morning. After another embarrassing failure on the second night, the group gained entry to the DNC on the third.

For reasons unexplained by anyone involved, one of the bugs they set was placed on a phone in R. Spencer Oliver’s office.

Oliver was a coordinator of Democratic state-level activity, and not associated with the presidential campaigns still ongoing in 1972. His job meant he was on the road a great deal. Why the Plumbers or the White House would be interested in Oliver’s phone is one of the great mysteries Hougan uncovers. He spends a number of pages attempting to get to the bottom of it. In fact, it becomes the crux of his theory as to why the burglars entered the DNC in the first place.

The other wiretap target, DNC chairman Larry O’Brien’s telephone, makes more sense at first, but less so on further consideration.

O’Brien wasn’t in D.C. during this time; he was in Miami preparing for the Democrat’s national convention. According to Liddy, the DNC was a “worthless” target, and this was echoed by many of Nixon’s men after the scandal unfolded. Liddy complained that bugging the campaign headquarters of presidential aspirants Edmund Muskie and George McGovern would have produced far more actionable intelligence for the Nixon reelection campaign. (The Plumbers did stake-out McGovern’s headquarters for entry, but failed to follow through.)

Once the bugs were in place, Liddy demanded daily reports of the DNC phone recordings, which he planned to cull and pass upward to White House leadership. Liddy was denied access to the raw conversations, though, because CIA technician James McCord refused to use tape recorders. Rather, an employee of McCord’s private security firm, Alfred Baldwin III, was to room in a Howard Johnson hotel across the street from the Watergate, wait for the bugged phone calls to come over a receiver, and transcribe the conversations by hand. These were typed up into summaries.

Thus, McCord controlled access to the intelligence, supplying Liddy the typed summaries rather than verbatim transcriptions. It’s another reason why Hougan thinks Hunt and McCord were the real ringleaders of the operation.

This is where an already complicated story goes from knotty to Gordian.

What Baldwin did hear over the bugs appears to be exactly the worthless garbage Liddy predicted they’d get. The mysterious wiretap on Oliver’s phone produced little more than a series of risqué conversations. With Oliver traveling so often, it’s speculated that DNC staff used his office as a “phone booth” for making private calls, and that Baldwin was listening in on secretaries erotically teasing their boyfriends. Hougan makes a different connection.

The Columbia Plaza stood near the Watergate complex. A high-priced call-girl ring operated within its apartments, one that was broken up by D.C. police the weekend before the final, fateful Watergate break-in. The call girls were still in full swing when the burglars first planted their phone taps. Hougan speculates Oliver’s private phone was used by the Democrats to arrange assignations with the call girls for high-ranking party members visiting from out of town. If so—and if the CIA was aware of the practice—tapping Oliver’s phone makes much more sense.

Whether the bugs were faulty, had dead batteries, or simply ill-placed and not obtaining the high-quality political intelligence the White House craved—explanations differ—three weeks later, the order came down for one more break-in of the DNC headquarters.

Hougan’s chapters covering the final break-in are Secret Agenda’s centerpiece, which it should be, as it’s why Hougan set out to write a Watergate book in the first place. He offers a rich and surprising narrative of the fateful night, including several near-misses which could have radically altered American history. A sample of some of the craziness:

  • Plumber Frank Sturgis ran into Burt Lancaster hours before the break-in. Hunt and McCord had a similar star-struck moment in the Watergate Hotel elevator with French actor Alain Delon. (Both actors were in D.C. filming the Cold War thriller Scorpio.)
  • The Watergate burglars infamously entered the Watergate late at night by taping the latches open on a side door. Hougan reveals there’s quite a bit of confusion on how and when the latches were taped, and who did the taping.
  • Although they successfully entered the DNC’s headquarters weeks earlier, this night the burglars were unable to pick the front door lock. They resorted to taking the door off its hinges and removing it from the frame.
  • On the eighth floor of the Watergate building, two stories above the DNC’s headquarters, were offices for the Federal Reserve Board, which had its own set of guards patrolling the building. Amazingly, none of them detected the burglars or the taped doors.
  • Almost all the principal figures in the Watergate drama wind up at one point or another at the Howard Johnson’s coffee shop across the street for a late-night snack. This includes Frank Wills, the Watergate security guard who discovered the taped latches on the ground floor doors and called the police.
  • Wills is usually depicted as acting immediately upon discovery of the taped doors. He was actually reluctant to notify the police. Instead, he made multiple furtive calls to his bosses at the security firm he worked for. His run across the street for take-out further delayed calling the police.
  • Around 2 am, during the arrests, police spotted a white male leaving the Watergate lobby. The FBI later declared him the “sixth man” of the entry team. He remains unidentified.

Most surprisingly, Hougan’s meticulous chronology proves Wills’ reluctance to call the police—and his late-night food run—actually led to the burglars’ arrest! No arrests, no Watergate scandal—no Nixon resignation.

“Take all the cameras you need!”

Secret Agenda touches on the aftermath of the break-in, with Nixon’s men frantically destroying evidence and arranging legal representation for the detained men, before winding down. The book doesn’t go deep on the subsequent political cover-up, which is the focus of All the President’s Men. Secret Agenda isn’t a “follow the money” book. Reading it alone to understand the entirety of the scandal would be a mistake.

(Hougan does burn up a chapter to partake in the then-fashionable parlor game of “Who was Deep Throat?” He leans toward Alexander Haig—a swing and a miss.)

Returning to my earlier questions: Why did the burglars do it? What did they expect to find? And who ordered the break-ins?

Last question first: Jeb Magruder ordered the final break-in. (By then, Magruder was Deputy Campaign Director at Nixon’s reelection committee.) In an uncharacteristic display, Magruder yelled at Liddy: “Take all the men, take all the cameras you need!” He slapped the lower drawer on his desk with a bang, indicating he wanted some secret filed away in the DNC.

The Colombia Plaza call-girl ring had been busted three days earlier. Nixon’s men had pressured the D.C. district attorney to turn over the ring’s “trick books” to see if any White House personnel were implicated. With the election mere months away, the call-girl ring was the scandal du jour at the White House. Hougan speculates Magruder was “galvanized” by the vice bust and ordered the second break-in to clean up the wiretap situation.

But who ordered the initial break-in three weeks earlier is less certain. Magruder did send in Liddy’s team the first time (“a waste of time and money, in Liddy’s view”), but it’s never persuasively concluded who made the order to Magruder. Attorney to the President John Dean wrote of confronting Magruder on the subject while both were in prison. “Why did we go into the DNC?” Dean demanded. “Whose idea was it?” Magruder merely stormed off.

A common explanation for the break-in is that the White House wanted to know what incriminating evidence DNC chairman Larry O’Brien may have had on Nixon, either regarding political favors for telecom corporation ITT, or a payoff made to Nixon from Howard Hughes. As Hougan points out, both explanations suffer.

On the first point, Liddy met with White House officials about several “targets of opportunity.” He’s adamant the initial order to break into the Watergate only came from Magruder months after the ITT issue had been discussed. (“While Liddy has been called many things,” Hougan writes, “‘liar’ is not one of them.”) The Plumbers’ other covert operations had nothing similar in terms of time lag.

As for the second possibility, Nixon’s worries about Hughes, the Plumbers were tasked to break into Las Vegas newspaper publisher Hank Greenspun’s office (due to him being “deeply enmeshed in the reclusive billionaire’s affairs”) and to rifle his safe for incriminating documents, either on Nixon or his presidential opponent Muskie. (The break-in never occurred. Also: Greenspun was a lifelong Republican!) It’s too bad Hougan could not have gone deeper on the Hughes angle.

Hougan suggests another possibility for the final entry: To de-bug the Democrats’ phones.

His reasons are not far-fetched. In the aftermath of the arrests, neither the phone company nor the FBI found any wiretaps in the DNC offices. The FBI went so far in their reports to theorize the DNC’s phones were never bugged in the first place. The transcripts produced by Baldwin from the Howard Johnson’s would seem to disprove such a wild claim.

(Of course, the notion that the Plumbers were in the DNC to remove wiretaps is pretty wild too, but notice how Magruder ordered Liddy to “take all the cameras you need”—not wiretaps, but cameras.)

This leads to a full chapter on an all-but-forgotten episode in Watergate history: A few months after the arrests, the Democrats announced they discovered a new bug in the DNC. This “September bug” was found on the ever-fascinating telephone of R. Spencer Oliver.

The FBI and the attorneys prosecuting the Plumbers went round and round pointing fingers. Did the FBI and the phone company miss the bug in their earlier sweep? Did the Democrats plant the bug and “find it” for political points? Was it placed after the arrests by another covert operation? Again, Hougan comes up with his own, somewhat convoluted theory that’s too thorny to cover here. Even if it’s hard to accept, the entire episode is a further indicator of just how tangled the Watergate break-ins are to decipher.

Another tantalizing detail Hougan uncovers via the FOIA FBI documents (and confirmed by arresting D.C. police officer Carl Schoffler) is that one of the Cubans carried a notebook with a key taped to it. The FBI later determined the key opened only one lock in the office: the desk of Ida “Maxie” Wells, secretary to—wait for it—R. Spencer Oliver. During the break-in, the Cubans had assembled a photographic stand on Wells’ desk, apparently in preparation for taking pictures of something inside the locked drawers. Whatever it all means, it does suggest Larry O’Brien was not the sole target that night.

Liddy tells a funny story in his memoir that’s recounted in Secret Agenda: One of Liddy’s early proposed plans was to lure Democrats aboard a Miami party yacht stocked with prostitutes, cigars, and liquor, for blackmail purposes. When the idea was shot down, Jeb Magruder suggested they bring the women to D.C. Liddy rebuffed him: “I told Jeb that bringing whores to Washington was like shipping cars to Detroit…If [Magruder] could justify a trip to Miami, could I fix him up with our girls? Jesus, I thought, the wimp can’t even get laid with a hooker by himself.”

Hougan—always on the lookout for connections, no matter how tenuous—notes that bugging Oliver’s phone (if it was used by the Democrats to contact the call-girl ring) has echoes of Liddy’s earlier Miami plan.

Hougan offers several combinations of reasons why he believes the call-girl ring was the true motivation for entering the Watergate—from White House fears to CIA cover-up—but none of them are especially persuasive to me. The real value in Secret Agenda comes from the other more grounded details on the break-in he dredges up.

Was it Nixon?

The nagging questions that remain unanswered about Watergate—Who ordered the first break-in? Why Watergate?—usually elicit names higher up the chain: H.R. Haldeman (Chief of Staff), John Mitchell (Attorney General, later the head of Nixon’s reelection campaign), or Nixon himself.

For some, there is no mystery. Journalist Ron Rosenbaum thinks historians have timidly skirted the issue and let Nixon off scot-free with a hasty resignation and a free flight to California. For Rosenbaum, circumstantial evidence is more than sufficient:

Nixon is heard on a recording made two days after the news broke of the break-in proclaiming that he was shocked by it and—knowing the tape is rolling—saying it was silly for anyone to break into the Democratic National Committee party headquarters because any savvy pol would know that all the valuable dirt would be found in the (yet to be named) presidential candidate’s headquarters.

And then he delivers one of his most inculpatory statements on tape: “That’s my public line.” In other words, that was how he was going to lie his way out of any connection…

There’s a mild contradiction here: Nixon knows the phone call is being recorded and feigns shock at news of the break-in—then admits into the tape recorder he’s going to lie his way out of it? I don’t doubt Nixon at least suspected his re-election committee was involved. I just don’t see those four ambiguous words (“That’s my public line”) proving Nixon ordered the break-in.

Another point propping up Rosenbaum’s (and others’) argument: In 2003, Magruder claimed to have heard Nixon issue the order:

Magruder said he could hear Nixon tell Mitchell, “John, … we need to get the information on Larry O’Brien, and the only way we can do that is through Liddy’s plan. And you need to do that.” … Magruder concedes that he did not hear every single word while Nixon was on the phone with Mitchell, but “I heard the import,” he said.

Magruder’s allegation is explosive—and one he could’ve made in his 1973 memoir (where he states Nixon had no foreknowledge of the break-in), or at any point in time thereafter. Never mind that Liddy did not propose the DNC as a target, and steadily asserted for years his opposition to wasting time and resources on it. Thus, in 2003, Magruder claimed to have lied and withheld for thirty years—on top of conspiring to cover-up the Watergate criminal acts—and now should be believed.

Hougan goes to great lengths to air all the players’ recall of each event, but one person he cannot help but slam is Magruder. In almost every White House meeting Magruder attends, the others involved more-or-less agree in their recollections. Magruder always spins a wildly different take. Generally, it’s a take that exculpates himself. “To believe Magruder, then, one must also believe everyone else is lying,” Hougan writes.

Still, for people like Rosenbaum, Nixon was guilty, and that’s that: Come on—we all know Nixon did it. But as Glenn Garvin wrote in 2022, “Fifty years later we still don’t know who ordered the core crime or why.” Nixon was guilty of plenty, but that guilt doesn’t answer the question of why the DNC headquarters were targeted, or prove Nixon masterminded the break-in.

An intentionalist view would say that the only way the Plumbers would have broken into the DNC is if Nixon ordered them to do it. Such commands don’t originate from a lowly assistant, goes the reasoning.

The problem is that there’s no evidence of such an order. Even with a taping system in place, testimony and memoirs, and physical documentation preserved, no one has found any hard evidence that Nixon ordered the Watergate break-in.

A functionalist explanation would approach the problem from another angle. It would say that Nixon nurtured a culture encouraging such activities. His inferiors sought to curry favor by meeting, or exceeding, his expectations. Political advantage became the currency of patronage, where an individual is rewarded for bringing capital into the organization—intelligence, leverage, and so on.

Here’s Nixon ordering a break-in of the Brookings Institution on June 30, 1971, a full year before the Watergate burglary:

“You’re to break into the place, rifle the files, and bring them out. … Go in around 8 or 9 o’clock. That’s right. You go in and inspect and clean it out. … We’re up against an enemy, a conspiracy. They’re using any means. We are going to use any means. Is that clear?”

Although the burglary never took place, the Brookings order is far more damning than his “public line” conversation or Magruder’s claims. The conversation indicates Nixon is capable of ordering a crime on the magnitude of the Watergate break-in.

But as the Nixon tapes make clear, Nixon didn’t merely order a burglary of the Brookings Institution, he couldn’t shut up about it. He kept discussing the idea, and even ordered it again a year later. (“…get in there and get those files. Blow the safe and get them.”) If Nixon ordered the Watergate break-in, he was awfully quiet about it, whereas he was more than verbal about a similar, and more violent, burglary.

His order for Haldeman to “blow the safe” at Brookings set off a chain of events in the Nixon White House. Those events culminated with Nixon aide Charles Colson (purportedly) planning to firebomb the institute’s headquarters. (“Not just a fire, a firebombing.”) The order mutated from “break into the place, rifle the files” to deadly arson.

Liddy tells of a similar mutation, where an idle comment that “we need to get rid of that [Jack] Anderson guy” was interpreted as a call to assassinate the journalist, which he and Hunt discussed with a CIA physician. (The plan never amounted to anything more than talk.)

Cover of Watergate: The Corruption of American Politics and the Fall of Richard Nixon, by Fred Emery

In Fred Emery’s Watergate, Colson recalls a meeting with Nixon regarding the recent assassination attempt by Arthur Bremer on presidential candidate and segregationist George Wallace:

Nixon’s having a cocktail, he’s sitting there with his feet back, we’re waiting for the FBI to call. As happened hundreds of times under those circumstances, he would say, “Wouldn’t it be great if…oh, wouldn’t it be great if they had left-wing propaganda in [Bremer’s] apartment?”

Sure enough, Liddy confirmed in 1980 he and Hunt sought to plant left-wing literature in Bremer’s apartment, but the FBI had already sealed the apartment. A verbal musing by Nixon—however feigned in innocence it may have been steeped—trickles down the power ladder as a call to illegal action.

Another example is the forged “Canuck letter” that destroyed the presidential campaign of Edmund Muskie. It was penned by Nixon spokesman Ken Clawson mere weeks after he joined the administration. It appears he wrote the letter as a kind of initiation rite to prove his loyalty to the president. An need to prove loyalty wrecks a presidential campaign.

Did Nixon order the Watergate break-in? If he did, not having a recording or a reliable contemporaneous account of it may be the biggest Watergate miracle of all. But a functionalist reading of executive power suggests why: Nixon fostered a culture of patronage whose currency was dirty tricks and illegal acts, which he could later deny originated from his office.

As Colson told a Nixon biographer, “You could always get rewarded if you showed up at the White House with a bit of negative intelligence, so the puppies kept coming in with their bones.”

The lessons of Watergate

Secret Agenda is a curious book on the rather long shelf of Watergate literature. Unlike other histories, which mostly recount the same events and profile the same personalities, Secret Agenda strikes out to cover territory overlooked by the others. Its minute-by-minute accounting of the Plumbers’ covert operations sometimes reads like a thriller and sometimes like farce, but is marred by Hougan’s propensity to wander into wild speculation.

“What follows in this book does not pretend to be a ‘definitive’ account of the Watergate affair,” Hougan admits in the introduction. “It is simply an attempt to correct the record insofar as it is possible to do so, and to suggest avenues of further investigation.”

Yet Secret Agenda left behind a remarkable footprint on that shelf of Watergate literature. Hougan’s research found its way into Fred Emery’s Watergate, the first cohesive post-1970s history of the entire scandal, and Garrett Graff’s more recent Watergate: A New History. Joan Hoff points out in Nixon Reconsidered that “of all the theories to surface claiming to explain the reason for the Watergate break-in, none has been adequately documented. One, however deserves mention,” namely, Secret Agenda.

My Occam’s razor-ish take on Secret Agenda goes something like this:

I cannot help but find myself persuaded by the CIA connections Hougan dwells upon. The CIA did assist the Plumbers with disguises, fake identification, and equipment; this is documented elsewhere. What’s more of a stretch is the suggestion that the CIA was secretly running (or sabotaging!) the Plumbers’ operations without the knowledge of Liddy, Magruder, or the White House.

The White House employing Hunt to gather political intelligence dropped a gift in the CIA’s lap. Hunt could share with the Agency anything gathered by the Plumbers. That meant the White House was funding intelligence-gathering for the CIA’s benefit, and the White House assumed all the risk if caught. For the CIA, what’s the downside? Although the source of Ida Wells’ desk key is a mystery that may never be solved, “the CIA supplied it” is a plausible hand-wavey answer, considering what we know about its activities in that time period.

As for the true reason behind the break-in, it appears everyone involved had their own motivations, often in conflict. Some of those involved had the opportunity to act on those motivations. Hougan does not convince me that the call-girl ring motivated the break-in. The timing of the vice bust in relation to the second break-in, and the bug on Oliver’s phone, does make it seem a potential sex scandal was on some of the Watergate players’ minds.

I can’t help but think if we knew what was in that locked desk, and why Oliver’s phone was targeted, we would have a far better idea of what they were after.

After all, what are the lessons of Watergate? No lessons may be learned until the problem is understood, and on that count, we appear to have come up short.

The Christopher McCandless mystique continues

Kat Rosenfield at Unherd claims she knows why men are no longer wild: “Our sense of adventure died with Chris McCandless.”

I last wrote about the mythology around Chris McCandless and Jon Krakauer’s Into the Wild in 2015. Rosenfield’s article motivated me to survey the situation once more.

I won’t summarize here Krakauer’s book or Chris McCandless’ life and death. My earlier blog post (“Into the Wild and the continued fascination with Christopher McCandless’ death”) covers both. Wikipedia articles on the book and the man are good starting points too. And there’s no substitute for reading Into the Wild itself.

Why men are no longer wild

The meat of Rosenfield’s argument lies within this claim:

McCandless’s story became the object of fascination — and not long after that, backlash. His life was either an inspiring example of indomitable American spirit or a nauseating waste of privilege and opportunity; his death was either a tragic accident or an idiotic, avoidable bit of foolishness.

My motivation for this post started right there, in the above assertion. Compare it to what I wrote in 2015:

If this framing—reckless versus romantic—sounds wearily familiar, it’s because the debate over McCandless’s death has become nothing more than a flash-point in a broader argument we’ve had in America since he and I were born…

McCandless’ life has been converted into a proxy for this country’s culture wars, a string of battles where no one—no one—raises the white flag. … I’m unable to see how this situation honors or respects Christopher McCandless’ life.

Eight years later, Chris McCandless is still serving as a proxy for whatever culture war debate is on our collective brains at the moment. His life and death, cleansed and romanticized, provide a mythic framework to hang any number of ideological flags: anti-materialism, anti-woke, anti-technology, anti-Americanism, anti-capitalism, and more.

This is vital to recognize. Culture war ushers in an inevitable and putty-like transitive logic: Criticism of Krakauer is interpreted as an attack on McCandless; criticism of McCandless is read as an attack on his values; criticism of McCandless’ fans is an attack on progressivism; and so on.

So, yeah, I have and will criticize Krakauer, the actions of some of McCandless’ legions of fans, and the politicization of Into the Wild. I’ll even criticize some of McCandless’ choices. I’m trusting you to recognize that doesn’t make me a “Chris hater.”

“He’s emerged as a hero”

From there, Rosenfield takes what has become a standard approach in modern rhetoric: She claims her reasonable and clear-eyed position is the one under attack, even if she has trouble locating the hordes mounting said attack:

The lumping-together of McCandless with Thoreau was inevitable, and not just because the latter was a major inspiration for the former: here was an expression of the timeless desire to take these icons of male self-sufficiency down a peg. Today, the mention of either man tends to elicit a snarl — but the bulk of the anger is saved for McCandless, fuelled by a contemporary media ecosystem that keeps finding new ways to tell his story. [Emphasis mine.]

I cannot recall anyone “snarling” over Thoreau, who remains required reading in American high school and university curricula. He may have been dismissed in his time as a fraud or a crank, but I’m pretty sure Thoreau’s preeminence in American culture and letters is secure.

As for McCandless, Into the Wild has been translated into thirty languages and has remained in print since it was first published in 1996. It was made into a major motion picture by Sean Penn. It’s on high school and college reading lists across the nation, and was selected by Slate as one of the best nonfiction books of the past twenty-five years. A web site dedicated to Chris McCandless (christophermccandless.info) is still going strong, hosting papers written by young people affected by McCandless’ life story, a memorial foundation, a documentary, and more. The PBS special “Return to the Wild” promised to “probe the mystery that still lies at the heart of a story that has become part of the American literary canon and compels so many to this day.”

Yet Rosenfield somehow concludes McCandless and his life story are under a brutal and withering assault. If the debate could be placed on a scale like produce aisle apples, I’m certain we’d find any snarling criticism of Chris McCandless and Jon Krakauer is far outweighed by McCandless’ legions of fans and sympathetic media sources.

It doesn’t help that Rosenfield’s adoring portrayal of McCandless as the kind of masculinity we need more of in our on society is framed just as she outlined at the top of her article: “His life was either an inspiring example of indomitable American spirit or a nauseating waste of privilege and opportunity.” There are no alternatives, apparently.

“But lately,” she writes, “the controversy surrounding McCandless as a mythological figure is no longer an accompaniment to the story; it is the story.”

I don’t know that “lately” part is true. The controversy around McCandless began almost immediately after Krakauer’s story was published in Outside magazine. Its editors reported they’ve never received as much mail about a single story, before or since. The controversy became the focus of all subsequent accounts of Chris McCandless for the same reason Twitter melted down over the color of a dress: People couldn’t believe any sane person would disagree with their interpretation—and if you did, there was something wrong with you.

Here’s a good question: Why is McCandless a mythological figure? He was a human being, “full of vim and vigor, a complicated young man of effusive talents, predictable weaknesses, and eccentric foibles,” as I wrote in 2015. We can valorize a man, we can valorize his values. Why valorize his avoidable death?

Sherry Simpson of Anchorage Press put it this way in 2003:

Much of the time I agree with the “he had a death wish” camp because I don’t know how else to reconcile what we know of his ordeal. Now and then I venture into the “what a dumbshit” territory, tempered by brief alliances with the “he was just another romantic boy on an all-American quest” partisans. Mostly I’m puzzled by the way he’s emerged as a hero, a kind of privileged-yet-strangely-dissatisfied-with-his-existence hero.

I don’t agree with the “death wish” angle, nor do I think he was a “dumbshit” for entering the Alaskan interior. (I would say “grievously unprepared.”) “An all-American quest” ticks a few of my personal checkboxes, as does “I’m puzzled by the way he’s emerged as a hero.”

The diary

In an aside, Rosenfield complains that McCandless’ sister’s memoir The Wild Truth (2014) has been weaponized: “It was received less as additional context to his story than a debunking of it: McCandless wasn’t a latter-day adventurer, he was a spoiled trust-fund kid with daddy issues.” (It would have helped if Rosenfield could have linked to an actual “debunking.” The single link she provided goes to a perfunctory summary of the memoir by USA Today.)

Carine McCandless does offer eye-opening “additional context” to Chris’ story. The real issue her memoir introduces is that Krakauer agreed to withhold these key details from Into the Wild at the request of the family. By doing so, Krakauer created a hole in his narrative and in our understanding of McCandless’ motivations. The Wild Truth was not weaponized for a mass “gotcha” campaign, or if it was, the campaign made not a dent on the beatification of Chris McCandless. Rather, as with the evolution of the poisonous seeds (explained below), its details were smoothed over by sympathetic media sources as completing and supporting Krakauer’s story, and further buttressing the McCandless hagiography.

The only “debunking” of note was from McCandless’ parents:

“After a brief review of its contents and intention, we concluded that this fictionalized writing has absolutely nothing to do with our beloved son, Chris, or his character,” they wrote. “The whole unfortunate event in Chris’s life 22 years ago is about Chris and his dreams—not a spiteful, hyped up, attention-getting story about his family.”

There was another narrative hole, though, that is more substantial and of far more interest to people like me: The contents of the journal McCandless kept while in the Alaska wilderness. Initially only Krakauer had access to the diary, which he used while writing Into the Wild.

When the journal was finally released, it amounted to

approximately 430 words, 130 numbers, nine asterisks and a handful of symbols. Other than this, all Krakauer had to go on was several rolls of film found with the young man’s body and a rambling, cliche-filled, 103-word diatribe carved into plywood in which McCandless claimed to be “Alexander Supertramp” off on a “climatic battle to kill the false being within and victoriously conclude the spiritual pilgrimage.”

Craig Medred of Anchorage Daily News has much more to say about “the fiction that is Jon Krakauer’s Into the Wild. That Krakauer reconstructed McCandless’ last weeks in minute detail from such sparse documentation should be a flare in the sky to anyone who still believes the label “nonfiction” means something.

“It is as if the late writer Ernest Hemingway found a 430-word journal written by Nick Adams containing the words ‘railroad,’ ‘fish,’ ‘forest fire,’ ‘camp’ and a few others,” Medred writes, “and from that wrote ‘Big Two-Hearted River’ as the true story of Adams’ biggest fishing adventure.”

If that sounds like hyperbole, then reread the final three chapters of Into the Wild and reckon them against the source material Krakauer was drawing from. Here’s a portion of the journal, from the McCandless’ memorial site:

Day 2: Fall through the ice day. Day 4: Magic bus day. Day 9: Weakness. Day 10: Snowed in. Day 13: Porcupine day…. Day 14: Misery. Day 31: Move bus. Grey bird. Ash bird. Squirrel. Gourmet duck! Day 43: MOOSE! Day 48: Maggots already. Smoking appears ineffective. Don’t know, looks like disaster. I now wish I had never shot the moose. One of the greatest tragedies of my life. Day 68: Beaver Dam. Disaster. Day 69: Rained in, river looks impossible. Lonely, Scared. Day 74: Terminal man. Faster. Day 78: Missed wolf. Ate potato seeds and many berries coming. Day 94: Woodpecker. Fog. Extremely weak. Fault of potato seed. Much trouble just to stand up. Starving. Great jeopardy. Day 100: Death looms as serious threat, too weak to walk out, have literally become trapped in wild—no game. Day 101-103: [No written entries, just the days listed.] Day 104: Missed bear! Day 105: Five squirrel. Caribou. Day 107: Beautiful berries. Day 108-113: [Days were marked only with slashes.]

Chris McCandless’ entire diary, from day 1 to day 113.

McCandless notes on day 69, six weeks before his death: “Rained in, river looks impossible.” (I assume he means the river between him and civilization looks impossible to cross.) On day 100, he realizes “have literally become trapped in wild.” Earlier he writes, “Lonely, Scared.” Earlier still, he writes, “Weakness.”

“Male self-sufficiency”

McCandless entered the Alaskan wilderness packing ten pounds of rice, a .22-caliber rifle, ammunition, a camera, and a selection of books. Although his exact date of death is unknown, it appears he only survived for 113 days, or about sixteen weeks. All evidence is that he leaned heavily on a single food source, the seeds of a wild plant.

Rosenfield takes a crack at those who knock McCandless as unable to distinguish a moose from a caribou (“He could, actually”), although that’s beside the point. The real failure was him bagging a beast and lacking the skills to preserve it. After mere days he lost the carcass to maggots. Properly preserved, the meat and organs could have fed him for months, providing him with vital protein and fat. He wrote the waste was “one of the greatest tragedies of my life,” one of the few lucid and complete entries in his journal. Other than the wild seeds, he appears to have had no success in securing an additional food source.

The usual rejoinder to these failures is that the seeds he foraged were a good source of nutrition but, due to understandable circumstances, McCandless was poisoned by them, or some substance growing on them.

The seeds are, without a doubt, the most frustrating aspect of the entire affair. It’s oft-reported that over the years Krakauer required three tries to explain the puzzle of the poisonous seeds. As I wrote in 2015, the count was actually four, and is now closer to five:

  1. The explanation in his original Outside article;
  2. a modified explanation in Into the Wild;
  3. a third he offered in 2007 just as the movie was being released;
  4. a fourth in 2013 for New Yorker;
  5. and a modified fifth explanation in a peer-reviewed 2015 article, which he also discussed in a 2015 New Yorker article.

Diana Saverin of Outside magazine has a good summation of the history of the questions surrounding the seeds. (This article is also the first and only time I’ve seen a major media source acknowledge that the debate over McCandless’ legacy may be more than a Manichaean battle of “Chris supporters” vs. “Chris haters”: “[Some] readers don’t dismiss McCandless’ intention—spending time in the wilderness—as invalid or stupid. Rather, they reject his endeavor because of the consequence it led to: his death.” While not exactly my position, at least there’s an acknowledgment of a spectrum.)

With Krakauer’s later explanations for the seeds came sympathetic media outlets announcing he’d “solved” the mystery once and for all. NPR has declared the case closed on a couple of occasions. Salon originally titled their 2013 article “Chris McCandless’ death wasn’t his fault” before changing it to the blander “Into the Wild’s twist ending”. (The original title is still there in the page’s URL.)

The Salon switcheroo neatly encapsulates the stakes in play: By declaring McCandless was not culpable for his own death, the lessons and morality people wish to attach to McCandless’ life are preserved. Krakauer’s first explanation paints McCandless as fallible, and perhaps even liable for his own death (that Chris mistook poisonous seeds for edible ones). The later explanations (a mold or bacteria growing on edible seeds) reassures the faithful that McCandless’ death was understandable and unavoidable.

The various poisonous seed theories led to disputes between Krakauer and biologists. Even after the dust settled, the best the scientific minds could declare was “it is possible” the seeds were poisonous and “contributed” to McCandless’ death. That is not the indisputable evidence that some sources reported.

I’ll say it here, just as I said in 2015: I do not think McCandless was an idiot. I do not think he was reckless. He was far more prepared to enter the Alaska interior than a high majority of his admirers who’ve made similar attempts—but he was not prepared enough. I suspect he only realized his mistake when he could no longer trek out of the area (day 69, “river looks impossible”). Unlike living off-the-grid in places like the American Southwest, where he did well, McCandless’ resourcefulness was not enough in a truly remote and brutal location.

But even if rock-solid evidence arrived showing McCandless was poisoned by the potato seeds and nothing more, that does not prove his death was unavoidable. His survival in Alaska hinged on a single food source. He suffered from a single point of failure, and when that point failed, he was doomed. That is not “self-sufficiency.”

The cult

Rosenfield again:

On the 15th anniversary of McCandless’s death, Men’s Journal published a story titled ‘The Cult of Chris McCandless’, an examination of the young man’s legacy in and around the wilderness in which he perished. One gets the sense that there’s still little sympathy amongst Alaskans for McCandless’s death, and the quotes from locals range from pitying to contemptuous.

It’s true: A magazine wrote an article quoting some Alaskans’ contempt for Chris McCandless.

But it’s bewildering that Rosenfield could read the Men’s Journal story and come away with nothing more than the Alaskan angle. It’s titled “The Cult of Chris McCandless” for a reason. The bulk of the article regards the number of people—in particular, young men—inspired by McCandless to enter the wilderness and make a go of it themselves. They are almost always far less prepared for the ordeal than McCandless was when he entered Denali National Park.

I question the choice of the word “cult,” but confess I cannot offer a better alternative. The obsession with McCandless has made him a kind of secular saint, and the location of his death has become a pilgrimage site. TripAdvisor offers several pages on how to reach it; Google Maps still points to the site of Bus 142 before it was removed by the Alaska Army National Guard to discourage further sightseers. Authorities are routinely called in to rescue lost and stranded hikers. Deaths continue to occur. (Tellingly, Rosenfield mentions the reasons for the bus’ removal without pondering the implications of people losing their lives in the name of “authenticity.”)

If McCandless’ story truly inspires people to learn self-sufficiency—if it leads them to pause and hone the skills necessary to survive in the wilderness—I can only applaud that person for making the vision a reality. But when the inspired believe self-sufficiency is simply a matter of good intentions and a canteen of Evian, there’s a problem.

Compare the evolution of McCandless’ story—the beatification, the successive theories on the seeds, the guarded interpretation of his diary—to Charles Baxter’s observation of a proliferation of “dysfunctional narratives” in America:

Reading begins to be understood as a form of personal therapy or political action. In such an atmosphere, already moralized stories are more comforting than stories in which characters are making complex or unwitting mistakes.

That sounds an awful lot like what happened to Chris McCandless’ story over the span of thirty years.

The politics

Krakauer:

A lot of people came away from reading Into the Wild without grasping why Chris did what he did. Lacking explicit facts, they concluded that he was merely self-absorbed, unforgivably cruel to his parents, mentally ill, suicidal, and/or witless.

Rosenfield picks up where Krakauer leaves off…and makes a serious detour:

The guy who hunts his own food, chops his own wood, and builds his own home, is a suspicious character: a little too trad, a little too in-your-face masculine, probably a Trump voter. And the guy a step beyond that, the one who doesn’t just paint outside the lines but wants to buck the system entirely? There’s something really wrong with him. He’s no pioneer; he’s a misanthrope, a deadbeat, an incel. … We’re afraid of men like this, and we’re afraid of the people who admire them.

This characterization is off-the-rails.

Without exception, criticisms of McCandless as an irresponsible privileged twerp are coded right-wing. The type Rosenfield describes sounds more like a standard-issue take-down of libertarians and hard-right Republicans (“a misanthrope, a deadbeat, an incel”). Those take-downs inevitably come from sources coded as left-wing—the same sources who trumpet McCandless as a modern icon (Salon, NPR, etc.) These sources will question the myth of rugged individualism in American history—and then, with no apparent introspection, hold up high Chris McCandless’ rugged individualism as an example to follow.

If anything, the animus toward Chris McCandless is a mirror-image of the one Rosenfield describes. Critics like to portray him as a coastal elite, a hipster from a privileged enclave who foolishly launched a narcissistic quest for authenticity, and certainly not as a Trump voter. I’ve never heard anyone describe themselves as “fearful” of McCandless’ admirers. “Idiots” is the terse word one acquaintance used when I brought up the subject.

Recall Sherry Simpson: “Mostly I’m puzzled by the way he’s emerged as a hero, a kind of privileged-yet-strangely-dissatisfied-with-his-existence hero.”

“Gather, cook, and eat”

If you still think of me as a “Chris hater,” in return I ask for your opinion of other individualists who forsook modernity and escaped to the wild.

There’s Alastair Bland, the student I wrote about eight years ago. The similarities between Bland and McCandless are remarkable: Both were anthropology majors who believed hunter-gatherer societies were freer and enjoyed more leisure time than agricultural/industrial ones. Both expressed a sharp disdain for modern consumerism and materialism. Bland did not penetrate the Alaska interior, but he did live off the land in and around U.C. Santa Barbara in 2002. Bland found people around him cheering him on:

They marveled at how great [his experiment] was and exclaimed that they would some day try to do something similar. They thought it was a good thing to boycott the American market and a shame more people didn’t appreciate nature’s bounty the way I did.

Like McCandless, Bland wound up concentrating on a single food source—tree figs—which left him bleeding from the mouth and nauseous. His days were spent scrounging for his next meal. He dreamed of climbing trees and eating figs. His life became “gather, cook, and eat.”

Just as McCandless attempted to flee the Alaska interior sooner than planned, Bland too quit his experiment early:

Even now I don’t believe what I did was very constructive. It was a memorable time in my life, to be sure, and it was a good thing to have tried. But to carry on like that forever would have been, for me, social suicide.

There’s Timothy Treadwell who, like McCandless, found a spiritual refuge in the Alaska interior. He lived there for thirteen seasons among the coastal brown bears, both alone and with his girlfriend. Like McCandless, he came from a well-to-do family, and was athletic and gifted. After some failures as an aspiring actor and a bout with alcoholism, he turned his life around. He grew famous for spending time close to the bears in Alaska, daring to approach them to gain their trust. He was immortalized in Werner Herzog’s Grizzly Man.

In October 2003, Treadwell and his girlfriend were attacked and killed by a bear. Treadwell’s running camera captured the audio of the attack. It was the first and only incident of a bear killing a person in the history of Kitmai National Park.

John Rogers of Kitmai Coastal Bears Tour writes of “The Myth of Timothy Treadwell,” although this myth never took on the heroic proportions of McCandless’. While Rogers says, “Timothy Treadwell was not the foolhardy person the media portrays him to be,” he does not acquit him of culpability in his own death, either.

There’s Christopher Thomas Knight, the recluse who lived twenty-seven years in isolation in the north of Maine. In a bit of philosophizing that could have come from McCandless, he said by living alone “I lost my identity. There was no audience, no one to perform for … To put it romantically, I was completely free.”

But Knight survived while habitually breaking into nearby cabins. He was accused of performing over 1,000 burglaries over a quarter-century, pilfering goods and supplies for his own survival.

Note that McCandless has also been accused of breaking-and-entering by Craig Medred:

Three cabins — two privately owned and one a property of the National Park Service — were broken into while McCandless was at the bus. It had never happened before. It has not happened since.

There’s Robert Bogucki, raised in Malibu and a student at Georgetown University. As a young man, he began to question materialism and capitalism. He traveled to Australia to walk solo across its interior desert.

He entered the desert carrying a week’s worth of food and 26 liters of water. When his supplies ran out, he began digging for moisture, and cutting himself to drink his own blood. His absence sparked what was the largest and most expensive manhunt in Australia’s history. After forty-three days, he spelled out “HELP” with rocks and was rescued by a search helicopter. Bogucki “lost more than 30kg [66 pounds] from his 86kg [189 pounds] and it took him a full year to regain his previous strength and stamina.” (McCandless’ corpse weighed 66 pounds—half of Bogucki’s final weight—when he was discovered.)

Why did Bogucki do it? To see God. He desired to model Jesus’ forty days in the desert. He claimed God spoke to him and directed him to water sources. Where McCandless packed in a book on Alaskan horticulture, Bogucki carried a Bible.

Why are these “self-sufficient males” not idolized by the legions of McCandless followers? Why don’t we praise their “sense of adventure”?

Perhaps due to the faulty optics of each story: Bland’s admission of failure in a soft Southern California beach town; Bogucki’s distasteful Bible-thumping; Knight’s “self-reliance” revealed as a reliance on others; Treadwell’s violent attack recorded on tape, supplying us an unromantic record of nature’s grim realities.

Are optics really what makes McCandless different? Doesn’t such a cynical and relativist view smack face-first into McCandless’ values of authenticity—honesty with others, and honesty with one’s self?


It’s taken me nearly a year to write this post. I gave up twice. Researching and writing this has been exhausting. Why spend so much time and energy?

As I wrote in 2015:

Jon Krakauer introduced me to a vivid and lucid life, one that will stay with me for years.

That life has been flattened into an icon, propagated as a cult of personality, and used to buttress petty political divisions. In the least I must register my protest.

Kurt Vonnegut on story shapes, writing with style, and running experiments

Recently I picked up Conversations with Kurt Vonnegut, part of the Literary Conversations Series from University Press of Mississippi. The collection offers interviews and profiles of Vonnegut published between 1969 and 1999. The first comes shortly after the publication of Slaughterhouse-Five. The subsequent rocket ride of literary stardom Vonnegut enjoyed—or endured—follows.

The collection seems rather complete, culling all manner of sources, right down to a softball Q&A with Harry Reasoner for 60 Minutes. The collection is breezy if thought-provoking reading, much like many of Vonnegut’s books, but it still held a few surprises for me. (Apparently after the success of Slaughterhouse-Five, Vonnegut contemplated throwing out Breakfast of Champions when he realized he could now sell any book he wrote no matter its quality.)

The more I learn about Vonnegut, the more I’ve come to see how pragmatic he was when it came to the craft of writing. Vonnegut often lists Robert Louis Stevenson as one of his favorite authors because, as a boy, he was “excited by stories which were well-made. Real ‘story’ stories…with a beginning, middle, and end.” His essay “How to Write With Style” is advice of the roll-up-your-sleeves variety, featuring watery chestnuts like “Find a subject you care about” and “Keep it simple.” More interestingly, while teaching at the Iowa Writers’ Workshop, he led a course to help students make a career out of writing after graduating—teaching, technical writing, ad copy, anything to put bread on the table. Apparently the course was not well-regarded by the other faculty.

One popular meme is Vonnegut’s lecture on the shape of stories. The audience chortles as he chalks out curves and lines graphing a set of basic story structures. (Maya Eliam’s infographics of these shapes are lucid and wonderful.) Most likely many in the auditorium thought he was satirizing when he said story forms could be graphed mathematically or analyzed by a computer, but his lecture is in earnest. This was his master’s thesis in anthropology, after all.

In a 1977 interview with Paris Review—the most in-depth interview in the collection—Vonnegut drops a mention of his story shapes:

Vonnegut: Somebody gets into trouble, and then gets out again; somebody loses something and gets it back; somebody is wronged and gets revenge; Cinderella; somebody hits the skids and just goes down, down, down; people fall in love with each other, and a lot of other people get in the way…

Interviewer: If you will pardon my saying so, these are very old-fashioned plots.

Vonnegut: I guarantee you that no modern story scheme, even plotlessness, will give a reader genuine satisfaction, unless one of those old fashioned plots is smuggled in somewhere. I don’t praise plots as accurate representations of life, but as ways to keep readers reading. … When you exclude plot, when you exclude anyone’s wanting anything, you exclude the reader, which is a mean-spirited thing to do.

The last sentence may be the most plainly spoken argument against the avant-garde I’ve read.

Vonnegut even compared writing novels to experiments, which I’ve explored myself. He felt experimentation was in his nature due to his education as a chemist and an engineer. (I believe this is the first time I’ve read another fiction writer describe creating fiction as a kind of experiment.) Here he talks with Laurie Clancy about Breakfast of Champions (still unpublished at this point):

Interviewer: Could you indicate what direction your new work is taking?

Vonnegut: It’s in the nature of an experiment. I don’t know how it’s going to come out or what the meaning’s going to be—but I’ve set up a situation where there’s only one person in the whole universe who has free will, who has to decide what to do next and why, has to wonder what’s really going on and what he’s supposed to do. … What the implications of this are I don’t know but I’m running off the experiment now. I’ll somehow have a conclusion when I’ve worked long enough on the book. … Regarding [God Bless You, Mr. Rosewater], I said to myself “Well, all right, what happens when you give poor people money?” So I ran the experiment off and tried to control it as responsibly as I could.

The Clancy interview is one of the best in the book. Vonnegut is engaged, thoughtful, and revelatory.

Ray Bradbury on getting stories published

I’ve been dipping into Wayne L. Johnson’s 1980 book Ray Bradbury the past couple of months. It’s part of the Recognitions series published by Frederick Ungar, a series featuring critical work on genre writers who’ve transcended their genre.

Johnson’s Ray Bradbury is a biography of the author tracked through his output rather than a stiff-backed recounting of dates and locations of events in his life. Bradbury’s short stories are grouped by subject matter and style as a strategy for analyzing the author’s approach to fiction. Johnson’s book paints a picture of a man who delved deep in the human imagination and returned with some fantastic stories for the ages.

Ray Bradbury was one of the most prolific short story authors of the 20th century because he never abandoned the form, unlike other authors who move on from them to novel writing. Bradbury capitalized on his bounty by disguising his short story collections as longer work (The Martian Chronicles, The Illustrated Man). Even Fahrenheit 451 is itself a maturation of a shorter work first published in Galaxy Magazine.

What caught my eye (and sparked the idea for this blog post) was a brief aside in Johnson’s introduction about how Bradbury was able to sell his prodigious output of short stories across the spectrum of American publishing:

Convinced that most editors were bored with seeing the same sort of material arriving day after day, Bradbury resolved to submit stories which, at least on the face of it, seemed inappropriate to the publication involved. Rather than send “Dandelion Wine” (later a chapter in the novel) to Collier’s or Mademoiselle, therefore, Bradbury sent it to Gourmet, which didn’t publish fiction. It was immediately accepted. “The Kilimanjaro Device” was snapped up by Life, which also didn’t publish fiction, after the story had been rejected by most of the big fiction magazines. … Bradbury insists that he places complete faith in his loves and intuitions to see him through.

Bradbury was certainly a known quantity when these short stories were published but, as Johnson indicates, he still faced his share of rejection slips. I don’t think Bradbury’s wanton submissions were ignorant of market conditions; it sounds to me he was quite savvy with this strategy. (Sending “Dandelion Wine” to Gourmet magazine is kind of genius, actually.) But Bradbury’s strategy transcends the usual mantra to “study the market.”

Galaxy Magazine (February 1951). Bradbury’s novella “The Fireman” was the nucleus for Fahrenheit 451.

I’ve been a front-line slush pile reader at a few literary magazines, and I can tell you Bradbury’s intuition is spot-on. When you’re cycling through a stack of manuscripts, they begin to look and read the same. Too many of those short stories were treading familiar paths. Too often they introduced characters awfully similar to the last story from the pile.

A story with some fresh air in it certainly would wake me from my slush-pile stupor. The magazine market has changed dramatically in the past ten years—and absolutely has reinvented itself since Bradbury was publishing “Dandelion Wine”—but I imagine similar dynamics are still in place in the 21st century. Surprise an editor with your story and you just might have a shot at publication.

And if you’re banging out short stories and fruitlessly submitting them one after another to the usual suspects, try taking a risk and following Bradbury’s lead. Trust me, if you can put on your next cover letter that your short fiction was published by Car & Driver or National Geographic, that will surprise editors too.

Lessons learned from Ross Macdonald

Recently at San Francisco’s Green Apple bookstore I discovered an edition of Inward Journey (1984), a collection of essays, poetry, and remembrances dedicated to mystery writer Ross Macdonald and published shortly after his death. The collection is edited by Santa Barbara rare book seller Ralph B. Sipper, who also collaborated with Macdonald on his autobiographical Self Portrait: Ceaselessly Into the Past.

Ross Macdonald obviously affected and influenced a great number of people in and around the Santa Barbara writing scene. The anecdotes and memories related by his friends and acquaintances paint a picture of a private and thoughtful novelist who quietly guided a number of writers toward improving their craft. It’s a touching book that mostly avoids miring itself in the maudlin. Some of the writers are quite close to the subject, such as his wife’s warm and elegant recounting of an early and late memory of him. Other essayists are more distant and matter-of-fact, such as popular writer John D. MacDonald’s humorous tale of his dance with Ross Macdonald over the appropriate use of their last names in publication credits.

That confusion is due to Ross Macdonald being the pen name of Kenneth Millar, who adopted the name to avoid being confused with wife Margaret Millar, a well-known novelist in her own right by the time his star began to rise. On top of his feud with John D. Macdonald, he also witnessed his style of detective fiction (and his detective, Lew Archer) relentlessly compared to hardboiled writers Raymond Chandler’s and Dashiell Hammett’s work from a quarter century earlier—often to his own detriment.

Between Margaret writing under his family name, authors John D. MacDonald and Philip MacDonald, and the unasked-for competition with Chandler and Hammett, it’s a wonder Ross Macdonald was able to carve out a name for himself. He did, and his workmanlike approach to novel-writing led to a corpus of nearly thirty solid books, the bulk set in Macdonald’s own Southern California, in particular his home of Santa Barbara (renamed to Santa Teresa). As such, Macdonald inherited not merely Chandler’s mantle of the premier tough-guy detective writer, but also the mantle of the leading Southern California mystery writer. The difference is, where Chandler’s stomping grounds are Los Angeles proper, Macdonald’s Lew Archer prowls the Southern California suburbs. This shift corresponded neatly with the rapid postwar growth of the Southern California valleys and coastal communities.

Free and joyful creation

Inward Journey opens with two previously unpublished essays by Macdonald himself. “The Scene of the Crime” is a lecture he gave at the University of Michigan in 1954 regarding the origins and development of the mystery story. It’s one of the most erudite, learned, and humble essays I’ve read on the subject. Macdonald had a degree in literature (his thesis analyzed Coleridge’s Rime of the Ancient Mariner) and he draws on sources as wide-ranging as William Carlos Williams and Faulkner in way of framing the detective story as a modern narrative strategy devised in reaction to modernity itself:

“A Rose for Emily,” [Faulkner’s] most frequently reprinted story is a beautifully worked out mystery solved in a final sentence which no one who has read it will ever forget. … I don’t mean to try to borrow Faulkner’s authority in support of any such theses as these: that the mystery form is the gateway to literary grace…Still the fact remains he did use it, that the narrative techniques of the popular mystery are closely woven into the texture of much of his work.

The other chapter, “Farewell, Chandler,” originated as a private letter to his publisher Alfred A. Knopf. Pocket Books was republishing his detective novels and sought permission to “fix” them by making them more violent and sensational (and therefore more palatable to paperback readers). Macdonald was compared to Chandler his entire career, and this letter both acknowledges the debt while gingerly disentangling himself from Chandler’s legacy:

My hero is sexually diffident, ill-paid, and not very sure of himself. Compared with Chandler’s brilliant phantasmagoria this world is pale, I agree. But what is the point of comparison? This is not Chandler’s book. … None of my scenes have ever been written before, and some of them have real depth and moral excitement. I venture to say that none of my characters are familiar; they are freshly conceived from a point of view that rejects black and white classification…

A writer has to defend his feeling of free and joyful creation, illusory as it may be, and his sense that what he is writing is his own work. [emphasis mine]

These two chapters are worth reading (and worth republishing, if they’re not already.) If you’re a writer of any stripe, I would then encourage you read beyond them. Although many of the remembrances in Inward Journey are strictly personal anecdotes, more than a few dig into Macdonald’s bibliography for clues to understanding the man himself. They also relate tidbits of Macdonald’s writing habits and personal theories on fiction and form.

In particular, George Sims offers a wonderful history, book-by-book, of Macdonald’s bibliography, with highlights of his best work. The final chapters by Gilbert Sorrentino and Eudora Welty describe the evolution of Macdonald the writer (and Lew Archer, the hero) from Macdonald’s earliest works to his last. In 1954’s “The Scene of the Crime” Macdonald claims the mystery novel stands to be viewed in the same light as Zola’s and Norris’ Naturalism; Welty picks up that theme in 1984 and asserts Macdonald has earned the right to be included in the said light:

Character, rather than deed itself, is what remains uppermost and decisive to Macdonald as a novelist. In the course of its being explained, guilt is seldom seen as flat-out; it is disclosed in the round, and the light and shadings of character define its true features. … His detective speaks to us not as a moralist but as a fellow sufferer.

If you have any interest in Ross Macdonald or mystery/detective fiction, and your local library stocks this book, it’s well worth a trip to your nearest branch to absorb these chapters. It’s also available online at the Internet Archive.

Twenty Writers: Scott McCloud, Understanding Comics

See the “Twenty Writers, Twenty Books” home page for more information on this series as well as a list of other reviews and essays


So far in this series, about half of the books I’ve discussed have been nonfiction and the other half fiction. This is the first time I’ve written about a text on critical theory—and it may be the best lit crit book I’ve ever encountered.

The text I’m speaking of is Scott McCloud’s Understanding Comics: The Invisible Art. Published in 1993, the book remains the definitive work on comics theory a quarter century later. Others have attacked the subject, but none come close to McCloud’s exhaustive treatment.

McCloud is an unlikely “Aristotle of comics.” Prior to Understanding Comics he was best-known for Zot!, a lighthearted superhero comic book series which introduced many American readers to the tropes and style of Japanese manga. While Zot! was a success in the 1980s, its reputation has not swollen over time, as evidenced by McCloud’s sheepish preface to a 2008 reprint.

There’s nothing sheepish to be found in Understanding Comics—McCloud is not merely comic’s Aristotle, he’s one of its best ambassadors. His belief in comics’ power and universality is unshakeable. Page after page he convincingly argues comics belong in the same inner circle as other high art forms, including art considered vulgar upon its first appearance, such as film and jazz. Comics may even be more inclusive than other forms, as the language of comics is the language of the modern world. Advertising, software, religion, news, and entertainment all employ comics’ visual cues for their own purposes. This isn’t so much a book on comics as a book on perception and semiotics.

When I first picked up Understanding Comics in the mid-1990s, I enjoyed reading comics occasionally, but only as a guilty pleasure. I’d read superhero comics as a teen but set them aside as childish even before I left high school. (And this was during the 1980s rise of so-called “adult” comics like The Dark Knight Returns and the all-but-forgotten Camelot 3000.)

McCloud’s treatise left me with a renewed pleasure for reading comics. He disassembled and reassembled what I “knew” about comics before my eyes, all the while with concision, humor, and infectious zeal. His unraveling of the “invisible art” also left me with a fresh re-looking of the world at large. I can’t think of higher praise for McCloud’s magnum opus.

The sequential art

Understanding Comics is not the first work on the principles of comics. That honor goes to Will Eisner’s Comics & Sequential Art.

Before Eisner, books on comics focused on technical production: inks, scripting, musculature, shading, etc. (The most prominent example I know of is How to Draw Comics the Marvel Way, the standard go-to guide for aspiring fourteen year-olds back in the day.) Comics & Sequential Art focused on the language of comics, much as a book on film theory would discuss camera angles and shot selection as the “language” of movies.

Prior to Eisner and McCloud, books on writing comics skewed toward technique and process.

Sequential Art‘s biggest contribution is right there in its title—Eisner put forward a general definition for comics. He held up comics as a special style of communication with unique properties and advantages. Eisner saw the field still struggling to break free of cultural restrictions (“comic books are for kids”) and waiting to be applied to broader purposes. For example, Eisner advocated using comics for technical manuals and in education.

Reading comic books in grade school may be more acceptable today than when I was young, but I suspect the suggestion still earns chuckles among certain educators. That’s too bad; Eisner remains ahead of his time. After all, while IKEA’s assembly guides and their Ziggyesque “IKEA Man” character have elicited much lampooning, their ability to transcend written language stems from the fact that they are comics. And when Google wanted to introduce the world to its new Chrome browser in 2008, it hired none other than Scott McCloud to present the software’s design and features via a digital comic book.

Understanding Comics takes many cues from Eisner’s work, and McCloud is eager to tip his hat to the master as well as introduce readers to a plethora of other comic artists you may or may not have heard of. But where Eisner’s book is head’s-down on the drawing easel, McCloud’s eyes are fervently skyward. Eisner’s intended audience is other comic artists; McCloud’s audience is everyone. To McCloud’s thinking, the language of comics permeates the modern world. He’s not merely comics’ Aristotle and ambassador, he’s its evangelist. Understanding Comics may be the first foundational lit crit text written by a fan boy.

The invisible art

The care and thought put into Understanding Comics is evident from the front matter onward. Consider that a book subtitled “The Invisible Art” opens with an enlarged image of an eye staring back at the reader—an iris, eyelashes, and eyebrow framed by a comic panel. Seeing is everything for McCloud, which is why Understanding Comics earns a space on the shelf beside Berger’s Ways of Seeing.

One bit of lingo in the software business is “dogfooding,” that is, the idea software developers should use their own software to better understand the problems and bugs their users are experiencing. (Imagine if every Apple employee used Microsoft PCs and Android phones, or if the entire workforce of The Gap wore Armani suits.)

McCloud dogfooded comics. His entire thesis, from first page to last, is told in comic form. He demonstrates the ubiquitousness and power of comics by drawing comics. The only places McCloud “reverts” to pure text are the Acknowledgments and Bibliography pages (where he can be forgiven, since I doubt anyone wants to read a Bibliography set to comic form).

Cleverly, McCloud inserts a cartoon representative of himself into the book to gently guide the reader along (and even analyzes the strategy itself as a graphic device). He deploys every trick in the comic biz to illustrate his points: alternate panel layouts, strange word balloon shapes, odd and abstract art styles, and so on. Every page offers a surprise for the reader. I can’t imagine the quarts of blood McCloud must have sweat to craft this masterpiece. Whatever criticism you may lob at McCloud, you can’t call his book dry.

After an ambitious and vivid history of comics going back to prehistory (no, really), McCloud appropriates Eisner’s term for comics—”sequential art”—and develops his own rigorous definition. From this foundation he launches into the depth and breadth of the language of comics: panels, gutters, lines, word balloons, transitions, and the utility of color (as opposed to the job of coloring, a la How to Draw Comics the Marvel Way).

McCloud’s ambitious “picture plane,” from photo-realism (left) to iconography (right) with the degree of abstraction rising up the pyramid. The eye on the left is the realm of visual and the mind on the right is the realm of ideas. Notice on the far right how McCloud considers written language a kind of “pure” iconography.

But McCloud isn’t satisfied to stay grounded on matters pertaining to comics itself. He reaches further with chapters on iconography, the nature of vision, and perception versus self-perception. He muses on the unique language of comics, where pictographs plus written word combine, and how space on the page can represent shifts in location and time, and sometimes shifting both simultaneously. He concludes with a surprisingly moving chapter on the relationship between artist and art that should be required reading for students of all creative disciplines.

Whether you agree or disagree with his conclusions, McCloud’s faculties for persuasion are appealing and impressive. The power of Understanding Comics is in taking McCloud’s tour through language and imagery, even if you don’t always agree with his destinations.

Recommendations

If you enjoy Understanding Comics, I recommend exploring the terrain McCloud mapped out. What follows is a list of graphic novels reflecting McCloud’s vision. They’re also rewarding in their own right:

  • City of Glass, Paul Karasik & David Mazzucchelli: Engrossing graphic novel adaptation of Paul Auster’s novel. City of Glass reads like a pure application of Understanding Comics.
  • Onward Towards Our Noble Deaths, Shigeru Mizuki: Mizuki’s semi-autobiographical World War II manga features a “cartoony” military against a backdrop of stark photo-realistic Pacific island landscapes, a visual strategy McCloud fleshes out in his book.
  • Shenzhen: A Travelogue from China, Guy Delisle: A story of palpable solitude, Shenzhen spends much page real estate showing off modern China via “aspect-to-aspect” transitions discussed by McCloud.
  • Asterios Polyp, David Mazzucchelli: Like Zen & the Art of Motorcycle Maintenance, Polyp is a personal tale about a man hitting the road intertwined with philosophical musings on nature and existence. As with City of Glass, Polyp is obsessed with structure, symbols, and synthesis. Mazzucchelli’s detailed visuals slyly make the abstractions concrete.

For an entertaining stroll through the lingo and icons of the funny pages, I also recommend “Quimps, Plewds, And Grawlixes: The Secret Language Of Comic Strips.”

Twenty Writers: David Kidd, Peking Story: The Last Days of Old China

See the “Twenty Writers, Twenty Books” home page for more information on the series as well as a list of other reviews and essays.


Peking Story by David Kidd

David Kidd’s Peking Story: The Last Days of Old China has settled into a somewhat unnoticed shelf of American literature: the literary eulogy.

Serialized by The New Yorker in 1955, collected in book form in 1961 as All the Emperor’s Horses, and republished in 1988 under the title it holds today, David Kidd’s book is an underappreciated classic in American nonfiction. Memoir, travelogue, New Journalism, creative nonfiction—none of these terms are a snug categorization of Peking Story. The book is wistful, mournful, and laced with dry humor—a eulogy.

As the book opens, Kidd is an American college student on a foreign exchange trip to Beijing in 1946. There he meets Aimee Yu, one daughter among many in a prominent Beijing family. In the span of a few pages, the couple are married. Courting Aimee is more glossed over than spun out, treated as a perfunctory narrative requirement. Peking Story is not a romantic book in the sense of love and matrimony. It’s a romantic book in the sense of Eastern exoticism and lost traditions. It’s right there in the subtitle: The Last Days of Old China.

As the book progresses, David Kidd the narrator develops as a kind of mystery himself. He doesn’t come off as one would imagine most Americans would talk or act in the mid-1940s, especially a college student from the Midwest. There are moments that read like a Graham Greene novel, the world-weary expatriate turning up his nose at the dreary reactionaries and their anti-imperialist manifestos—only Kidd studied at a state school, not Oxford, and his father was an automobile executive rather than a member of Parliament. That’s one of the many mysteries of Peking Story, this American narrator who sounds distinctly un-American, seemingly more comfortable in Chinese silks and soft slippers than sneakers and blue jeans.

The Last Days of Old China

Like Nick Carraway in The Great Gatsby, Kidd goes to some lengths to remain outside the book’s lens, preferring to focus on the events and people around him. Peking Story is a public story told by a very private man, and that shapes the narration and contributes to its unique form.

Kidd alludes to his private nature (and the burden of telling his story) in his preface:

Only a few Westerners who once lived [in pre-Communist Beijing] are still alive today—no more than ten or twenty of us at most, scattered throughout the world. I used to hope that some bright young scholar on a research grant would write about us and our Chinese friends before it was too late and were all dead and gone, folding back into darkness the wonder that had been our lives.

To this day, no such scholar has appeared, leaving me, as far as I know, the lone, first-hand chronicler of those extraordinary years that saw the end of old China, and the beginning of the new.

Author David Kidd
Author David Kidd

With the courtship and marriage out of the way, David Kidd eagerly moves into the opulent Yu family estate just outside of Beijing. (“Beijing” and “Peking” are Mandarin and Cantonese pronunciations, respectively, for the current capital of China. As Mandarin is now the official language of the People’s Republic of China, I use it here and reserve “Peking” for the book’s title.)

Once situated within the family compound, Kidd slides his marriage away from the reader’s field of vision. In its place he slides in the colorful Yu family and their grand estate, garden, and art collection. Beyond the compound’s walls the Communist revolution begins to encroach on their daily lives. These elements are Kidd’s true focus, with his marriage merely the frame to explain his presence on the estate grounds and in the Yu family’s lives.

The Yu’s are rich beyond the everyday meaning of the word. The family’s history and prominence extends hundreds of years into China’s past. The grandfather was at one time the Chief Justice of the Republic of China’s Supreme Court. The family estate is known for having one the best gardens in Beijing, and perhaps all of China. The Yu’s once held mansions and houses all over northern China, but declining fortunes and currency devaluation have chipped away at their holdings. By the time Kidd arrives, the Yu’s can lay claim to the family mansion, a burial shrine outside the city, and a stunning collection of historical Chinese art they cannot bear to part with.

Arriving in Beijing two years before the Communist Revolution and leaving two years after it, Kidd witnessed China’s transition from a strict traditional society with deep class striations into a political culture intent on leveling the field and erasing its past. Rather than write this story with a breathless, you-are-there urgency, Kidd describes the changes from the comfort and safety of the Yu estate. Kidd’s encounters with the new Communist regime comes fleetingly, such as when they must register with the local police that the Yu’s intend to hold a costume party. Kidd portrays the revolutionaries as dreary, inconvenient, and déclassé.

I normally hold little interest in British entertainment of the upper-class variety, with the rich lolling about on their divans and club chairs, plotting intrigue against each other, while servants rush up and down stairs attending to their every whim. Peking Story is not this type of entertainment, but it certainly skirts its edges. For all of Kidd’s blind spots, Peking Story works because Kidd’s focus is to document the Yu’s way of life crumbling beneath their feet. Rather than pick up guns and defend their estate—what an American story that would be—the Yu’s shrug, brew another pot of tea, and reflect upon their garden before it’s wrested from them. The tension between dynamism and stasis is the backbone of Peking Story.

The bronze braziers

As a fiction writer, what I draw from Peking Story is Kidd’s skillfulness at sketching out characters and painting colorful scenes with graceful economy. Although Kidd comes across as waspy throughout the book (and a bit blithe to the poverty about him), his education and breeding gifted him with a clean writing style that flows effortlessly. It’s harder than it looks.

Kidd’s narrative construction is as classical as his prose. The chapters are arranged almost perfectly. Early scenes that read as little more than humorous anecdotes are later revealed as precursors of devastating consequences for the Yu family. Kidd neatly sews disparate events together to craft chapters that compare and contrast China’s culture and the steamrolling revolution. Although “compare & contrast” rings like a English teacher’s tired essay topic, these pairings illuminate the reader’s way through Peking Story like a trail of paper lanterns.

The most memorable episode in Peking Story relates to a collection of bronze braziers the Yu’s display throughout their mansion. As Kidd tells it, the luster of these incense burners is indescribable. They must be continually heated in order to keep their sheen, and so the Yu’s charge their servants to maintain a small charcoal fire burning beneath each at all hours. Kidd writes that the Yu family has kept the fires lit and the braziers hot for hundreds of years.

Encouraged by the Communists beyond the estate walls, the servants begin to question the nature of their employment. One morning, the Yu’s discover the charcoal fires have been extinguished. The once-indescribable bronze braziers are now irreparably dull and gray.

The tale of the bronze braziers is the perfect metaphor for the aristocratic Yu family straining to bolster China’s ancient culture against the Communist revolution threatening to overthrow it all.

However, the story may be too perfect:

I hope that specialists in Chinese bronzes, and technical experts, will back me up in saying that the story is completely phony—as is, I felt on reading it, much of the rest of the book. That Kidd had married Aimee Yu was plausible, although when I knew him he was plainly gay—he might have changed, or could—entirely laudably—have married her to get her out of China. But the obviously deceptive picture that the book painted was upsetting; this is one of the few books I’ve read that made me angry.

James Cahill’s rebuttal to Peking Story is well worth the read. He voices here a suspicion I too had in the back of my mind the first time I read the story of the bronze braziers. Their sublime beauty destroyed by ideological malice seems a writerly addition by Kidd who (possibly) felt the need to put an authorial thumb on the novel’s moral scale.

I’m torn on this subject. Cahill’s objections are worth any reader’s consideration, but I still find myself drawn to the elegance and power of Kidd’s prose. I don’t particularly care about his sexual orientation, although it certainly explains why his marriage takes a back seat in the book.

In Kidd’s defense, unlike fabricators such as James Frey (A Million Little Pieces) and JT Leroy, Kidd’s falsehoods—if they are false—don’t create an undeserved authority or prop up an exaggerated persona. His presence in China is documented, as is his marriage to Aimee Yu. The parable of the bronze braziers sweetens the book, the kind of misstep even a seasoned novelist might make to seal a point with the reader.

Tiananmen Square & Forbidden city entrance, Beijing, China. Joe Hunt. (CC BY 2.0)

It’s not the first time a well-respected work of nonfiction was revealed to contain fabrications and get a pass. Questions about the veracity of Steinbeck’s Travels with Charley have been received with a shrug by Steinbeck fans and academics. If Cahill is “angry” at the “deceptive” Peking Story, he must be outraged at Steinbeck. If not, why? Because Steinbeck’s sympathies are on the right side of history and Kidd’s are not?

(If Kidd stretched the truth, it’s conceivable a kernel of truth inspired the story. Even if the braziers were not required to remain heated to sustain their beauty, it’s possible the Yu’s kept incense burning day and night throughout the household, and that one night the servants rebelled, damaging them somehow. The metaphor of an Old China lost is not so strong, but its thrust remains. Where Cahill sees deception, I see craft.)

The reader’s reaction to the story of the bronze braziers is a leading indicator of the way they’ll receive the entire book. Some will toss the book aside, disgusted with Kidd’s approval of Chinese high society and disdain of the servants. Others will sympathize with the Yu’s, for no reason other than their desire to preserve a four thousand year-old culture and its rich traditions. In either case, Kidd’s parable frames the entire book and the reader’s reception of it. It’s that kind of skill that encourages me to write a 2,200 word essay on Peking Story.

However, I’m less sure Kidd’s sympathies lie with the Chinese aristocracy per se. Kidd does not present the Yu’s as bold keepers of the flame, but rather as eccentrics of the Miss Havisham variety. Without exception, Kidd’s tragedies are the loss and destruction of Chinese art, culture, and tradition. Kidd mourns for the dispersal of the Yu collection and estate more than any death in the book. He also mourns the death of common sense. In Kidd’s hands, registering a costume party with the Beijing police is as absurd as proving to the American consulate his wife is Christian to guarantee her visa out of the country.

Then there’s the matter of Cahill accusing Kidd of kowtowing to “anti-Communist sentiment in the U.S.,” guessing Kidd was “encouraged somehow by the powerful and rich China lobby.”

Kidd may be accused of all manner of motivation, I suppose, but Occam’s Razor strikes me as appropriate here. I see Kidd as genuinely upset at the rearrangement of Chinese culture and its priorities. He seems deeply shocked to witness a four thousand year-old cultural legacy deleted in a fit of moral outrage. The suggestion of shadowy, powerful forces funding a book that, frankly, did little to shape American attitudes toward Communist China is unnecessary to explain the existence of Peking Story. I also don’t view The New Yorker—even The New Yorker of the 1950s—as a publication to kowtow to right-wing nationalists.

Fabricator or not, Kidd is forthright with his opinions and biases. When it comes to motivation, it’s simplest to take Kidd at his word. Cahill, on the other hand, appears more motivated by a sense of social justice than he’s letting on in his essay.

What’s more, for Cahill to argue Kidd misrepresented the Chinese Communists as a “mean-spirited movement” is to ignore the crop yielded by Maoism: The Cultural Revolution, an artificial civil war unleashed by Mao to silence his critics and tighten his grip on the levers of power; its annihilating purges, denunciations, self-criticisms, and “struggle sessions”; the anti-intellectualism behind the forced relocation and labor of students, leading to China’s own “Lost Generation”; and the party’s historical rewriting and reeducation tactics. Kidd’s stories, first published eleven years before the Cultural Revolution’s earliest stirrings, practically predicts the furies to unfold. It’s a literary feat almost as impressive as Graham Greene warning the United States out of Vietnam in 1955’s The Quiet American.

The 21st century may be China’s century, but Peking Story eulogizes the price China paid to make its great lurch forward.

David Kidd died in in 1996 leaving behind a life as far-removed from his Midwestern origins as possible. After fleeing Beijing, he settled in Kyoto and founded a school of traditional Japanese arts:

As a tourist attraction, Mr. Kidd did not disappoint. To sit on a cushion before his throne, listening to his erudite patter, and seeing him sitting cross-legged on his kang, a divided Chinese sofa, rustling his silken gown as he gestured extravagantly with his inevitable cigarette, was to be in the presence of a presence.

With China’s role ascending in the 21st century, I would recommend Peking Story to anyone curious to learn about China’s future from its past. For those who want to go deeper, I would pair Peking Story with the superb Wild Swans: Three Daughters of China by Jung Chang and Nixon and Mao: The Week That Changed the World by Margaret MacMillan.