Exhuming McCarthy

The Investigator: A Narrative in Dialogue
Reuben Ship
London: Sidgwick & Jackson, 1956
119 pages

Joseph McCarthy was not long for this world when The Investigator was published. Politically and physically, he was all but dead. The American demagogue had been at his most powerful just two years earlier when The Investigator hit Washington. A shell fired from across the northern border, its blast was felt in Congress, the Senate, and was heard, repeatedly, in the Eisenhower White House.

The Investigator began life as a radio play written by Reuben Ship, a Montrealer who'd first achieved acclaim at McGill for his production of Henry IV. He'd gone on to write and produce anti-fascist plays for the YM-YWHA Little Theatre and Montreal's New Theatre Group before chasing opportunity south of the border. This worked for a time. Ship's chief gig was the radio serial The Life Of Riley, but then the U.S. Immigration and Naturalization Service came calling. Two fellow members of the Radio Writer's Guild suspected Ship of being a Communist. In September 1951, he was called before the House Un-American Activities Committee. He pled the fifth four times, then accused the Committee of jailing people who wanted peace. 

In January 1953, Ship was deported. This would've happened months earlier had he not suffering from chronic osteomyelitis. The writer's journey back to Canada began with his removal in handcuffs from a California hospital. He was transported by plane and train to a Michigan prison hospital ward, where he spent the better part of a day. The following evening, Ship was placed in a police wagon, driven across the Ambassador Bridge, and dumped on a Windsor street.

Do not be distracted by the drama leading to The Investigator; the work deserves the greater attention as one of the most impactful lampoons in American history.

Broadcast on CBC Radio on 30 May 1954, it begins with the titular character about to catch a flight. A man named Garson, speaking on behalf of "the Committee," is pushing for the cancellation of a scheduled hearing. The Investigator will have none of it:

"The committee can't stop me. The Party can't stop me. Nothing can't stop me."

But then the plane carrying the Investigator explodes in mid-flight. Confused, but angry as always, he is met by Inspector Martin of the Immigration Service:

Martin, a kindly soul, seeks to reassure:

"The fog will lift soon. You won't have any trouble seeing in a moment."
   "How did I get here? Where are the other passengers? How many survivors were there?"
   "There no survivors, sir."
   "You mean I'm the only one?"asked the investigator incredulously.
   "There were no survivors."
   "What are you talking about?" the Investigator asked angrily. "are you crazy? I'm here... I'm alive aren't I?"

The fog lifts only when the Investigator comes to recognize that his time on our mortal coil has ended. Once this occurs, he's escorted to the vicinity of the Main Gate. There he is met by the Gatekeeper, who  informs the Inspector that he must be investigated by the Permanent Investigating Committee on Permanent Entry before he can be admitted. Should the Investigator's application for admittance fail, he will be deported "Down There."

The Investigator balks:

As he awaits the hearing, the Investigator is visited by the Committee: Titus Oates, Tomás de Torquemada, Cotton Mather, and George Jeffreys, 1st Baron Jeffreys, better known as "The Hanging Judge." The four souls assure the newcomer that his application will be accepted, then address the purpose of their visit. They seek to replace the Gatekeeper with the Inquisitor. Says Oates:

"We feel that in you we have a man who can bring to the committee's work the latest inquisitional techniques."
   "In our day, it is true, we were without peers, Torquemada explained. "since that time we understand much progress has been made. Compared to you, sir, we are mere novices, and we bow to your superior knowledge and experience."

The Gatekeeper is soon deposed, largely due to the skills of his replacement. Once the Investigator is in charge, he suspends new applications and opens investigations into souls who've been granted permanent entry; the Committee accuses them of "disloyalty, actual or potential."

Socrates, Thomas Jefferson, John Milton, and John Stuart Mill are confronted with their writings, and are condemned as subversive.* A watchmaker is caught up in it all for no other reason than his name:

All are deported, sent from "Up Here" to "Down There."

These deportations and others have unexpected consequences. Down There, Martin Luther and John Stuart Mill are making speeches about the Rights of the Damned, John Milton and Thomas Jefferson are demanding a Congress, and Oliver Cromwell and Tom Paine have organized a Lost Souls Militia.

The Voice, ruler of Down There is livid. He orders Titus Oates to bring the Investigator to meet him – outside the Main Gate, of course – then launches into his complaints:

[T]hat madman, Socrates, keeps asking me if I know what virtue is. Me!" The Voice was full of outrage. "And that lunatic Karl Marx..."
   "Which Karl Marx?" the investigator asked hopefully.
   "How should I know? There are hundreds of them – all over the place!"

We're now thirteen pages away from the ending and I dare not spoil it.

The book begins with an author's introduction, 'A short history of a long-playing record,' reminding that The Inspector began life as a 1954 CBC radio broadcast. Heard by Americans living close to the northern border, its reputation quickly spread. Somehow, tapes began circulating, after which came bootleg LPs. It took England's Oriole Records to figure out the rights issues.

Starring John Draine, James Doohan, and Barry Morse, amongst others, it can be listened to here online thanks to the Internet Archive. A masterpiece, even at the distance of seven decades its impact is immediate and impressive. 

And it's surprising how smoothly the script became a book. I delighted in each and every page.

Interestingly, The Investigator has never been published in the United States. It hasn't been published in Canada either, though Ship's script is one of eleven included in All the Bright Company: Radio Drama Produced by Andrew Allan (Kingston & Toronto: Quarry/CBC Enterprises, 1987).

Joseph McCarthy died on 2 May 1957, likely of cirrhosis of the liver. He was 48 years old. Where he is today, Up Here, Down There or nowhere at all is anyone's guess.

* In the radio play, Canadian rebel William Lyon Mackenzie is one of those whose words are used against him. Neither he nor his writing appears in the book.

Access and Object: A compact hardcover in black boards with simple gold type on the spine, the jacket and nine illustrations are by the brilliant Ronald Searle. My copy was once part of the Scarborough Township Public Library's collection.

The Scarborough Township Public Library Bookmobile, c.1956.

Access: As far as I can tell, the book enjoyed just one printing. Every one of the thirty copies currently listed for sale online is a bargain. At £5.00, a near Fine copy offered by a bookseller in Poole is the least expensive. The most expensive comes from a Bath bookseller who offers a Near Fine edition coupled with a very well preserved copy of the advance proof. Price: £67.00.

It is by far the best buy I've stumbled upon this year.

Little Willie, Willie Won't Go Home

Willie the Squowse

Ted Allan
Toronto: McClelland & Stewart, 1977
57 pages

What I admire most about Ted Allan was his ability to take an idea and rework it repeatedly, in the process supporting himself, his wife, and his children. "Lies My Father Told Me," a very, very short story – 782 words – was written on the instant for a 1949 issue of The Canadian Jewish Congress Bulletin. It went on to become a radio drama, a television drama, a stage drama, and a feature film for which Allan earned an Oscar nomination for Best Original Screenplay.

On March 29, 1976, the evening of the award gala, Allan joined Federico Fellini (Amarcord) and Robert Towne (Shampoo) in learning that he'd lost to Frank Pierson, who'd written the script for Dog Day Afternoon. The bad news came from Gore Vidal:

Allan's screenplay is brilliant and moving, but it was not original. I think he received the nomination because the story had been published in a monthly Canadian newspaper, and not, say, The New Yorker. I'm guessing that not too many people in Hollywood heard the adaptation he'd written for CBC Radio. I'll wager fewer still saw the hour-long European television production, in which Allan moved the setting from Montreal to Dublin. I've yet to meet anyone who remembers the play. From what I understand, it included musical numbers.

The very same year that "Lies My Father Told Me" appeared in The Canadian Jewish Congress Bulletin, Allan dashed off a pseudonymously published pulp novel, Love is a Long Shot, for News Stand Library, the paperback imprint of Export Publishing. Thirty-five years later, he rewrote the novel and managed to place it with McClelland & Stewart. It won the 1985 Stephen Leacock Memorial Medal for Humour. In between the two different versions, as "John Smith," Allan adapted the plot as a CBC movie titled Love on the Nose. As I understand, he later shopped another adaptation, this one titled Love is a Long Shot, around Hollywood. 

All this brings me to Willie the Squowse, which is by far the shortest and most enjoyable book I've read this year. It began as a story written for his children – unpublished, it would seem – which was bought by George Pal. It was reimagined by Hungarian expat László Vadnay as The Great Rupert. Look carefully, and you'll see Allan's name on the movie poster:

Sadly, Pal didn't direct the film, and Allan had nothing to do with its screen adaptation. According to son Norman Allan, Ted Allan hated the film.

In 1950, the year The Great Rupert was was released, the CBC broadcast Allan's radio adaptation. I find it charming. You can hear it through this link. 

Twenty-three years after that, Allan entered "Willie the Squowse" in the 1973 Times Children's Story Competition. It earned earned second place, was published in The Times Saturday Review, and was subsequently included in The Times Anthology of Children's Stories (London: Cape, 1974). I believe it's on that strength of this late notice that, at long last, "Willie the Squowse" appeared as a book on its own. Printed in Great Britain, all indications point to my McClelland & Stewart edition as a Cape co-publication; no effort has been made to alter the anglicisms.

The story takes place somewhere in England, in two houses – one well-kept, the other run-down – built back to back. Mr and Mrs Pickering live in the nicer place. They're supported by their son, Richard, who teaches at a university. An impoverished animal trainer named Joe lives in the lesser house. Willie, his most recent project, is a squowse – squirrel father/mouse mother – who swings on a trapeze, marches like a soldier, and can hum "Alouette." Seems pretty impressive, but theatrical agent Pete has a better understanding than I of the box office: "Sorry. The women would scream. There'd be panic in the theatre. No manager could risk it. An elephant act, a dog act, a seal act, even a cat act, but not a squowse act, Joe."

The failure to attract interest means Joe and Willie must leave their squalid lodgings the very next day. Joe falls asleep quite easily, but not Willie. The restless squowse paces about until he notices a small hole in the wall separating his home from the Pickerings'. While exploring, he's knocked out by a chunk of falling plaster. Because Joe can't find the squowse the next morning, he comes to the conclusion that pal Willie has left him. 

Money means nothing and everything in Willie the Squowse. Mr and Mrs Pickering are troubled by their reliance on Richard until they receive a fantastic letter stating that stock purchased long ago will now be paying off in weekly cheques of two hundred pounds. These they convert into ten pound notes which Mrs Pickering pushes through a hole she's made in the kitchen wall. "I want to know the money is near us," she explains to her husband. "I want to feel it around us." They never touch the money, nor do they tell Richard about their windfall, and so he continues to support his parents. 

Just the thought that the money is near brings the Pickerings peace of mind:

During their walks around the the park they noticed two trees they'd never noticed before. They heard music they had never heard before. And most of the neighbours seemed to be very neighbourly, which was something else they had never noticed before. They didn't worry when it rained and they didn't worry when the sun shine and sometimes they giggled thinking how silly they had been to worry so much.

What they don't know is that the money isn't there. For reasons I won't describe, Willie, who has taken up residence in the wall shared by the two houses, has begun pushing ten pound notes toward the new residents of his former home. 

Because Willie the Squowse is so short I'll say no more, except to recommend it. I'm even more keen on Allan's 1950 CBC radio adaptation. Ted Allan played Joe in that production. As I say, he really knew how to make money from his work.

Sadly, I'm nowhere near so savvy.

Object: A very slim hardcover with black boards. The jacket is, of course, by Quentin Blake. I count fifty Blake illustrations in the book itself. 

Access: Sadly, Willie the Squowse is no longer in print. Happily, used copies are plentiful online. The most common is the American edition, published in 1977 by Hastings House. The last edition was published in 1980 by Puffin.

Willie the Squowse has been translated several times: French (Histoire d'un souricureuil), Spanish (Willie el ratiardilla), German (Willi die Eichmaus), Finnish (Ville Hiirava pankkiirina), and Chinese (松老鼠阿威).

The complete text to Willie the Squowse can be found here on Norman Allan's website. 

Related posts:

Remembering Ted Allan on His Hundredth

Pulp Noir à Montréal

The Author as Thespian

Canada Reads 2020: "Shouts Out to Tara!"

After much delay, Canada Reads 2020 has come and gone. Congrats to Samra Habib, whose memoir We Have Always Been Here won the game show and was crowned "The One Book to Bring Canada Into Focus."

I listened with as much interest as ever, and was surprised to hear from people asking my opinion. This may have had something to do with "No Country for Old Books," an article I wrote last year for Canadian Notes & Queries. If so, the head doth swell.

As in other years, my thoughts take the form of complaints, like the 2014 decision to focus on the new.

Canadian Notes & Queries #104, Spring 2019

For those keeping track, all but one of the titles in this year's competition was published in 2019, the outlier being Eden Robinson's Son of a Trickster, which appeared in bookstores in 2017. The average age of a Canada Reads 2020 title was 13.5 months.

Canada Reads' preference for the front list was something I discovered through a letter CBC Books sent to publishers. An eye-opener, you can read it in "No Country for Old Books." In researching the game show, I've found CBC Books to be less than forthcoming. Imagine my interest when host Ali Hassan revealed, just yesterday, that Canada Reads has a style consultant named Tara Williams.

I remind that Canada Reads is a radio show.

My main quibble with Canada Reads remains. In its early years, panellists chose the books they wished to promote. In 2002, Leon Rooke, argued on behalf of The Stone Angel, a novel he'd read many times. The same can be said for Denise Bombardier, who in 2007 championed an old favourite in Gabrielle Roy's Children of My Heart.

This year, each of the "defenders" revealed that they had not read their respective books before being asked to participate.

We Have Always Been Here was a national bestseller before it made Canada Reads. It had won a Lambda and had been longlisted of the RBC Charles Taylor Award. The memoir was the subject of a Globe & Mail feature and a subsequent review. It was a 2019 "Globe 100" title. Published internationally, We Have Always Been Here was featured on The Next Chapter, and in the pages of  the Toronto Star, NOW, Stylist, and something so distant as the Tampa Bay Times. CBC Books had been pushing We Have Always Been Here for more than a year, beginning with its excited 3 June 2019 article "10 Canadian books coming out in June we can't wait to read."

And yet... and yet, in making her case, Amanda Brugel, its defender, stated: "I wouldn't have been aware of this book until it had been brought to my attention via this competition."

Isn't this a sad state of affairs?

One last thing:

Ali, "The One Book to Bring Canada Into Focus"?

In 2020.

You're a comedian.

Was it too obvious?

Full disclosure: I wanted Eden Robinson's Son of a Trickster to win.

Related post:

No Country for Old Books

Reading Gérard Bessette on His Hundredth

Not for Every Eye [Le libraire]
Gérard Bessette [trans. Glen Shortliffe] 
Toronto: Macmillan, 1962
98 pages

Yesterday marked the centenary of Gérard Bessette's birth. I spent an hour or so reading this translation of his most celebrated work. A novella – not a novel, as Macmillan claims – it isn't very long.

Bessette's title, Le libraire (The Bookseller), refers to narrator and protagonist Hervé Jodoin. It takes the form of a journal written on Sundays, when the bars are closed. The first entry involves Jodoin's arrival in the fictional Quebec town of Saint Joachim, where he has accepted a job in a bookstore. In truth, it's as much a bookstore as, say, Indigo; the better part of the establishment has been given over to toys, stationary, and religious articles. The book department is in the rear, allowing Jodoin to pass a good portion of the day in a quiet snooze.

Killing time is Jodoin's main occupation. He quickly settles into a routine – "book shop, beer parlour, room; room, book shop, beer parlour." At the end of each workday, he heads for Chez Treffelé, a working class bar where he drinks alone at a table located conveniently near the lavatory. After that – meaning, after the bar closes – Jodoin makes for his rooming house bed.

A crack appears in what Jodoin describes as "the monotony of my life" when the store's proprietor, Léon Chicoine, determines that his new bookseller is a believer in liberty and is a proponent of free thought. Chicoine unlocks a door to what Jodoin had thought was a closet, revealing the "sanctum sanctorum," a small, windowless room lined with books found in the Index Librorum Prohibitorum, and listed by Abbé Bethléem and Père Georges Sagehomme.*

Chicoine demands Jodoin's discretion, and asks him to sell the volumes (at inflated prices) to "serious purchasers." Our hero agrees, and starts off for Chez Treffelé "caressing the innocent notion that perhaps after all I was not yet completely useless, that perhaps my life might have a meaning."

Sadly, Jodoin's new customers fail to give meaning to his life:

They sidle up to me with a conspiratorial air and murmur into my ear the name of some author or book, all this in the same tone of someone asking for a condom or a suppository in a drug store. Others are more evasive still; they shower me with meaningful glances and ask me to recommend "something a little out of the ordinary" or "something with a kick to it."

Jodoin quickly comes to resent the extra work involved in retrieving volumes from the sanctum sanctorum, recognizing most aren't at all interested in liberty and freedom of thought: "If these jokers are looking for an aphrodisiac, they can find more effective ones."

The crack widens and drama begins with a pimply-faced boy he recognizes as a student of the Saint Roch School, "located a couple of miles from the town in open country, in the middle of a vast domain belonging to  a community of clerics who combine the dairy industry with the rearing of young men." The student asks for a volume by Voltaire, and whether "through curiosity or a kind of fellow-feeling produced by nostalgia for my own school days," Jodoin retrieves a copy from the sanctum sanctorum.

Le libraire was first published in Paris because Bessette was unable to find a Quebec publisher. This was in 1960, mere months before the Quiet Revolution began. Within two years, the novel had found a Quebec publisher, and had been translated and published in English.

I received this copy of Not for Every Eye as a gift on my twenty-third birthday. I read it the very same summer. A university student at the time, I used its story, and the story of its publication, in writing papers on the Quiet Revolution.

Much of the revolution took place when I was asleep in a crib.

I have people like Gérard Bessette to thank that it did.

* Researching this piece, I was amused to discover that Georges Sagehomme's Répertoire alphabétique de plus de 7000 auteurs avec leurs ouvrages au nombre de 32000 (romans et pièces de théâtre) qualifiés quant à leur valeur morale (1931), was revised nine times; the last – published twenty-nine years after his death – is Répertoire alphabétique de 16700 auteurs 70000 romans et pièces de théâtre cotés au point de vue moral.

Trivia: There is an actual St-Joachim, Quebec, located roughly thirty kilometres downriver from Quebec City, but it bears no resemblance to the town depicted in Bessette's novel.

More trivia: Adapted by M. Charles Cohen for CBC Television (1963) and CBC Radio (1967). The former starred Jack Creley, Larry Mann, and Barbara Hamilton.

Object: A slim volume consisting of white boards with purple type, as an objet Not for Every Eye is my favourite Macmillan of Canada book. Credit goes to Leslie Smart. Arnaud Maggs designed the jacket.

Bibliophiles will appreciate the adverts for other Macmillan titles on the back cover. I own three, but have read only one.

Access: The translation may be neglected, but it is not rare. Very Good copies are offered online for as little as ten dollars. I've seen some evidence of a softcover edition that may have been a rebind. It would seem that in 1977 the novella was absorbed into Macmillan's moribund Laurentian Library, though I've yet to encounter a copy. I have, however, seen the 1984 edition, issued by Exile (right). It is still available for purchase.

A second English translation, which I've not read, was published in 1999 by Guernica Editions. Its translator, Steven Urquhart has written a very interesting essay about the need and process:

Retranslating a Quebec Classic

The Urquhart translation is also still in print.

Remarkably, there is a Czech translation, Skandal V Knihkpectvi (Scandal in the Bookstore; Prague: Odeon, 1974). Collectors may be interested in a copy inscribed to Bessette by translator Ea Masnerova on offer from an Oregon bookseller.

Copies of Le libraire are plentiful. The cheapest copy I've seen offered online is going for one Yankee dollar. Few copies of the first edition, published in Paris by Jilliard, are in evidence.

P is for Plus ça change...

National Post Editor-at-Large Diane Francis has been making the rounds flogging her latest. I've felt some sympathy. Her book, Merger of the Century: Why Canada and America Should Become One Country, landed in the midst of the government shutdown in the republic to the south. Ever the capitalist, Ms Francis did her level best of capitalize on the sorry mess, beginning her interview with Evan Solomon thusly:

If we were to merge, like quickly, like East and West Germany, we'd be 35 million Democrats and the Republicans wouldn't get anywhere in the House or in the White House. So there you go. There'd be no more logjams.

That Ms Francis, a born and bred Chicagoan, thinks Canadians would flock to the Democrats en masse suggests that she has much to learn about her adopted country; that she believes Canadian children would be granted the right to vote suggests that she knows nothing at all about the Twenty-sixth Amendment to the Constitution of the United States.

Ms Francis began with the very same assertion when speaking with Anna Maria Tremonti, which leads me to think that it also features in the book itself. I don't know for certain because I just can't be bothered to check it out of the library.

Hers is a tired, old idea (see: Smith, Goldwin), one that comes around every three or four decades. As with Encke's Comet, no one much notices – but the few who do, like her publisher's jacket designer, find little in the way of inspiration.

Looking through my library I see that I've bought only one volume on the topic: Canamerican Union Now! Published in early 1978 by Griffin House, it's the lone book by D.K. Donnelly, a computer industry consultant from Toronto. Canamerican Union Now! was very much a knee-jerk response to the November 1976 election of the Parti Québécois. The author considered the months – months, I tell you – of handwringing that followed, before throwing up his own right and left in frustration.

Canamerican Union Now!

Diane Francis surrenders because, as she put it on Power & Politics, the Russians and Chinese are "wolves at our door." The author repeated the same words on The Current, in her National Post column, and in numerous – albeit identical – online posts.

Griffin House pitched its book as an open discussion, but it would seem that the computer industry consultant was talking only to himself. Though Merger of the Century, a HarperCollins lead title, ranked 8,358 on Amazon.ca at the time of this writing, I believe Ms Francis has done a bit better. Her newspaper's website has comments on the book from several dozen people, including the author herself. What's more, Amazon has three customer reviews! Someone calling himself "Interested American" informs: "the numbers and data (and new ideas) are presented here for us to take in, especially about the Arctic NW Territories [sic] I had little awareness of, and consider in light of a changing world." Jared Nova chimes in with enthusiasm: "I'm an American who's always had a great interest in Canada. But this book helped me realize how much I didn't know."

The naysayer – tellingly, I think – is the sole Canadian, who observes that "the US nearly gutted itself financially and nearly took down the rest of the western economies", then dares add that "Canada's pragmatic mix of capitalism and socialism protected us from most of the blowback." He also notes that we don't kill each other nearly as much.

"The above critique is infused with anti-American bigotry", responds South Carolina's "C.I. Kendrick", who also believes Tim Burton's Charlie and the Chocolate Factory rates five stars. "A new Classic!"

I was greatly disappointed by Charlie and the Chocolate Factory myself... and, truth be told, I've never taken to the idea of a union between Canada and the United States. It's not that I don't love my American cousins, but that I see their country as being, well, foreign.

Those few campaigning for union, like self-described "Canadian-American" Diane Francis, may blame my father, whose record collection introduced me to the idea before I began elementary school. From The Brothers-in-Law Strike Again! (Arc, 1966):

            Oh, we share a common border with a country that you know,
            Just take a look at your atlas, it's the one that's down below.
            There's fifty states in the union and something should be done
            To forget the War of 1812 and make it fifty-one.

            Chorus:         

            There'll be color television,
            Social security,
            Racial segregation,
            And the Birch Society.
            You can cheer for Jimmy Hoffa,
            You can join the Klan today.
            You can even burn your draft card
            When we're Canada, USA.

Everyone!

Now the ladies... 'cause with 35 million more Democrats an Equal Rights Amendment might finally get passed.

Note to American readers: Canada now has color television. We spell it "colour".

Trivia: The first Brothers-in-Law concert took place on 22 November 1963, the day the United States suffered its twenty-fifth political assassination.

There's a cultural difference for you.*

* "I have this great quote in the political chapter. Peter Drucker – who's the business guru of gurus, the late great Peter Drucker – and he said 'Culture eats strategy for breakfast.' So, I get it, but I'm a business person, I deal in facts and reality." 

– Diane Francis on The Current, 30 September 2013

Mr. Child's Simple Story of Dramatic Suspense

Mr. Ames Against Time

Philip Child

Toronto: Ryerson, 1949

244 pages

This review now appears, revised and rewritten, in my new book:

The Dusty Bookcase:

A Journey Through Canada's

Forgotten, Neglected, and Suppressed Writing

Available at the very best bookstores and through

Biblioasis, Amazon, Chapters/Indigo, and McNally-Robinson.

Related post:

Mr. Steven Against Company Policy
(in which the cover artist is identified)