What History and Sexology Reveal about the Problem of Pedophilia
It is a hot midsummer's day in a small town just north of Atlanta shortly before the Epstein sex scandal hits the fan. Maybe the teenage girl who passes me as I exit the department store is sexy. But I don't think so.
She's asparagus thin and much taller than the older rounder woman, possibly her mother, who enters the store alongside her. They do not speak to each other or to me. The girl's gaze is downward, her attention is fixed on a cell phone. She wears more makeup than her young skin requires, and her dishwater blonde hair is pulled into a bun at the back of her head.
I notice these two, in part, because the girl can hardly walk. She's wearing denim blue jeans and platform shoes that add about three inches to her height. The jeans are not yoga pants or tights, but they might as well be. That's how snug they are. Between the shoes and the jeans, it's not difficult to figure out why she walks like a robot without bending her knees. And yet, she clip-clops into the store as if evolution had always intended for humans to walk this way.
I can't see my own face, but I don't think I react. The sight of a skinny teenage girl in tight jeans doesn't do anything for me. I see her as a girl in the process of growing up. And that's about it.
For the guy entering the store a few feet behind the girl, however, something different is going on.
Nabokov's Nymphet Remains Misunderstood by a Culture that Winks at the Sexualization of Children
I don’t care about Jeffrey Epstein. I care about the girls. I see the term “Lolita Express” in the news alongside passenger logs that include the names of rich and famous men, most of whom are white, and the only relief I feel is that Epstein did not have the audacity to give that name to the aircraft himself. The reference to Nabokov's famous novel came from the press, as did the nickname for the 72-acre island he owns in the Caribbean—"Orgy Island."
Cute, but it's not funny
Lolita is a tragic figure. She is completely undone by the lust of a sophisticated, well-educated adult, who by possessing the object of his desire transforms it into something entirely different, initiating her demise. The novel is a double tragedy. It is the story of Lolita's ruin and that of her putative stepfather and abductor Humbert Humbert.
Consider what it means to call Espstein's airplane "Lolita Express." Especially when the alleged sex trafficking of underage girls is part of the equation and an alleged open secret.
Three Lovely Things to Think On: Rilke, Paul Gauguin & Music from Wong Kar-wai's 'In the Mood for Love'
In 1903, James Allen wrote a significant little book which says, "As a man thinketh, so shall he be."
I've been reflecting on that line lately because I've taken a few days to absent myself from the news. Funny how a little adjustment like that can make a difference in the way you feel. Not that I've got my head in the sand. You can't do that entirely.
But backing away from the daily mayhem seems to have improved my overall sense of well-being.
I've heard it said that you can't solve a problem by focusing on it too much. That only makes the problem larger and more difficult in your mind. Solutions come when you step back far enough to see the big picture.
It also helps, I've found, to bear in mind what St. Paul said about thought. You know the line. "Whatever is true, honorable and right, whatever is pure, lovely, and of good repute--if there be anything excellent worthy of praise, let your mind think on those things."
To that end, dear friends, here are three things that seem to fit Paul's paradigm. They make me feel better. Maybe you'll get something from them too.
Why We No Longer Hear Angels - and a Few Words about Tennis, Chess, Prison & the Healing Power of Classical Music
If you’ve ever visited the circus or a city like San Francisco, then you know a barker is someone who stands outside a theater or sideshow and calls out to passersby to get them interested in what's happening inside the tent. The word comes to mind just now because there seems to be a lot of barking in the public arena these days. And a lot of braying too. All of it a distraction from the things that probably matter most to you—if you haven’t been too distracted by all that noise to figure out what that is.
So, let me depart from my usual commentary in order to share a few things I found touching recently, which you may find interesting too.
WHY WE NO LONGER HEAR ANGELS
The following clip is from Faraway, So Close—a beautiful 1993 film by Wim Wenders, which I heard about this year from a writer friend on Twitter. At only two minutes and fifteen seconds, this bit of dialogue gets to the core of why all that barking can be harmful. It depicts a telepathic conversation between two angels, Raphaela (Nastassja Kinski) and Cassiel (Otto Sander), as they consider why it’s so difficult for their guidance to reach us the way it used to back in the day.
The last time blackface rode into town, the showdown ended with Megyn Kelly losing her job at NBC Today and disappearing from television. But not without lawyering up and collecting a reported $30 million due on the remaining two years of her $69 million contract. That’s how much the network wanted to put an end to the controversy.
Now Blackface is back and ready for another showdown. Will Governor Northam of Virginia lose his job over blackface and Ku Klux Klan images in his medical school yearbook? Will Justin Fairfax, the African-American Lt. Governor, next in line for the top job, be impeached over sexual assault allegations? Can Virginia's attorney general come out of this mess unscathed after revealing that he too has worn blackface? What about Katy Perry's shoes and Gucci's blackface sweater? Or Cindy Sherman's controversial "Bus Rider" series, which became known in the art world as "Cindygate"?
And what about Jimmy Kimmel, Sarah Silverman, and Jimmy Fallon, who have also resorted to blackface in order to keep the masses entertained? Or the dozens of other American entertainers listed on this Wikipedia entry?
Is there no one who can rid us of this egregious insult once and for all?
With Albert Finney’s departure from the world stage on February 7, there’s plenty to say about his exceptional career. Two favorite scenes from The Dresser (1983) are included here. The film is about a small ragtag acting troupe that brings Shakespeare to the provinces. It’s a sendup of bombastic old-school acting and a poignant study of the lead actor’s personal assistant or “dresser.” The film opens with Finney's character in the role of Othello. As you can see from the above photograph, his entire body has been darkened. Tom Courtenay, his dresser, is shown assisting him with a post-performance bath.
Taken on its own and out of context, the image is both compelling and off-putting. It seems especially relevant to the current social moment when blackface is trending yet again. What does it mean when a white actor darkens his skin to play Othello? Is that the same as the kind of blackface historically used to denigrate African Americans? Or something different?
Why 'The Green Book' with Its Echoes of Greek Myth, Huckleberry Finn & Cyrano de Bergerac Is a Must See Movie of 2018
One critic calls it Driving Miss Daisy in reverse. But for my money The Green Book goes a lot deeper as it takes a long, hard look at what ails us—and hints at what’s required to heal our national divide. Even though it’s set during the early 1960s before passage of the Civil Rights Act, the movie’s themes could not be more relevant to today.
If you’ve never heard of the actual Green Book, which gives the film its name, you’ll learn during this two-hour excursion that even high-profile African-Americans were not allowed to eat or sleep in “whites only” establishments when they performed in the American Deep South. The film won’t tell you this, but it was a Harlem post-office employee, Victor Green, who published the book. Between 1936 and 1966, the Green Book was the essential guide for black travelers, providing a city-by-city list of restaurants, hotels, and gas stations where you would not be humiliated or harmed.
“Of course they’re guilty. How is it possible for men to cross women time and time again and go unpunished? If men were held accountable they’d hang hour after hour, every day of the year.”
This crucial line from the new adaptation of Wilkie Collins' A Woman in White comes during the first 60 seconds of a visually striking five-part series on PBS. But something about it seems all wrong. Not because it lacks truth but because it does Collins' novel an injustice.
Part of the fun of the story--one of the first and finest mysteries ever written--is deciding for yourself who did what to whom and whether they're guilty or not.
This 2018 adaptation seems to tip the hand in favor of certainty from the get-go. Its avenging-victim theme is so pronounced, I wondered if screenwriter Fiona Seres was more interested in making a case for #MeToo than in remaining true to the taut thread of suspense that makes the book such a thrilling ride
I like big books, and I cannot lie. My background includes talk radio, newspapers and TV news. I've hosted a morning-drive classical music program on the California coast and published nationally in Reader's Digest, the Christian Science Monitor, and Playboy. I've won awards for my journalism and my fiction. One of my essays even made it into an anthology for college English courses. For real? Yes, for real.
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