The Coldest Warrior by Paul Vidich

This is a CIA spy genre novel which steals its plot from the Frank Olson “fell or jumped” story. 

The reader coming to this because of interest in the Olson story might be better off just reading some other account of it. But if they want a heavy dosage of a hero's journey spy story along with pieces of Olson, then maybe read this. The Coldest Warrior doesn’t really work for me because I’m no longer interested in spy novels and that is the book’s main function. The conclusion was quite dramatic in a cinema spy story sort of way. Maybe some filmmaker has already grabbed this one. It has a nice heroic male lead. Righteous story.

This is a story people like to exploit or at least hope to profit from. 

It’s the same story as the Netflix Errol Morris documentary series Wormwood. 

Wormwood was frustrating because it took 6 hours to tell a story. The story ends up getting lost in the details and the reenactments. Six episodes!?! Errol Morris probably wanted to get the word out, but probably didn’t mind the hefty paycheck for a production on that level. 

Fell or jumped?

Tossed.

It’s not a spoiler of this novel. 

Murdered and tossed out the window. Then covered up for decades. 

But the story is about one spy guy trying to find out what other spies were involved with this. 

That’s the story, the mystery plot not to be revealed here. It doesn’t really matter that the Olson character was murdered because he was upset with the USA using biological and chemical weapons in Korea. Perhaps having this as a minor detail that is overshadowed by the main plot of the novel trivializes it as just part of the set for this play story. It might have even helped if it had spelled out exactly why using these things in Korea was so bad.

LSD is a missed opportunity. It is not explored at all. At least it is not to blame for anything. Maybe it makes one more empathetic for a time. Maybe that is part of what happened with Olson. He tripped and saw the error of the path he was following. Some people have that reaction to LSD, don’t they? Well, this is not the novel to discuss all that.

At any rate the book was not my cup of cheap entertainment brewed from something once living into a rather standard manly adventure saga.

Times Square Red Times Square Blue by Samuel R Delany

This one sometimes took me to the same place as reading about what can be a happier life for humans in a hunter-gatherer group. It is the place of emotional frustration for me. The feeling that things could, without a lot of effort, maybe even less effort, be a lot more pleasant. The restrictions of civilization when mixed up so deeply with global capitalism create a reality that we live in that we take to be normal. But who determines “normal”? The current situation, current meaning during my experience, does not feel normal to me. It feels empty and dark and lonely and without much hope of real human connection that is not somehow connected with money. 

This book is all about connection from the most basic to more complex. Much of it centers around sex. Sex with people in public situations and in places of business fexible enough to permit it or even have it somehow built into the business model. Delany describes these places. They were mostly movie theaters and most of them were old rundown places that had shown pornography. Delany describes himself as, for years, a frequenter of such places where he would engage in oral sex with other men. 

Delany is an urban man. Raised in Manhattan. He has the spirit of a city about him and love of the random encounter, sexual or otherwise. I can only report with a great deal of shame what this book clearly showed me about myself. I was already spoiled by the isolation of suburbia before arriving to live in NYC in my early 30s, over 30 years ago. I could just be a temperamentally shy awkward man or that could have been learned in the safety and isolation of suburban life, and this was in Ohio; a conservative place in a conservative time. I never even visited a major city until age 18 when I hitchhiked to NYC by myself. Being honest about my behavior in the city, I now see that I used it as more to escape, hide out, ti become anonymous, and not be looked at too closely since my social skills and impulses were so low. Maybe if I had grown up in the city with more variety of people about, I would not have developed such lonerism. Maybe I would have found a more welcoming community where my impulses could be channeled to play with like-minded individuals rather than half buried in shame, hiding out until it’s all over. Maybe I could have connected with others better. 

I had been to several of these movie theaters he writes about. I remember Variety Photoplays on 3rd ave and the Metropolitan a couple blocks away on 14th St.. Both sites have gone to demolition and new taller buildings some years ago. I mess them, as well as the Cameo on 8th Ave midtown. 

I wasn’t as into the scene as energetically as Delany but I’m not gay, but somewhere on the bisexual scale and from Ohio, etc.

So much of this is about The Enclosure. A major part of the story of modern civilization is about Enclosure, locking away, fencing off what was once collectively free and making it owned and somehow involving a fee of labor or currency for continued usage. First there is free land where plants, animals, and human animals roam free and live from this land the best they can. But then someone wants to own this land and the people end up having to pay some way or other to survive rather than scratch a living out of the land. Or they can still scratch a living but must give the owner a percentage of their efforts to be permitted to continue surviving.  

The sex in the book is to illustrate the varieties of connection. The prime theme is that connection is better than networking. He morns the destruction of the public sex venues in the renovation of Times Square, because they can facilitate “interclass connection” through basic human sexual interest. His stance is basically anti- big capitalism as destructive of small local business that has an intimate connection to the community and street life and that  brings the safety of people around a healthy and diverse street life. 

I think he is missing some big critical part of the Enclosure. He talks about the buildings, the difference between infrastructure and superstructure, which is the skyscrapers that replaced the small, the rundown and the local with big business national brands. 

But this didn’t happen just in the 1990s the process was already going on for decades. It seems to me that most these theaters themselves were an earlier manifestation of local live theater or whatever entertainment being destroyed by the products of the Hollywood movie business already connected to Wall Street investment dazzling us with its powerful superstructure of dreams. The theaters becoming redundant with television and later even porn theaters less in use when one could watch porn at home via VHS cassettes. By the 1980s the theaters were the realm of those interested is some same sex teasing or action or the men who situationally couldn’t watch tapes at home. Of course now this is all on the internet. 

This Enclosure was very late to the city. The suburbs were built that way, with the places the public could go almost entirely limited to commercial venues such as the shopping mall which became the only place for kids to hang out and try to connect. 

There are a lot of people now who have fled the suburbs for a better life in the revitalization cities. But they are pre-conditioned for the Enclosure that is part of the revitalization. Unaccustomed to and unaware of earlier city life, they are most comfortable with the Starbucks and other familiar brands and they bring this brand familiarity and loyalty with them. 

Delany discusses women a bit and how the open, anonymous sex venues are not used by them. He envisions a sort of hostel set up where women could bring strangers or acquaintances in a public setting safer than bringing someone into the privacy of a home. Some women can and do enjoy hookups with strangers, so perhaps that is possible some time in the future as the restrictions of the ideology of the patriarchy, and its women followers, continue to crumble. 

There is a big fat novel Delany wrote about the theater sex called The Mad Man. I read that some years ago. It is rather unique I think.

Lorenzo in Taos by Mabel Dodge Luhan

This is my first reading of Mabel Dodge Luhan. I first heard of her long ago, but I don’t know from where. It might have been something as silly as Dennis Hopper buying her Taos house with the money from Easy Rider. (It’s a really nice house. One can see photo on the internet. Historical sight now.). She was a rich lady. This might have been the most important thing about her. Even in democratic bootstrap USA, this put her is a position of privilege. This is not so unusual. What is unusual is that she was the type of rich person interested in participating in bohemian culture. There is usually a supply of rich people interested in the arts, after all, if one doesn’t have to work one must do SOMETHING for amusement, to fill the time. The book has some reference to this with people including Lawrence suggesting that she do something, anything, like her own house chores rather than having servants do it. This for her own good. Because she is bored?

 This memoir is of her relationship with novelist D H Lawrence. It was not a particular intimate relationship. It seems, by her account, that this was because of the emotional walls he built. They were not lovers or anything. It is a little unclear if she wanted him for a lover or not, but apparently this did not occur.
(I read this book after reading nonfiction book that has a lot of details in it about syphilis in the late 19th and early 20th century. That book How the Brain Lost Its Mind: Sex, Hysteria, and the Riddle of Mental Illness mentions some notable people who had syphillis and had to deal with the marginally effective to harmfull, treaments for it as well as the disturbing capasity for the disease to vanish in the body only to reapear more horribly later, maybe. The insane asylums of the late 19th and early 20th centuries were filled with people insane from syphilis. The book mentions her as a victim of the disease and it’s treatments without going into much detail. It says that she suppressed until later the memoir material that that struggle. Yet while reading in my mind, I knew that this was somewhere in the background on her text. Sexually transmitted disease in hard to eradicate since people have problem confronting sexuality directly.)

 
Her story is that she invited this famous English novelist to come live in New Mexico more or less as her guest. She is quite interested in the Indians. She wanted D H to be as well, to write a book about them so apparently the white Euro people would finally understand them. She wants him to be a sort of popularizer, in between interpreter, of the spiritual aspects of Indian culture. A rather tall order for an Englishman on his first trip to the USA. Did she think of this as a sort of commission? 

Frieda and DH Lawrence were a globetrotting couple when they showed up in Taos. Globetrotting then consisted of steamships, and railroads, these new 19th century travel technologies. This sped things up considerably beyond the capacities of sail powered ships and pre-railroad land travel. The Lawrences have traveled around the world before they arrive in Taos from the west. They had just gone to try to live in Australia where Lawrence produced the novel Kangaroo, which I have written about earlier. 
Mabel Dodge Luhan was married to an indian. She tells of how this occurred. She says he set up his tent outside her house and wouldn’t leave because he wanted her. And apparently he got her. So she has this kind of vague character of Tony, her husband, in the book, He the strong silent type so we never really know what he is thinking through all this. In a way, while acknowledging the cultural gap between the indigious, recently from basic hunter-gatherer, and the civilized white Euro types, she separates Tony enough from the others that he always seems remote and unknowable. We get her take on what Tony thinks of the Lawrences now and then and it’s usually that he doesn’t really like them around so much.

She goes into her motivation to draw them there. First with a kind of stock disturbing view that sounds like she is well trained by the patriarchy:  “Only a man can change a woman from a devourer into a creator.” Really? Isn’t this kind of the other way around?
“Perhaps I had dimily and intuitively expected Larenzo to be the Transformer for me and had summoned him for that purpose from across the continents. Well, he had come. He had vivified my life and possibly I had done as much for him. But apparently nothing significant had come of it beyond the momentary illuminations that flashed between us and that always ended in the fretful and frustrating hours of bewilderment.”
This strikes me as an odd sort of buyer’s remorse. The man was an obsessed writer and in a complicated marriage in a forgien land, and he was a poor kid from the coal country in England. Way out of any familiar elements. Her expectations of him feel extreme.

As a reader of some of the novels of Lawrence I don’t think I would look at him at all as much of a savior or answer man for anyone really, not even for himself. He questions a lot and wonders about a better path. Yes, it seems spiritual in some way, and wonders about a connection to ancient ways of human association. He doesn’t provide a path to it. I can understand that Luhan would associate that with the world of the native Americans. I think she was trying to give insight from the indians to Lawrence and get something from him in return, become her “Transformer”.
He writes to her about some confused emotions he apparently thought she had between her feelings for Tony and DH.
“You need have no split between Tony and me: never: if you stick to what is real in your feeling in each direction. Your real feeling in two directions won’t cause any disharmony.--But don’t try to transfer to Tony feelings that don’t belong to him: admit all the limitations, simply. And never again try to transfer to me: admit the limitations there too.”

Included with the memoir are a number of letters Lawrence sent her. Some are part of the memoir itself, and several are dumped into the end. None of these at the end have any explanatory notes attached to them so it’s easy to be at a loss regarding some of things and people he refers to. These letters at the end of the book are all from after Frieda and DH left Taos for more traveling. (And seeing her children. Luhan does tell us that these two have a troubled relationship. Frieda had left a husband and three children to be with Lawrence who, according to this book, did not permit her to see the children. Yet in the letters from DH he talks about Frieda being off with her children and Frieda writes of this too. I don’t know the whole story. Luhan also mentions the hard time the Lawrences had with his fellow Brits and the government authorities during WWI because she was German. He writes about this extensively in Kangaroo.)

The end of the book letters are not really letters between close intimates. This whole book has the slight distaste of a woman trying to buy access to one of the great novelists of her day and that her plan just didn’t work out. After they leave Lawrence is more of less ill for the remainder of his life. He died very young, age 44. (I would like to think that he had a flash at the end of the eternal bonding with the basic at the very end as being maybe what he was searching for all along.) 
After they are gone from Taos Luhan sends him part of her memoirs that she intends to publish. He is supportive and gives her input repeating this in letters. He tells her to publish it herself in consecutive letters and strongly suggests that she ought to change all the names of others in the text. It seems that she is writing about her Greenwich Village artist bohemian socialist salon days when she had a relationship with famous journalist John Reed.
He shares his notions about writing with power and conviction:
“Heaven knows what it is to be honest in writing. One has to write from some point of view, to leave all other aspects, from all the remaining points of view, to be conjectured. One can’t write without feeling--and feeling is bias. The only thing to put down on paper is one’s own honest-to goodness feeling.”

In this end letter section it is clear that the searching wealthy Luhan has continued to search. From reading his letters it is clear that she is really into Gurdjeff and keep trying to get Lawrence to go sit with him or whatever one did with Gurdjeff. DH is resistant all the way. He doesn’t want Gurdjeff, and is tired of a certain type of searching, but she keeps on telling him to go. He never does, of course.
By 1928 he has written Lady Chatterley’s Lover and tells her he plans to publish it himself of an uncensored version and needs the money. He prints 1000 copies to sell for $10 each. This of course worked out well, and he died two years later.

A mere two years after his death she publishes this book. She claims in the beginning that she sent it to Frieda who was OK with it and said that DH was better at the end. I assume she meant different from the not that pleasant depiction of Luhan’s, but this is all rather vague.

Reading this with little other information is like hanging out with someone who complains about someone else unknown to the listener. It is impossible to discern the truth of the matter in other people’s complicated relationships.

This book quite interesting at the beginning, but it slowed since it wasn’t all that deep and felt a little too gossipy-celebrity in an old school literature culture sort of way.

Twice Real by Silvia Sanza

This short novel is set in NYC, (people, apartments, streets, work) and in the Catskill region as experienced by NYCers, (cute shops, trees, lakes, natural beauty). The time, 1990-91, is set by the first gulf war and the first President Bush. This sets a vague yet palpable atmosphere of outer danger, especially after a character is eliminated in a sudden newspaper headline kind of  way. 

This novel is not so much about plot. The heart of the novel is perhaps a look at desire and connection between individuals and the connections and desires those impulses lead to. The plot elements come in to illustrate the power and consequences of these emotions, the plot serving the characters rather than story for its own sake. Is this what makes a book literary fiction rather than, genre, crowd pleasing pop product?
But wait!

The novel centers on a handful of interrelated characters, plus a wildcard. There is a feeling of passage from youth, a time of personal movement into middle-age. Death is looming, but in outer danger, suicide,  and world events, the news, rather than the dull slow terror of old age and natural passage. The fear is centered in not so much personal physical decay, but the mid-life feeling that you are basically here for awhile if not taken out by accident or some other random outside of the self occurrence. Or some madness. 

There is a male-female couple of a not explicitly specified age gap. Large enough that his sister felt entitled to label it, “jail bait” or some other slur. He is a writer of perhaps little worldly success, yet not without some means, some purchasing power for things like trips to Europe and connections offering summers in the available empty country place. She has a job, so it is not all framed in the rich old guy - gold digger young thing, cliche.
So perhaps they have a gap of as much as 20 years.
The age gap is not so much of an issue as the variation of their longings, desires. She has a healthy eye for other men, looking anyway. No harm in that. Still she is not exactly contented. Not entirely sold on this relationship. And, that guy over there looks hot. 

He seems to be settling, older.
His desire, longing, is to bond with his 20ish nephew in an innocent dad like way. 

The wildcard is a character who attaches herself to the young woman in the age gap couple. She seems of another class, or at least sinking, brought down by her compulsive overeating and obesity, into a living as a freelance apartment cleaner. The lack of physical beauty and hardly-getting-by type of job would perhaps put her at a different economic status than her object for connection, the woman in the apparently privileged couple. Economic issues of separation are not explicitly the business of this novel, so her character can represent a self one could become with a little age, hard luck, and doubtful choices, all of which are easy to come by. This character could be seen as a harbinger of an undesirable future for the young woman she is attracted. Or the person who is sinking into quicksand and might just pull you in with her if you offer a hand. Contaminated by insanity, hard luck, poverty, or a combination of those. Insanity and poverty might be catching. It could be some strange telepathic viral thing, it’s transmission still unknown. 

The kind of literary poetic quality of the writing, with focus on the characters, allows one to forget plot for a pleasant spell getting aquatinted with the tapestry of these desires. We get to know Wildcard in this way and it ends up that she is chaotic enough to drag the others into plot weather they like it or not. 

There is a nicely staged climax by the summer lake when the individual desires clash and the literary novel reader awakens from that dream and finds themselves on noir alley. 

Satisfying read. 

I came by this novel in a rather odd social media connection way. I got curious and I’m glad I did. 

The Blackboard Jungle by Evan Hunter

This is the first big selling novel produced by Evan Hunter. It came out in 1955 and reflects his own work as a teacher in such a school for a very brief time. 

It is a well done, plot and character heavy novel, that has some grounding in social concerns. Namely, Are these schools working at all? 

The novel has a lot of common association with the youth culture. The screenplay also by Hunter was directed by Richard Brooks in a movie that came out in 1955. Unfortunately the content of it all was overshadowed by pop music. Legend has it that Rock Around the Clock recorded by Bill Haley and his band was the first rock song used it a movie. The song became a big hit and it is said to have begun the rock and roll change over to this newer type of music being heavily marketed to young white kids. Mass communication and corporate power took care of the rest of it, niche marketing and a few other things less important produced the generation gap. It is interesting that a book that is so thoughtful ended up marketing the generation gap and made the juvenile delinquent appear cool and edgy. 

Of course this doesn’t happen front reading the book. The JD’s in the book are confused kids trying to live through a time in an institution that doesn’t work and practically forces them to act like jerks to get along with the other kids. But they sure look cool and act cool in the movie. Movies have trouble getting deeper than surface cool. The movies become a battle of the Cools, whoever's image comes off the better, is the most memorable, wins the movie. The Joker will outlast Batman. He is just Don’t-Give-a-shit-COOLER.

The notion of Rock Around The Clock, a really basic dumb lyric diddy, overshadowing impact of the novel’s story is discouraging. 

(I don’t recall if I ever saw the movie all the way through.I know it’s a good movie, a riveting melodrama.)

The plot of the book is basically a new young male teacher gets his first job out of college in a tough all boys vocational high school in The Bronx, NYC. It’s the old hero’s journey with him coming in all idealistic but having that questioned with the disillusioning reality of it. It is far far from easy and physically dangerous. 

He also has a, pregnant with their first, wife at home in their housing project apartment.
 

There is a very interesting scene in the book about youth culture that has its base in the marketing of music. Another new male teacher, Josh, befriends our Rick. Josh is a big pop music fan with a big record collection. He and Rick go out for a drink and Josh tells him excitedly about his plan to connect with the students by bringing in his cherished record collection. 

The class where he brings the records is vividly set out in the novel. He very reverently presents the big band stars from 10 years before. This is met with disrespect and ridicule. The novel is written before the conversion to vinyl LPs.The shellac records back then were stiff brittle and breakable fragile.  

It is in no way explicitly stated as to the meaning and point of this episode, but I have a high level of interest in the effects of art, culture, and mostly popular culture on our lives. I’m on the lookout for stuff like that and the record gap scene appealed to me from that perspective. 

The point of conflict with the teacher and the students is the students’ long standing alienation from a system that they can feel is not at all in their best interests. So any individual teacher vanishes behind the role of being another agent for the enemy system. The same thing works in reverse with the jaded tuned-out teachers seeing the students as all being “garbage” in a dumping ground school. This is all clearly pointed out in the novel.

In the record scene a new teacher still has hope of connecting with the students with something that he takes as indisputably wonderful, something he holds dear and loves. Something connected to when he was like them, only 10 years ago, young, and open. Here another problem beyond to one of the school system surfaces. Culture went from locally based to centralize and attached to the capitalist need for growth, the cultural is artificially split up in service to market profits. Telling a specific demographic, “You are special!, They are old, here is your special music, that crap is old and wasn’t as good as they thought it was to begin with because they were less sophisticated back then”. None of these people have control or even cognizance of this hijacking of whatever human culture once was, not that is was much better in whatever, “Back then”, but surely somewhat different before mass electronic media controlled by remote corporations dominated our common entertainment choices. They/we just go along as conditioned.
This is all illustrated in the record scene. Reading it today the absurdity is amplified by our view of the pop music of 60 and 70 years ago. It’s all old, old fashioned stuff on some level even if it’s “great”. The kids in the scene ridicule the big bands, Glenn Miller, etc while asking for Julius LaRosa. LaRosa was no radical performer, just the latest product in a long line. 

Also perhaps concerning shifting points of view the young female teacher is badly handled. It could have worked a little better if this could have been two characters. She is sexually assaulted, attacked by student in the hall top ripped open, breast exposed, rescued by our hero Rick. But couldn’t some teacher other than her come on to him in an unsubtle way later in the novel? We get how he has to deal with workplace sexual harassment, that is fine and interesting, but it should have been a different character than the one he rescues from being raped.. 

Aside from that this is the type of novel that anyone going into or involved with teaching at an institution, might want to read. It is very sad that sixty years later the same problems continue in the same type of institutions, more or less. It this kind of 19th century home/work/school idea ever going to work out again, if it ever did?

It very enjoyable and rich read in multiple ways.  There is a lot of plot and story that moves things along and issues to think about. Nicely done.

Happy New Year, Herbie & other stories by Evan Hunter

Uncle Jimbo’s Marbles, takes place in a summer camp for kids. The focus is on a 19 year NYC man who has a job as a camp counselor. There is a lockdown at the camp. They can’t leave and become deeply involved with playing marbles. The story is a commentary on humanity’s obsession on unimportant things like the accumulation of symbolic  wealth. It’s a comic story. Good. 

——-

The Tourists, is set in Jamaica with a NYC middle class couple on vacation. They encounter a shopkeeper. They are tourists and acquire knowledge as to who they are. Interesting story. 

——-

On the Sidewalk, Bleeding, is set in an alley in NYC. 

A stabbed young gang member contemplates his life as his life runs down the gutter. The story about getting caught as a symbol of something stupid and frivolous when other things are more important. 

——-

The Fallen Angel is a story set in a low budget circus. It is in the voice of the circus owner. The content is supernatural which is not the type of thing Hunter usually came up with. It’s kind of getting into Bradbury turf. Not the best of the lot. 

——-

Alive Again

This one is set in midtown NYC. 

Former lovers meet on the street and go for a drink. 

He wants to start back up again with their affair. She was married and still is. 

Good little story. Deeper than the circus thing above. 

——-

The Prisoner 

Here we have a cop story. Probably not one that would satisfy the McBain fans, but I don’t know. I never read Ed. 

In this a hard boiled, and corrupted, NYC detective gets a bit of a lesson from a young woman he brings in on a prostitution charge. 

Patriarchal and cop entitlement content. 

Pretty good story. 

——-

S.P.Q.R

This one feels to be from actual experience or an appearance of that because it involves two writers hired by a Hollywood producer to write a script based of Julius Caesar. This in in first person again, the voice of one of the writers whose only book was a novel Slum Boy (= Blackboard Jungle?) 

It’s an amusing story that pokes fun at Hollywood and it’s ideas of what would be popular while commenting on the hired hack side of the writing business. 

——-

The Final Yes

This story of to-be-or-not with PTSD content is so far the most powerful of the collection. 

It is sort of the inverse of Melville’s “I prefer not to” in. Bartelby. The man in this story says yes and loses, or so he thinks, and this has become a sort of obsession that is destroying him. 

This one gave me goosebumps. 

Great. 

——-

The Innocent One 

With a setting amongst Hispanic bean field workers, this one is a bit more of a stretch into the unknown by the author. Not that he doesn’t have any working class experience

At any rate, the setting is for a quick story about suspicion and misunderstandings as one worker mentions the other’s wife in casual conversation setting off an afternoon of jealousy with no basis whatsoever in any evidence or accusations. 

——-

Pretty Eyes

Many of the Hunter stories and books I have read are about NYC people on vacation. 

This is one of those. A woman who is single is on vacation in Florida. 

She doesn’t think she is attractive and doesn’t believe the men who come on to her by telling her how attractive she is. This is a rather sad story about miscommunication after a series of lies. 

How can we know if someone is being truthful if we think they want something from us?

I liked this one

——-

Million Dollar Maybe 

This is an early comic story that has to do with a trip to the moon. Early, meaning copywriter 1953, like 16 years before people got to the moon. 

A magazine publisher finds he is trapped by a promotion a previous owner had published in 1926. 

Interesting story as preposterous as it is. 

——-

Happy New Year, Herbie. 

This is a story about class, regional differences and bullying. It is set on an island in the East River in NYC. Hunter spends an unusual amount of time with the details of this setting. After WWII students are housed on an island called South Brother. The young narrator and his wife are living there with other students. They have a young child although only 19 and 21. The woman is distressed that she is a mother younger than she really wanted to be derailing plans for a bohemian artist/study life in Paris after school. 

But the story, the longest in the book, shifts to a new couple who arrive. They are not like the others, older, he is 38 she 36 and from the Midwest with accents that are said to be grating to these NYCers. 

The tone shifts to the narrator seeing that a local young mover and shaker is bullying Herbie the new man who is learning to be a TV repairman. He is also open and kindly, but different which leaves him vulnerable to the bullying. The narrator sees the injustice and attempts to set it right 

Anti-bullying in a theme in the writings of Evan Hunter. It is what both Last Summer and Come Winter. The major theme of those novels.

Interesting and elaborate story that ultimately left me with a warm feeling. 

Side note on the material about the 19 year old mother in the story who would rather have waited. My mother was 19 was I was born. I don’t think that was a good thing for her, my father or me.