Posts Tagged ‘Todd Walton’

What’s In A Name?

Thursday, August 5th, 2010

(This essay was written for The Anderson Valley Advertiser August 2010)

“Fate tried to conceal him by naming him Smith.” Oliver Wendell Holmes

As I answer the ringing phone, I am distracted by my cat chasing his tail and do not hear the brief telltale silence presaging a stranger seeking money. “Hello. This is Doralinda Kayamunga of the NRA calling for Mr. Tom Walsmar.” I hang up, though in retrospect I wish I’d thought to ask Doralinda how she got Tom from Todd and Walsmar from Walton.

My childhood friends delighted in calling me Toad Walnut, and did so with such frequency that their teasing ceased to rankle. Please note: their playful distortion of my name was intentional, whereas the thousand and one subsequent manglings of Todd and Walton result, as far as I can tell, from endemic mass idiocy. I have been called Tom, Toby, Tad, Ted, Tony, Don, Rod, and Scott hundreds of times in my life, usually in combination with Watson, Walters, Weldon, Waldon, Walsmar, Wilson, Welton, Waters, Waldo, and most recently Watton.

For goodness sake, my name is not Jascha Heifetz or Ubaldo Jimenez or Ilgaukus Christianoosman. In England, Walton is as common as Smith. My surname derives from Walled Town, and in medieval England nearly all towns were walled towns. In those long ago days, a person might be known as Roderick of Walled Town or Sylvia of Walled Town, and over the ensuing centuries, William of Walled Town became Bill Walton of UCLA and the Portland Trailblazers.

I’m sure that you, at one time or another, have had your name and/or names misread and mis-said, but I have yet to meet anyone with a name as simple and straightforward as mine who experiences such persistent moniker mishandling. My wife, Marcia Sloane, her first name frequently spelled Marsha by even her close friends, and her last name often presented minus the E at the end, posits that the very simplicity of Todd Walton is the cause of people mistaking my name (s) for others. She has yet to convincingly explain why simplicity breeds confusion, and in support of my theory of rampant idiocy I remind her that when she recently gave a talk at the Unitarian, both the Beacon and the Advocate referred to her as Marika Solace.

Perhaps the most egregious distortion of my first name came in 1967 at the outset of my first year of college at brand new UC Santa Cruz. Dazed and confused, I dutifully followed the orders in my freshman orientation packet and went to consult with the advisor assigned to me, a nationally renowned sociologist I shall not name. This mean little man would soon be locally renowned as a middle-aged sex fiend preying on gullible undergrad females. To that end, he made sure only females landed on his list of advisees. So why was I on his list? Because some administrative dweeb transcribed my name Todi, and this horny old fart took the misspelling to be an Italian (or possibly Finnish) girl’s name. Needless to say, he was extremely displeased when a sweaty boy and not some svelte female darkened his door. After a brief and icky meeting, he grimly suggested I find other counsel. Todi, indeed.

“And we were angry and poor and happy, 
and proud of seeing our names in print.
” G.K. Chesterton

When I published my first novel Inside Moves, I did what all first-time authors do; I visited myriad bookstores to see if they were carrying my book. In several of these stores, my book was shelved in the hobby section, the resident geniuses having read the title as Inside Movies. When the book and subsequent film provided me with a brief stint of notoriety, I was asked to provide congratulatory blurbs for other books. And on the back cover of one of these books I was Tod Wilson, author of Night Moves. On another, I was John Walters, author of Forbidden Pulses, my second novel being Forgotten Impulses. What a woild!

“Proper names are poetry in the raw.  Like all poetry they are untranslatable.”  W.H. Auden

In 1973 my mother offered me her doddering and essentially worthless Ford LTD so I could move with my girlfriend and our paltry earthly possessions from Palo Alto, California to Eugene, Oregon. We got as far as Sacramento when the old car began to shimmy like my sister Kate. By some miracle, we managed to pull into a wheel alignment garage moments before the car could shake into pieces. As it happened, we had just enough cash to fix our coach, but the mechanic said he was booked solid for three days.

And so, resigned to crashing on a friends’ floor for the duration, I despondently signed the estimate sheet. But when the mechanic saw my signature, his eyes widened and he blurted, “Walton? You’re a Walton? Walton’s mountain? John Boy. The Waltons. That’s our favorite show in the whole world. That show…that show is the story of our life. You’re a Walton?”

I had never seen The Waltons, but I’d heard of the popular television show and been called John Boy by countless cretins, so I vaguely knew what this fellow was talking about. I also knew that the creator of The Waltons was named something like Hammer, and the stories were based on his family’s history. However, since Hammer lacked the grace and elegance of Walton, he decided…

“I gotta tell my wife,” said the mechanic, nodding hopefully. “Could you…if we did your car this afternoon could you hang around so my wife can meet you?”

“Sure,” I said, struck by the happy realization that for the first time in my life there might be some advantage to being named Walton.

And though I felt compelled to explain to these good people that I was no relation to the fictional characters they worshiped, they would hear none of my disclaimers. I was a deity to them, and all because I hadn’t followed the lead of many of my cohorts and changed my name to Rainbow River or Jade Sarong.

The mechanic’s wife presented us with a special pumpkin pie “just like the Walton’s have for Thanksgiving supper.” She spoke of the Waltons in the present tense, for they were very much alive to her.

This blessed nonsense culminated in the mechanic donating all parts and labor to our exodus from the golden state. Then he fervently shook my hand and declared that meeting me was one of the best things that had ever happened to him. Yet neither the mechanic nor his wife seemed stupid or deranged. Indeed, they struck me as intelligent and resourceful people, their only shortcoming the inability to distinguish a television show from what they imagined to be a docudrama set in the Deep South about people related to me.

When I asked if I might know their last name, the mechanic said, “Oh, it’s a common old name where we come from.”

“Still,” I said, having finally surrendered my fate to the largesse of satirical angels, “I’d love to know your last name?”

“Knuckles,” said the mechanic and his wife, speaking as one.

“Knuckles?” I echoed. “I’ve never heard of anyone named Knuckles.”

“Dime a dozen where we come from,” said the mechanic’s wife. “And every last one a cousin.”

“Tigers die and leave their skins; people die and leave their names.” Japanese Proverb

That is, if the name left is actually your name.

Marcia and I just took possession of our two new CDs. The first, So not Jazz, features Marcia on cello and yours truly on guitar and piano. The second, 43 short Piano Improvisations, is just that: forty-three musical haiku. Our wonderful UPS delivery person brought the myriad boxes to our door, and as we gaily opened them to make sure the CDs were, indeed, ours and not those of a Fresno Reggae ensemble (which happened the last time we made a CD) I noticed the boxes were addressed to Todd Watton and Marcia Sloane. Oh, well. Just a silly typo. Todd Watton. No problem.

Yes, problem. A few days after we sent out the first batch of our CDs, my brother, a highly adept computer and Interweb person, emailed me to report that all forty-three of my piano improvisations and all nine of my collaborations with Marcia were showing up on iTunes and several other digital download sites under the purview of Todd Watton. Web crawling logarithms were gobbling the misnomer and spreading it hither and yon throughout cyber space, and good luck replacing that leading T in Watton with the L we so very much wanted to be there instead.

We contacted the manufacturer and they promised to do what they could to rectify the situation. We are moderately hopeful the erroneous moniker will be thoroughly expunged from the electronic highways and biways, but we won’t hold our breaths. Fortunately, I subscribe to the philosophy that the occurrences composing so-called reality are not random, but only seem random because we lack sufficient data to explain why the occurrences are occurring. In honor of this philosophy, I have coined the word confluencidental, and I hope one day this grandiloquent word will be granted entry into the Oxford English Dictionary and possibly into the yet-to-be-established Buckminster Fuller Hall of Fame. But again, I digress.

“What’s in a name? That which we call a rose by any other name would smell as sweet.” William the Spear Shaker

Ultimately, when my body dissolves into the mother of all molecular whirlpools and my life essence goes wherever life essences go, my names will only live as long as it takes for the people who remember me to die, for the books I’ve published to turn to dust or flame, and for the recordings I’ve made to become unplayable. Thereafter, Todd Walton (or Tom Walsmar or Toby Watson or Todi Watton) will only be remembered if things he or she made—songs, poems, stories—take on lives of such vibrancy that future generations will feel compelled to keep those creations alive. And should such miracles transpire, the names attached to those creations will surely be irrelevant.

I once met a guy who claimed to have written a famous song stolen from him by the person who got famous and rich for writing the song. I have no doubt this guy honestly believed he’d written the famous song the other person got the credit and money for writing. But I never liked that song, so I didn’t really care one way or the other.

Todd and Marcia’s new CDs and songs are available for sampling and purchase at UnderTheTableBooks.com.

The Double (Illustrated)

Friday, July 16th, 2010

(Dave Smith posted an illustrated version of The Double on his marvelous Ukiah Blog Live, and I liked his version so well I decided to replicate it here. This memoir originally appeared in The Anderson Valley Advertiser and was posted many moons ago on this blog.)

I still find it hard to fathom that there are men walking the earth who resemble me so exactly that even their close friends can’t tell us apart. But ever since I was a teenager, and until quite recently (I’m approaching sixty), I have had several remarkable experiences of being taken for someone I am not. These were not incidents of mistaken identity at a distance. No, these were encounters with people—complete strangers—who saw me up close, studied me, spoke to me, and swore that I was the person they thought I was—a person they knew intimately. And when I told them I was Todd, and not Mike or Paul or Huey or Jason, they thought I was either joking or lying. Furthermore, they told me I possessed this other person’s voice and physical mannerisms to such an uncanny degree, that if I was not the person they believed me to be, I must be his identical twin—or his ghost.

&

I was a junior in high school—1966—when I was first mistaken so completely for someone else. I was coming out of Discount Records in Menlo Park, California, when an immaculate two-door 1956 Chevrolet, black top, gray bottom, pulled up beside me, and the driver rolled down his window to say, “Hey, Mike. Listen to this. Something doesn’t sound right.” Then he gunned his engine. “See what I mean? Carburetor?”

“I don’t know who you are,” I said, shrugging politely. “And I don’t know anything about cars.”

“Mike?” he said, incredulously. “You’re not Mike?”

“I’m sorry. No.”

“Wow. You look just like him. Clothes and everything. And you sound like him, too.”

My outfit—blue jeans and T-shirt and high-top tennis shoes—was not particularly original in that era, and so I thought no more about this encounter until a week later when I came out of a guitar shop in Redwood City, and another 1956 Chevy, baby blue bottom, white top, white wall tires, pulled up beside me.

“Mike,” said the driver. “Can I come by a little later? Fucker’s missing. Listen.” And then he revved his engine, too.

“I’m not Mike,” I said, shaking my head. “Apparently I look like him, but I’m not him.”

The guy shut off his engine, got out of his car, and confronted me. He was big, and he scared me. “What the fuck you talkin’ about, Mike?”

“I’m not Mike,” I said, holding up my hands in surrender. “And I don’t know anything about cars. Nothing.”

He squinted at me. “You trippin’?”

“No, I’m…not Mike. My name is Todd.”

He frowned deeply. “You’re not Mike DeCamilla? Sequoia High?”

“Todd Walton. Woodside High.”

His jaw dropped and he gazed at me open-mouthed for a long time, as if waiting for me to…become Mike.

“Somebody else with a car like yours, only a different color, thought I looked like Mike, too. Black top, gray bottom.”

“Saxon,” said the guy, nodding. “He told us about you. Mike and me and…we thought he was…fuck, man, you not only look like Mike, you sound like him. Exactly.”

In retrospect, I wish I had asked this guy to introduce me to Mike, but I was so intimidated by him, I didn’t think to ask. And the next person who thought I was Mike was the last person I would have asked to introduce me to Mike.

I was in Discount Records, a favorite hangout of mine in the early days of Folk Rock, a place away from our parents where three of us could cram into a listening booth and blast Buffalo Springfield until the clerk banged on the glass and told us to turn Bluebird down.

I was flipping through the Jazz records, looking for a new Herbie Hancock, when a young woman with bleached blond hair, heavy makeup, and big blue eyes brimming with tears, approached me and whispered, “Mike?”

I shook my head. “I’m not Mike. Some people think I’m Mike, but I’m not.”

“I knew you’d be here,” she said, her jaw quivering. “In the Jazz section. I knew it.”

“I’m not Mike,” I said, wanting to console her. “Is he…your boyfriend?”

She gaped at me, shocked. “How can you say that? How can you be so cruel?”

“Because I’m not Mike,” I said, smiling sadly. “I’m Todd. Do you see that guy at the counter buying a record? That’s my friend, Dave. And he will tell you that I am not Mike. You want to go ask him?”

Then she, too, squinted and frowned at me. “You look exactly like him,” she said, nodding. “But now I can see you’re not him. Sorry.”

Shortly thereafter I grew a mustache and was never taken for Mike again.

&

Nine years later—1975—I was living with my girlfriend in a garage in Eugene, Oregon. We were poor as church mice.

I love that expression for all its implications. Anyway, one evening we decided to cut loose and go to a café and split a cup of cocoa. This is not fiction. In the year I lived in Eugene, my girlfriend and I went out twice, and going for that cup of cocoa was one of those times.

We entered the student-run café, ordered our cocoa, and sat at a small table, feeling quite decadent to be spending a dollar on cocoa when we might have more prudently spent it on groceries. But we were young and impetuous and wanted to have some fun. Business was slow, only a few tables occupied.

“That guy keeps looking at you,” said my girlfriend, glancing sidewise at a man sitting with a woman across the room from us.

I turned to look at the man, smiled at him, and then said to my girlfriend, “He seems harmless enough.”

“He’s weird,” she said, whispering harshly. “He’s staring at you.”

My girlfriend and I were not on the best of terms, our relationship doomed for the umpteenth time, this cocoa date a last-ditch effort to inject a tiny bit of levity into a life of poverty devoted, for my part, to the practice of learning how to write. And so I took her complaint as part of her ongoing assault.

“Just ignore him,” I said, sipping our cocoa. “Please?”

“Paul?” said the man, calling to me. “Paul.”

“Oh, great,” said my girlfriend, rolling her eyes. “Now he’s talking to you.”

I looked at the man again—early thirties, fine leather jacket, expensive shoes, black curly hair—only this time I didn’t smile, and the poor guy jumped in his seat as if I’d struck him. Then he turned to the woman he was with, a striking brunette, and looked at her with terror in his eyes.

“Let’s get out of here,” said my girlfriend. “This is totally freaking me out.”

“Can we finish our cocoa?” I was furious. “I can’t handle the garage right now.”

“We could go to the library,” she said, plaintively. “Look at art books. Read the paper. Play the card catalogue game.”

So we got up to go, and the man and woman jumped up and hurried over to us.

“Paul,” said the man, reaching out to me. “It’s Jeff. And Rachel. You know us, don’t you?”

“My name is not Paul,” I said, instantly convinced the guy truly believed I was someone he knew—someone named Paul. “My name is Todd.”

“Why?” he asked, searching my face. “Why did you change your name? So we couldn’t find you?”

“I’m very sorry,” I said, looking first at him and then at Rachel, “but I didn’t change my name. I thought about it, but I never did. I’m Todd, not Paul.”

And Rachel said, “That’s exactly what Paul would say. You are Paul, aren’t you? The way your hands move when you talk. Your eyes. You’re Paul.”

I shoved my hands in my pockets. “I am not Paul.” I turned to my girlfriend. “Would you confirm that, please?”

“He’s not Paul,” she said, sneering at me. “He’s definitely Todd.”

But Jeff and Rachel were still not convinced. So we stood there for a short infinity while they struggled to accept the apparently unbelievable proposition that I was not Paul.

Finally, Jeff said, “I’m Jeff Kovacs. We lived together, Paul and Rachel and Andrea and Colin and Fritz and Sarah and I. In Ithaca. New York. You…Paul disappeared five years ago. No word since. You, Paul…it destroyed us. And if you’re not Paul, you’re his identical twin.”

“When was Paul born?” I asked, bringing forth my driver’s license. “I was born in 1949. I’m twenty-six.” I handed Jeff my license. The photo, in which I resembled a mafia hit man, was two years old.

“Oh,” said Jeff, looking from the license to me. “You’re not Paul. I’m so sorry.”

Rachel took the license and looked from the mug shot to me. “Even so, you could be Paul.”

“I’m so sorry,” said Jeff, bowing his head. “Seeing you is like seeing him again.”

&

In 1979, I was visiting my sister in Los Angeles. She lived at the end of one of those narrow little canyon roads in the hills behind UCLA, and just down the hill from her place was an outdoor sculpture studio adjacent to a lovely Spanish hacienda—red-tile roof, turquoise window frames, bougainvillea climbing the white walls. The large stone sculptures were the work of the woman who lived there, Anna Mahler, the oft-married daughter of the famous composer Gustav Mahler. My sister said that Anna enjoyed her neighbors visiting her sculptures, so I went down to have a look.

As I was engrossed in looking at the sculptures, Anna, a handsome woman of seventy-five, came out of her house, gave me a startled look, and said, “My father. You look exactly like my father when he was a young man.”

&

On a funnier note, some years later (circa 1985), I was walking down a dimly-lit hallway in a Sacramento restaurant en route to the men’s room, when a woman came toward me, stopped suddenly, and gasped, “Oh my God, you’re Huey Lewis. Oh my God. I am such a huge fan. Oh my God. It’s you.”

“I hate to disappoint you,” I said, feeling oddly flattered, “but I’m not Huey Lewis.”

“I totally understand,” she said, placing her hands together and bowing to me. “You must get hassled to death. Could I get your autograph?”

“I’m not Huey Lewis,” I said, shaking my head. “Bad lighting.”

“I won’t tell anybody,” she said, coming closer. “May I kiss your hand? The Power of Love is my favorite song in the whole world.”

“That’s great,” I said, allowing her to kiss the back of my hand. “But I’m really not Huey Lewis. Truly.”

“I understand,” she said, turning my hand over and kissing my palm. “But this is the chance of a lifetime for me.”

“I’m not Huey Lewis,” I said, pulling my hand away and darting into the men’s room.

When I came out of the john, the woman was waiting for me, and she had another woman with her. And this other woman emphatically shook her head and said, “That’s not Huey Lewis. That’s Elliot Gould.”

&

Most recently, whilst pondering the peaches in Corners of the Mouth, Mendocino’s finest grocery store, a woman with long white hair sashayed up to me, smiled mischievously, and gave me a very friendly hug. “Jason,” she said, with mock indignation. “When did you get back from India? Why didn’t you call me?”

“I’m not Jason,” I said, looking into her eyes. “And I’ve never been to India, and I’m pretty sure you and I’ve never met.”

She took a step back, held her breath for a long moment, and said, “I’m sorry. I thought you were Jason. You look just like him. You even have his body.”

“Well,” I said, selecting my peach, “I apparently look like lots of people. Or lots of people look like me.”

“Now that,” she said, pointing at me and laughing, “is exactly what Jason would say.”

Todd Walton only looks in the mirror when he shaves and right before he brushes his teeth. His web site is underthetablebooks.com

Writing Good

Saturday, July 3rd, 2010

(This article originally appeared in The Anderson Valley Advertiser, July 2010)

I daresay creativity cannot be taught. Creativity can be engendered, encouraged, cultivated, and supported, but being creative is as natural as breathing, and so to purport to teach creativity is to lie. And the multi-billion dollar creativity-teaching industry in this perpetually adolescent culture of ours is just that: a big fat putrescent lie. And the crown jewels in this cartel of deceit are the several hundred MFA programs in Creative Writing sponsored by academic institutions large and small that yearly hoodwink tens of thousands of misguided people, young and old, who very much want to become more accomplished writers and have succumbed to slick fairy tale propaganda promising mastery and success with their writing in just two or three years of apprenticeship to writers who, almost without exception, cannot write their ways out of paper bags let alone teach anyone to write any better than they.

I am particularly sensitive to and alarmed by this Creative Writing MFA fraud because several extremely promising writers I’ve been privileged to work with have been severely damaged if not entirely ruined by either undergraduate creative writing classes or these insidious MFA programs. I did my best to warn these folks of the pitfalls of embarking on such misadventures, but the temptations were apparently too many, the propaganda too convincing, and the alternative of decades of solitary labor too daunting, so they surrendered to the academic combine, walked into the maws of institutionalized idiocy, and sacrificed their inherent originality and uniqueness to systems run by sycophants and frauds.

Or to quote Allen Ginsberg, “I have seen the best minds of my generation destroyed by madness,” and I have witnessed a dozen marvelous writers deformed and defused by the madness of MFA programs in Creative Writing.

Twenty-some years ago I was hired to design and run the Creative Writing Department for the California State Summer School for the Arts. The founding mandate of this summer school for artistically inclined teenagers was that the heads of each department should be accomplished artists in their fields apart from any academic credentials they may have accrued. I was the only department head without a college degree, and though I parted ways with CSSSA after five fascinating years, in the history of that still extant school I remain, as far as I know, the only non-degreed department head they ever had.

I had never taught creative writing when I took my one and only state job, nor had I ever taken a creative writing course. However, I had published novels with big New York publishers, written screenplays for big Hollywood movie companies, published dozens of short stories, and practiced writing for twenty years, so I was confident that practicing was the best way for people to learn to write. I hired teachers who had similar notions about training young writers, set up a schedule of twice-daily practice sessions for the month we’d be working with our mob of ambitious teenagers, and we got to work.

The first thing I discovered was that most people, even those who want to be writers, are reluctant to just sit down and write whatever comes to them. They need prompting. So I invented a bunch of exercises to trick people into writing without thinking too much about what they were writing. Thinking too much about what we are writing is a huge obstacle to maximal writing flow; thus all my exercises were designed to expeditiously circumvent the inner editors/critics/intellects and postpone their arrivals until it was time to rewrite. Analysis and criticism are premiere killers of creative flow, and analysis and criticism, alas, are fundamental to all MFA Creative Writing programs. My several dozens of exercises were compiled and published a decade ago in a volume entitled The Writer’s Path. Viable used copies of that out-of-print tome may be had for a fraction of a dollar each via the Interweb, and though I don’t make a dime from those sales, I highly recommend the book.

The second thing I discovered working with teens, and later with adults, is that nearly everyone in America is terrified of being punished or humiliated or rejected for writing anything substantive, but especially for writing deeply personal things. A week into my first stint at the summer school for the arts, a promising poet handed me her very first attempt at fictive prose and said, “I think maybe I trust you enough to show this to you.” I began to read her story, but a few sentences along she snatched the page away from me and cried, “You hate it!” and fled the room. The next day, finding her in a calmer mood, I asked what made her think I hated her writing, and she said, “Your nose twitched a little and you might have been about to grimace, so…”

Granted, hers was an extreme sensitivity, but I soon discovered that all my teenaged charges, and later all my adult workshop attendees, were nearly as sensitive and vulnerable as she about their maiden voyages in writing imaginatively. With this awareness, and recalling my own experiences of being pummeled by teachers for my flights of literary fancy, I cautioned my faculty that it was essential we ease very slowly into our roles of constructive critics, and that for the first several encounters with our students we should strive to be as uncritical as possible without resorting to phoniness. Eventually, once a modicum of trust and mutual respect is established, writers worth a damn will voluntarily ask for critical help with their work, though that criticism should never be about content, and only about the clarity and efficacy of the writing.

In the adult workshops I offered, in which we simply practiced my exercises designed to trick us into not thinking too much about what we were writing, I found it helpful to begin the course by letting anyone who wanted (which always turned out to be everyone) to testify about the abuse they and their writing had received throughout their lives, and how they had subsequently struggled to overcome the trauma of that abuse. Sometimes it was one particularly horrible teacher who had demolished them for something they’d written, but more often it was a pattern of punishment beginning in elementary school and continuing through college and into the work force and MFA programs that had alienated them from their own language. And yet they all still desperately wanted to express themselves through the written word.

Then I would share my experiences of being smashed by teachers and rejected by moronic editors and agents and publishers, and the commonality of our experiences created comradeship and sped the growth of trust among us.

The other sort of abuse experienced by many of these writers came from bestselling how-to-write books prescribing writing regimens of at least an hour a day, every day. But since for most beginning writers, scribbling for an hour at a stretch is the equivalent of running five miles the first time you try running, such dogmatic nonsense guarantees failure. Furthermore, any self-doubts a writer may have about his or her ability will be instantly ignited with the first inevitable missing of a day or running out of inspiration after twenty minutes, which happens all the time to the most experienced writers.

After the venting was over, I would proclaim, “In our time together, you do not have to share anything you write unless you want to; and criticism and analysis are verboten. If you want to criticize and analyze each other’s work, do it on your own time.”

I recently met a thirty-year-old man in his fifth year of an MFA program in Creative Writing at a prestigious California university. I would name the college, but I don’t wish to be sued. I said I had not heard of a five-year program for writing credentials short of a PhD. “Oh, it’s a two-year program, but I keep getting extensions,” he said blithely. “So I can keep getting student loans until I finish my novel.”

“So do you keep taking the same classes over and over again?” I asked, barely able to conceal my disdain.

“Oh, no more classes,” he said, shrugging. “Just, you know, occasional meetings with my mentor and…” He paused ominously. “…the classes I teach.”

“Excuse me? You’re teaching classes in the MFA program you’re enrolled in? But what are your qualifications?”

“Well, I’ve already taken the classes,” he said, nodding complacently. “And, like, they didn’t get so and so (published author) like they thought they were going to, so I filled in, and it worked out, so…”

Following my interview with this fellow, I did a bit of investigating and found that the practice of “upper level” MFA candidates teaching “lower level” candidates is ubiquitous throughout the accredited creative writing industry. Keep that in mind as tuitions soar.

“And just what do you do?” I asked this buffoon. “As a teacher?”

“I oversee, you know, the seminars. Lead the critiques. People bring in their stories or chapters, we all read them, and then we, like, critique and analyze them, and then they rework them. Oh, and I also teach the how-to-get-published seminars, too.”

“And how is one ultimately judged worthy of the MFA and the title Master?”

“We each have an advisory committee that evaluates our work, usually a collection of stories or a novel, and they see, you know, a couple drafts and then the final manuscript.”

“And these advisors are…”

“Oh, we had (names a well-known writer) on board two years ago, and almost everybody else has, you know, published something, and we might get (names another well-known writer) next year to teach an advanced workshop and be on a couple committees. Man, would I love to get his name on my résumé.”

“Tell me more about the how-to-get published sessions?”

“Oh, you know, we go over the nine steps to writing a successful query letter, the seven do’s and six don’ts of pitching ideas, the five sure-fire plot devices, the four ideal manuscript lengths, stuff like that.”

“And you learned all this from…”

“A guy one year ahead of me.”

“Have you had any luck selling anything?”

“Not so far. But I’m working on a teen vampire novel with the most amazing twist. I’m trying to sell the synopsis before someone else comes up with the same idea. Promise not to tell? The teen vampire turns out to be a consulting detective name Hercules Watson. Get the references?”

I got them, and then I murdered the guy and drove a wooden stake through his heart, but I’m not telling where he’s buried.

So if you or anyone you know is tempted to enroll in an MFA program in Creative Writing, or if you have a kid in college who wants to take a creative writing class, do anything you can to stop them. Tell them if they want to become good writers to read hundreds of short stories and novels by writers who have stood the test of time (at least fifty years) and to practice writing as often as they feel motivated to do so. Tell them to stop watching television or they can forget about having an original inspiration, and tell them to ask everyone they meet along their ways to tell them stories, and to prompt the tellers with questions, and to listen intently, and to take notes if they are so inclined. And tell them if they keep at their reading and listening and practicing, they will get better and better at writing down and rewriting what comes to them from a source transcendent of the intellect.

As for the five sure-fire plot devices, they are all contained in the following sentence. “God,” said the princess, “I’ve been raped, and I don’t know who did it. But I suspect a vampire.”

Audio versions of Todd’s novels are available from ITunes. His web site is UnderTheTableBooks.com

Travels With Frisbee

Wednesday, February 17th, 2010

Fredrick Morrison, the inventor of the Frisbee, died at the age of ninety on February 11, 2010. I still carry a Frisbee in my knapsack as I have since 1965 when I bought my first one at Woolworth’s for 69 cents, a flimsy little thing much smaller than the smallest Frisbees sold today.

Though it may seem a preposterous boast, I am very likely the first person to introduce Frisbee to the University of California Santa Cruz in 1967. If perchance someone came before me, I was certainly one of the pioneer users there, and took it upon myself to teach dozens of young men and women the fundamentals of tossing the holy disc. I used to joke that I majored in Anthropology and minored in Frisbee, but the reverse is true. The happiest hours of my two years in college were spent running over hill and dale in pursuit of far-flung Frisbees, my college buddy Dick Mead capable of prodigious tosses across the Elysian Fields of that cattle ranch turned university.

In 1970, a year after I dropped out, I traveled through Mexico and Central America as a translator for a marine biologist and his family. I brought along a dozen Frisbees because they were easy to lose and I thought it would be fun to introduce new friends to the delights of the floating disc. Little did I anticipate the sensation we would cause whenever and wherever we started flinging our Frisbees.

Perhaps our most memorable demonstration of the art took place in the central park of San Salvador, the capitol of El Salvador. We happened to arrive at the height of a massive protest we later learned was the beginning of the horrific civil war instigated by the CIA that would lead to the deaths of tens of thousands of Salvadorans and the subsequent ruination of that tiny country.

As a result of my tireless tutelage, the eight-year-old son of my employer was by then capable of flinging a Frisbee an accurate thirty yards, and so we positioned ourselves on a spacious greensward and commenced to fling the disc back and forth. As usual, we first attracted children, then adults; and on this day, moments after we began, we were surrounded by hundred of onlookers roaring their approval of our every toss and catch. Cheap thrills, but so what? Darwin, it is chronicled, traveled about South America on his famous Beagle expedition blowing minds wherever he went by using a magical thing called a match to start fires.

So we brought out a few more Frisbees and proceeded to run a clinic for the countless folks who wanted to try their hands at throwing and catching the discs. I will always remember the laughter and gaiety and enthusiasm of those people. We were rewarded for our labors with an invitation to join a group of schoolteachers for a picnic.

At the picnic, we asked about the many placards showing the faces of two handsome young men, and were told that these were the medical student martyrs whose deaths had inspired the protest. We had heard nothing about the political situation in El Salvador except that El Salvador was at war with Honduras—the so-called Soccer War. To reach El Salvador, we had to traverse the war zone between the two countries, and I had negotiated our way past several roadblocks manned by scary soldiers armed with scarier guns, wartime profiteers extorting extra-legal money from tourists and truck drivers willing to pay.

Meanwhile, the CIA-backed despots of El Salvador had ordered the killing of these two medical students for leading a protest of their fellows against the bogus public health clinics that were closed more often than open and lacked adequate medicine and supplies. For their impudence, these young medicos were assassinated by a paramilitary death squad, and their bullet-ridden bodies left on the steps of the university as a warning to other would-be dissidents.

This protest was a spontaneous and wholly peaceful uprising of working and middle-class folks decrying the violent response of the government to the reasonable complaints of the murdered medical students. Tragically, most of the people at this event were themselves murdered or forced into exile during the decades-long CIA-funded genocide that followed.

I eventually returned to the United States. Years went by. Larger Frisbees eclipsed the original Frisbee. Ultimate Frisbee was born. Frisbee Golf came into being. The Aerobie was invented, a plastic ring that can be thrown like a Frisbee and travels hundreds of yards with ease. Frisbees with LED night-lights embedded in their rims appeared. Frisbee competitions proliferated. Frisbee-catching dogs now star at halftimes and during the seventh inning stretch at ballgames everywhere. Over 200 million Frisbees have been sold. So far.

And I, at sixty, stand on Big River Beach and fling my disc into the teeth of a steady incoming breeze, the disc banking off that strong flow of air and returning to me as if on a long and invisible yo-yo string. Adult passersby rarely stop to watch my mastery of disc and wind, but children do, wanting to try their hands at the magical thing, and I am reminded of those bygone days when the world seemed a safer and happier place than it is today, but only because of what I didn’t know.

Todd’s web site is UnderTheTableBooks.com

Three Presidents (and a First Lady)

Thursday, October 15th, 2009

For most of my sixty years on the planet I have been a social recluse. Yet through no conscious intention on my part, I have come face-to-face with three presidents of the United States (and a First Lady).

In 1962 I was in the seventh grade in Menlo Park, California. I was a baseball fanatic and not much interested in politics, though I was fascinated by Fidel Castro and the possibility of nuclear war.

“Class,” said Mr. Arbanas, our perpetually befuddled teacher. “President Kennedy is coming to the University of California to give a speech. Each core class will elect two students, one boy and one girl, to attend. If you want to go, raise your hand.”

We all raised our hands. By secret ballot and the intercession of angels, I was the boy chosen to represent my class. On the morning of March 23, 1962, I boarded a school bus with several other students and a gang of teachers, and we rumbled across the San Mateo Bridge and up through Oakland to Berkeley. We had been advised to bring a sack lunch and binoculars. I was one of those unfortunate children whose mother had no interest in making my lunch. Ever. From the age of five I made my own lunch, the same lunch, every day: a peanut butter and jelly sandwich, an apple, and a carrot. This is the lunch I brought and ate on that historic day.

I did not have a pair of binoculars, but everyone else had a pair, so my plan was to borrow. We most definitely needed binoculars since our seats were the very highest in the stadium, the podium on the stage at midfield barely visible to our naked eyes.

There came a great parade of men and women in caps and gowns representing their illustrious alma maters, the day being the 94th anniversary of the charter establishing the public universities of America, which is what Kennedy spoke about. To my twelve-year-old ears and mind, the speeches preceding Kennedy’s speech, and his speech, too, were numbingly boring. I certainly enjoyed my glimpses of Kennedy and his marvelous hair through borrowed binoculars, and I thrilled to his voice, but not nearly so much as I thrilled to the myriad alluring females filling the stands around us.

Near the end of Kennedy’s address, a lunatic classmate threw an orange that struck the back of my neck. The shock of this sudden and unexpected attack caused me to pick up the exploded orange, turn in my seat, and hurl the gucky missile back at my assailant. He ducked, and the mess struck Miss Imbach (destined to be my eighth grade teacher) in the face. For this heinous crime, I was immediately yanked from my seat and marched out of the stadium by someone (I can’t recall who) to wait in ignominy on the bus.

However, my ejection coincided precisely with Kennedy finishing his speech and exiting the stadium ahead of the ceremonial finale so he might escape the ensuing gridlock. In the tumult outside the stadium, I was separated from my escort and swept along in a crowd of people hoping for a glimpse of the president.

And lo and behold, I found myself walking beside President Kennedy. Right beside him. And he was smiling. And he had a big head and fabulous teeth. And here’s the thing, honestly, he seemed genuinely happy, even perhaps enthralled, as he strolled along in the excitement of Berkeley in early spring being President of the United States. Then he looked at me and said “Hello,” or “How are you?” though I might have imagined that. But I didn’t imagine what I said to him, which was, “Thank you.”

I’m not sure why I said “Thank you”, but it may have been because I was grateful he hadn’t started a nuclear war with Russia over Cuba.

Back on the bus, one teacher after another chewed me out for throwing the orange at Miss Imbach. I was threatened with expulsion for dishonoring our school, and told I would definitely not be allowed to go on the upcoming field trip to the beach. But all I could think about was how happy Kennedy had seemed, and how I wished I had said to him, “Can’t we be friends with Fidel?”

The text of the speech Kennedy gave that day, which is both sad and ironic in light of today’s economic and educational meltdowns, can be read at the John F. Kennedy Library & Museum web site.

&

May 1969. I was nineteen and in my last few weeks of college (forever) at UC Santa Cruz. The People’s Park revolt was underway in Berkeley and I was involved in sympathetic protests at our new university in the redwoods. At the height of the carnage in Berkeley, the Regents of the University of California, including Governor Reagan, came to the Santa Cruz campus to hold their annual meeting. Perhaps they thought Santa Cruz was far enough away from bloody Berkeley for them to be safe, but it’s more likely they were just arrogant despots.

So the fat cats had their meeting in the new cafeteria at Crown College, and I went with a gang of demonstrators to mill around outside and voice our dismay at the university’s support for the war in Vietnam and to protest their violent response to unarmed people trying to create a park in Berkeley on vacant land. That’s what I was dismayed about. The more sophisticated demonstrators were dismayed about many other things, too, but I just wanted the stupid war and needless violence to end so I wouldn’t lose any more friends and we could have, you know, a cultural renaissance.

I suppose for the same reason Kennedy made an early exit from the stadium in 1962, Reagan was hustled out of the Crown cafeteria several minutes before the regents’ meeting officially adjourned. We saw the governor board one of the large snout-nosed yellow school buses used to ferry people around the bucolic campus, and we, the people, went chasing after him.

Crown College was a maze of buildings on a steep hillside with more dead ends than through streets, and it was up one of these dead ends that Reagan’s misguided driver turned. We followed en masse and effectively corked Ronald’s escape route with our bodies, and then several of the protestors began to rock the bus. There were some, perhaps, who hoped to roll the bus, but most of us just wanted to scare the crap out of our putrescent governor.

The cool thing was, before the police came and chased us away, we had several minutes of this good college fun, during which I was hoisted onto the shoulders of my fellows and brought face-to-face with Ronald Reagan. His nose and mine were no more than two feet apart, only the glass of the bus window separating us.

I suppose I might have shouted, “Off the pigs,” or “Get out of Vietnam,” or “Free People’s Park,” but I could only muster a hopeless, contemptuous, bewildered smile, because I really couldn’t think of anything to say that would mean anything to him. I could see by his face and demeanor and, if you will allow me, his aura, that he didn’t have the slightest understanding of why we were so upset. To Reagan, we were just hooligans, and to me Reagan was just a mean man of no great intelligence working for a bunch of other mean men and saying whatever they told him to say. He was a puppet. He was the guy who introduced Death Valley Days and sold Borax. He was nobody. He was a rich dupe and he was annoyed we had him temporarily bottled up, but he wasn’t afraid. He looked me in the eye and smiled a sneering smile, and then he slowly shook his head as if to say, “You’ll be sorry,” and he was right because my comrades dropped me like a hot potato when the cops converged on us, and I hit the ground hard before I ran off into the woods.

Okay. So Reagan wasn’t yet president, but he would be soon enough.

&

My dear friends Bob and Patty were married in Sacramento on September 4, 1975. I took the train down from Eugene, Oregon to be in their wedding in an old brick cathedral. The processional was Stevie Wonder singing, “I believe when I fall in love this time it will be forever,” and the recessional was the overture from Camelot. Thirty-five years later I’m delighted to report that Bob and Patty are still happily married.

The morning after the wedding, I was strolling down L Street and nearing the capitol when my way was blocked by a barrier of police tape stretching across L Street and the sidewalk and up to the capitol building. Why? President Gerald Ford was staying at the Senator Hotel on L Street and was soon to cross over to the capitol. Had they not strung up this barrier, I am certain no one would have known or cared that Gerald Ford was planning to cross the street there; but that was only the prelude to a most peculiar presidential event.

I was no fan of Gerald Ford or the mass murderer he’d replaced, but I thought it might be fun to see the president and then tell Bob and Patty I had. There were only a few dozen people on hand to witness Ford’s transit, all of them “caught” as I had been and not there out of any abiding love for Gerald. As we stood behind the flimsy barricade in the growing heat, I noticed a woman dressed as Little Red Riding Hood on the wrong side of the barrier chatting with a state policeman. They spoke amicably for a moment, and then he gestured for her to get back on the spectator side of the tape, and she did so, standing a few feet away from me.

A moment later, Ford came out of the Senator Hotel flanked by several men in suits. They crossed L Street and started along the walkway that transects the lawn to the capitol building. I remember being struck by how big Ford and the Secret Servicemen were, as if they had armor on under their suits. I remember, too, there was nothing festive in this transit, and that when Ford was ten feet away from me, his face looked grim to the point of horror.

Then Gerald abruptly veered away from the tape until he was at least thirty feet away from the nearest spectator, at which moment one of the Secret Servicemen launched himself toward, I thought, me, but actually toward Little Red Riding Hood, who turned out to be Lynette “Squeaky” Fromme, a follower of Charles Manson. The big guy wrestled the little woman to the ground as Gerald was literally picked up and carried into the capitol building by his huge henchmen.

Squeaky was sentenced to life in prison for what she allegedly did that day, attempting to assassinate Gerald Ford. She was released from prison in August of 2009 after serving nearly thirty-five years for pointing an unloaded gun in the direction of the president. At the time of Squeaky’s symbolic act, there was hope among Republicans that Squeaky’s and a similarly bizarre attempt on Ford’s life by another woman two weeks later, might improve Gerald’s chances of election, but that was not to be.

The odd thing from my point of view was that in the immediate aftermath of the incident, none of the authorities on hand were interested in speaking to me, though they eagerly recorded the testimony of people standing much farther away than I had been from the flying Secret Serviceman. Perhaps my unruly hair and raggedy clothes and overall counter culture appearance rendered me an undesirable witness. And, yes, whether it was or not, the entire event seemed so obviously staged as to be laughable.

&

Three years after my brief encounter with Gerald Ford, I published my first novel Inside Moves (you can download my new reading of it from Audible.com) and the publisher was Doubleday.

My editor was a young woman named Sherry Knox. She and I had spoken on the phone while working on the rewrite, but we didn’t meet in-person until I flew back to New York for the publication party in the spring of 1978. Judging by her voice and her manner of speaking, I assumed Sherry was a highly educated white woman. As I sat in the foyer at Doubleday, I rose twice as white female editors came out to meet their authors, but neither woman was my editor. Then a beautiful black woman emerged from the editorial catacombs, recognized me from my author’s photo, and introduced herself as Sherry.

And I, thunderstruck by the realization that Sherry must have bought my book (about black and white people loving each other) at least in part because she was black, said without a care for political correctness, “Sherry, I never once thought you were black.”

To which she replied, “I’m glad.”

On our way to Sherry’s office, we stopped to pay obeisance to Betty Prashker, the powerful editor-in-chief who lent Sherry sufficient clout to purchase my unlikely novel, and then Sherry whispered, “Would you like to meet Jackie Kennedy? Her office is right next to mine.”

So we popped into Jackie’s office, and there was the former First Lady looking trim and slim in a crisp white blouse and a gray skirt, her eyes shielded by gray-tinted glasses. She was poring over proofs of an enormous glossy coffee table book, probably something to do with the lives of the super wealthy, of which she was an authority. Sherry introduced me. Jackie took off her glasses, smiled a crinkly smile, and shook my hand.

What I remember most about her was that she didn’t sound at all like the soft-spoken Jackie Kennedy I recalled from her days as First Lady. There was nothing soft or slow in her speech, but rather roughness, even harshness, as if she had taken on the accent of greater Manhattan.

“Sherry’s great. You’re in good hands,” said Jackie, her grip impressively strong. “Good luck to you.” And then for some reason she laughed, and I heard the same harshness in her laughter, and I laughed, too, though more out of nervousness than because anything was funny.

Then Sherry took me to lunch at a snazzy restaurant where we were joined by Sherry’s close friend, Olga Adderly, the widow of a great hero of mine, the tenor sax giant Julian “Cannonball” Adderly. And for the entire meal I marveled that both Jackie and Olga had been married to men who were now legends, both men dying at forty-six, which even at my tender age of twenty-eight seemed terribly young to me.

(This article originally appeared in the Anderson Valley Advertiser in October 2009)

Restoration and Redemption

Friday, September 4th, 2009

Before

During

After

With Under the Table Books

Playing for Capra

Sunday, August 10th, 2008

The following memory was first published in The Anderson Valley Advertiser. Many Thanks to Bruce Anderson for his continuing support of my writing.

 


 

Playing For Capra

Marcia and I recently watched a new Israeli movie entitled The Band’s Visit about an Egyptian police band spending the night in a godforsaken Israeli settlement. Seeing this remarkable film coincided with my struggle to write about the time I played piano for Frank Capra, the famous movie director.

Why the struggle? Because the story of playing piano for Capra is entwined with my dramatic rise and fall as a professional writer nearly thirty years ago, a larger story with far too many unhappy chapters. By the time I played piano for Capra in 1982, I had gone from living on pennies in the slums of Seattle to being the toast of New York and Hollywood, and back to barely scraping by in Sacramento, all in the course of a few dizzying years.

Capra, for all his many triumphs, was a Hollywood outsider. Having succeeded brilliantly under the protection of the powerful mogul Harry Cohn, Capra only made the movies he wanted to make, which were almost never what his overlords desired. In that regard, Capra was my hero. I had failed to build relationships with the powerful producers of American movies and books despite the many opportunities my success provided me. I was young and naïve, and I believed that great stories and great screenplays would sell themselves. To my dismay, I experienced over and over again that quality and originality meant less than nothing to those who control our cultural highways. But I didn’t want to believe that, and so burned a thousand bridges.

Capra knew all about what I was going through, for he and his movies, despite their popularity with moviegoers, often received muted support from the power brokers. Why? Because he, too, was unwilling to compromise the integrity of his visions. Indeed, he made movies about these very conflicts: integrity versus corruption, kindness versus cruelty, generosity versus greed, and originality versus imitation.

Capra’s autobiography, an incomparable history of Hollywood from the days of silent movies until the 1960’s, was one of my bibles. In recent years, a confederacy of academic dunces has tried to discredit Capra’s recollections, but their pathetic efforts only amplify Capra’s importance.

So there I was in 1982, hoping to resuscitate my collapsing career, when we heard Capra was going to speak at a showing of It’s A Wonderful Life in an old movie house in Nevada City.

In 1980 a movie had been made of my novel, Inside Moves. Directed by Richard Donner with a screenplay by Barry Levinson, the movie—a Capraesque dramatic comedy if there ever was one—starred John Savage and launched the careers of David Morse and Diana Scarwid, who received an Oscar nomination for her performance in the film. But just as Inside Moves was about to be released, the distribution company went broke and the film was never widely seen. I was then hired by Warner Brothers to write a screenplay for Laura Ziskin (Spiderman) based on my second novel Forgotten Impulses, which was hailed by The New York Times as one of the best novels of 1980, but then Simon & Schuster inexplicably withdrew all support for the book and the movie was never made.

Indeed, as I drove from Sacramento to Nevada City with my pals Bob and Patty, I was in a state of shock. My previously doting movie agents had just dropped me, Simon & Schuster had terminated the contract for my next novel, and I had no idea why any of this was happening. Yet I still believed (and believe to this day) that my stories would eventually transcend the various obstructions and be read with joy by thousands of people—a quintessential Capraesque vision of reality. And I was sure Capra would say something in Nevada City that would help me and give me hope.

We arrived in the quiet hamlet in time to have supper before the show. We chose a handsome restaurant that was empty save for a single diner. On a small dais in the center of the room was a shiny black grand piano. The owner of the restaurant greeted us gallantly, and to our query, “Where is everybody?” replied, “You got me. We were expecting a big crowd for Capra, but…” He shrugged. “That’s show biz.”

Our table gave us a view of the piano and our elderly fellow diner, who we soon realized was Capra himself. Waiting for no one, eating slowly, sipping his red wine, the old man seemed to lack only one thing to complete the perfection of his moment: someone to play a sweet and melancholy tune on that fabulous piano. And I was just the person to do it if only the owner would allow me the honor.

I made the request and it was granted. Frank was done with his supper by then and having coffee. I sat down at the piano and looked his way. He smiled and nodded, directing me, as it were, to play. We were still the only people there, the room awaiting my tune.

I played a waltz, a few minutes long, something I’d recently composed, a form upon which I improvised, hoping to capture the feeling of what was to me a sacred moment.

When I finished, Frank applauded.

I blushed. “Another?”

Frank nodded. “Can you play that one again?”

“Not exactly, but close.”

He winked. “Perfect.”

So I played the tune again, longer this time, and slower at the end. Frank smiled and tapped his coffee cup with his fork. I approached him and told him we’d come to watch his movie and hear him speak.

He said, “Thank you. I love your music.”

His anointment of my waltz would have been more than enough to fulfill my wish that he say something to help me and give me hope. But the best was yet to come.

Capra’s genius was comprehensive. His best films are not only beautifully written and acted, they are gorgeous to behold. It’s A Wonderful Life was made when the art of black and white cinematography was at its apex, and we may never again see such artistry now that digital technology has replaced film and the secrets of the black and white masters are largely lost to time.

We marveled and wept at Capra’s masterwork, and then a nervous moderator gave Capra a succinct introduction, and the old man took the stage. He thanked the crowd for coming and took questions—questions that made me despair for humanity.

The worst of the many terrible queries was, “Do you think you’re a better director than Steven Speilberg?”

“Different,” said Capra, pointing to another raised hand.

And then came the one meaningful question of the evening. “Your humor seems so different than the humor today. Why is that?”

“Humor today,” said Capra, “for the most part, is pretty mean-spirited. We used to call it put down humor, and we consciously avoided that. With Wonderful Life, you’re laughing with the characters because you identify with them, which is very different than laughing at someone.”

The inane questions resumed, and finally Capra couldn’t take it anymore. He waved his hands and said, “Look, if you want to make good movies, and God knows we need them, you have to have a good story. That’s the first thing. That’s the foundation. And what makes a good story? Believable, compelling characters in crisis. That’s true of comedy or drama. And the highest form in my opinion is the dramatic comedy, which has become something of a lost art in America. Then you need to translate that story into a great script. And I’m sorry to tell you, but only great writers can write great scripts. So start practicing now. And when you think you have that story and that script, then get somebody who knows how to shoot and edit film and make your movie. And when you finish, make another one. And if you have talent, and you persist despite everybody telling you to quit, you might make a good movie some day. Thank you very much.”

Which brings us back to The Band’s Visit. Capra would have loved these characters and their crises, and though he never in a million years would have made such a movie, his influence is unmistakable.