Saturday, November 22, 2008

Drift House

I don't intend to make a habit of blogging about books that I haven't read but, reading Inkweaver Review the other day, I happened upon a book review of a type of book that I thought was long gone.


I seem to remember, as a child, reading scores of books that involved children (usually in England) being sent to live in big old mysterious houses in the country without their parents. It was a temporary situation but usually ended up to be life changing (in a good way) for the children. The reason for the exile was always due to some upheaval that was either never explained or that was explained in a way that made no impression on me.

The thing is, I've racked my brain to think of specific examples and I'm coming up short. There was, of course, The Lion, the Witch and the Wardrobe, by C.S. Lewis, in which the children have been sent to the English Countryside because of World War II. There was also The Snowstorm, by Beryl Netherclift. I can't remember why the children were sent to the country in that one. One of Noel Streatfield's books, Party Shoes, is about a little girl sent to live in the country during WWII. I know there were more, but I just can't think of their titles and the plots all run together in my mind.

The cause of the evacuation to the country is never dwelled upon, but the adventures of the children in their strange new locations are magical, either literally or figuratively. And the adventures in the country made the upheavals that caused the original displacement seem, somehow, more romantic than scary.

It never occurred to me that someone would use our very own 21st century upheaval in this way. But Dale Peck has, in his book Drift House.
The main characters are three children named Susan, Charles, and Murray. The story begins shortly after the terrorist attack on September 11, 2001. At the time they were living in New York City, but their parents, worried about safety, send the three children to live with their Uncle Farley.
Peck doesn't shy away from starting with a specific mention of September 11.
"After the towers came down Mr. and Mrs. Oakenfeld thought it best that their three children go and stay with their uncle in Canada. Although Susan, Charles, and Murray knew something terrible had occurred, the Oakenfeld family lived high on the Upper East Side, and the children understood very little of what was going on downtown. In the days immediately following the tragedy their parents wouldn't even let them watch television, so it's understandable that the children were mostly concerned—at least at first—with how the move would affect school. Susan, in particular, had just joined the eighth grade debating club, and she was quite annoyed. When she was nine she had decided she would be a lawyer like Mr. Oakenfeld: she had been waiting to start debate for three whole years. Whereas Charles, in fifth grade, was secretly relieved. He was taking special classes at a magnet high school for science, and two days a week had to ride the West Side train all the way up to 205th Street in the Bronx, where the older boys were more than a little intimidating. At five, Murray was only in kindergarten, and so didn't care about all that. But of course he didn't want to leave his mother and father."
I have no idea if this is a good book or not, but doesn't that first paragraph bring back memories of long ago books?

Predictably (if you were a fan of that kind of children's literature) it all turns into a magical adventure as Uncle Farley turns out to live on some kind of ship which has washed ashore. Of course the ship/house drifts away to magical adventures.
Soon Susan, Charles, and Murray are involved in a grand adventure that involves devious mermaids, a fearsome pirate ship, a huge whirlpool, and an attempt to halt time in its tracks forever.
I haven't read Drift House so I can't recommend it, but I find myself happy that an author would carry on in a tradition that I loved as a child. I did a little research found that and Peck himself admits this was his intention.
Shortly after “the towers came down” Dale visited a friend on Cape Cod who dreamt that the ship builder’s home he lived in had floated out to sea.

“The image captivated me, and I immediately sketched some notes. I took my cue from The Lion, the Witch, and the Wardrobe—another children’s book set against the backdrop of war: the four children are sent out of London during the Blitz to stay with a mysterious, slightly eccentric professor,” explains Dale. “The children in the Narnia books leave their house behind, of course. Mine get to take theirs with them.”
Published in 2005, Peck also has a sequel out called The Lost Cities: A Drift House Voyage.

But what's really on my mind are the names of all those other books that I know I read as a child.

Friday, November 21, 2008

Some Variety

When I was at Disney World a couple of weekends ago, I had access in the hotel to cable television. I don't bother to pay for cable at home because I don't watch that much television and, usually, when I do have access to it I'm struck by the fact that there's nothing on that I want to watch. But that Saturday night, after a full day of Disney walking, I was ready to put my feet up and watch anything. Fortunately there was a special on about Carol Burnett with a lot of clips from her old variety show.


I loved The Carol Burnett show and watched it every week when I was a kid. I still laugh at scenes from that show. Maybe there have been variety shows on television since then, but they never made it. It seemed that variety was dead.

So imagine my surprise when I came home and saw a commercial on NBC for a new varety show special starring Rosie O'Donnell.

Searching for details, I discovered that, yes, it will be live!
The news recently broke that's been rumored for months, that Rosie O'Donnell is returning to television in an attempt to revive the variety genre with "Rosie's Variety Show".

A special will air live from New York on the night before Thanksgiving on November 26 at 8pm and is believed to be the kickoff for a 2009 regular launch.

The show, which is said to be modeled after traditional variety shows like Carol Burnett, Ed Sullivan and Sonny and Cher will include "celebrity guests, musical acts, comedy skits and a contest both for in-studio and at-home auds."
Now, it's not like I've ever been a huge Rosie O'Donnell fan. I enjoy her schtick, but I was always at work when she had her daytime show and I've never seen her on stage. But when I saw that commercial I started to get a bit excited because I suspected that someone I used to know a long time ago would be involved in the show. And yes the article (and Rosie's blog) confirmed that suspicion.
Details are coming out fast and furious about "Rosie's Variety Show" as production ramps up. On Rosie's blog, she notes that John McDaniel will be coming aboard as Music Director along with a full orchestra.

John McDaniel's credits include "The Rosie O'Donnell Show" (two Emmy Awards, Music Producer; five Emmy nominations, Music Direction/Composition); Comedy Central's "Friar's Roasts" ‘99, ‘00, ‘01, ‘02 (Arranger/Conductor); "A Rosie Christmas" (Arranger/Conductor); Tony Awards ‘97, ‘98, ‘00 (Arranger). Broadway: Grease! (Music Director/Arranger); Chicago (Conductor); Patti LuPone on Broadway (Arranger); Annie Get Your Gun (Music Supervisor/Arranger); Taboo (Music Supervisor/Arranger). Recordings: Patti LuPone Live! (Conductor/Arranger); Annie Get Your Gun cast recording (Producer/Grammy Award); three solo CDs: John McDaniel at the Piano: Broadway, Christmas and Compositions; John McDaniel Live at Joe's Pub; The Maury Yeston Songbook (Producer); Taboo cast recording (Producer/Arranger). Guest pops conductor throughout the country, including San Francisco and St. Louis symphonies. BFA in drama from Carnegie Mellon.
Quite a list of credits for John McD. But I and certain lurkers (you know who you are) know John from back when he was just getting his start - in high school musicals. And we've followed his career with enjoyment ever since. Let's face it - not many people announce in high school that they are going to grow up to be a musical director on Broadway and actually make it. And you know what? Success couldn't have happened to a nicer person.

It's not as if I know John these days. The last time I ran into him was about 5 years ago when he was in St. Louis visiting family and we were both at an Opera Theatre production. He was the same delightful person he always was - very excited about all of his new projects.

So I will be tuning in to watch (or recording) Rosie's Variety Show to support variety and to support John McD - who will hopefully help bring New York based live variety back to television. Because we could all use a little variety in our lives.

Thursday, November 20, 2008

Reviews under Review

This week's Booking Through Thursday question:
I receive a lot of review books, but I have never once told lies about the book just because I got a free copy of it. However, some authors seem to feel that if they send you a copy of their book for free, you should give it a positive review. Do you think reviewers are obligated to put up a good review of a book, even if they don’t like it? Have we come to a point where reviewers *need* to put up disclaimers to (hopefully) save themselves from being harassed by unhappy authors who get negative reviews?
I have never yet in the Long Life of this blog (heh) received a free book to review, but I would like to think that I would give my true opinion in the review. A reviewer who puts up a good review of a book she doesn't like is doing a disservice to her readers.

Of course, since I'm not a professional reviewer and I don't receive books on the condition (or assumption) that I'll review them, I probably wouldn't bother to review a book that I didn't like. I might mention it in passing but I don't know if I'd have the energy to write about something I didn't like. Maybe if I hated it ...

Personally, I think being a professional reviewer would be a pain in the neck. I don't like to finish books on deadline. And I don't like to be in a position where I feel that I must finish a book that I'm not in the mood for. That happens enough by being in two book reading groups.

How do you feel about it?

And while you are pondering, check out this unique performance of Mozart:


h/t Inside the Classics which found it via Andrew Sullivan.

Wednesday, November 19, 2008

Range of Motion

I had a hard time getting past the first sentence because I disagreed with it.
They say that one of the reasons for tragedy is that you learn important lessons from it.
I don't think tragedy happens for any reason. I think it just happens. We may learn important things in the wake of tragedy, but that isn't why tragedy happens.

This novel, Range of Motion, by Elizabeth Berg, is written in the first person and I tend to not like first person novels for just this reason. I find it harder to get beyond statements like these conveyed in the first person than when the exact same point of view is attributed to a character in the third person. And when I disagree with the thought patterns of the main character in the very first sentence, I find it hard to move on into the novel and lose myself.

But, I was on a plane and had brought no other book, so eventually I got past the first sentence and things improved immeasurably. This novel is the story of Lainey, a young mother of two. Her husband, Jay, is in a coma.
He walked past a building, and a huge chunk of ice fell off the roof, and it hit him on the head. This is Chaplinesque, right?
The phrase range of motion describes the passive exercises that coma victims get from their care givers:
He can't move at all. So every day, a few times a day, someone must put each of Jay's body parts through all the movements of which they are capable. First the thumb is bent, then straightened, then bent and straightened again, twice more. Next, each finger is done individually; then the whole hand, fingers all together. Then comes the wrist, then the elbow, and so on.
Range of motion also describes Lainey's life as she goes through the motions each day, taking care of her kids, visiting Jay, trying to believe things will work out.

This could have been a depressing novel but it wasn't. And partly that's because Berg peoples Lainey's world with characters that a reader can care about. Her kids, Sarah and Amy, who don't really understand what is happening with their dad. Her neighbor, Alice, who is a godsend to Lainey but who is having trouble with her own husband, Ed. Alice's son Timothy, whom Berg renders as a loveable brilliant geek. Of course all the people at the nursing home where Jay lays in bed. Berg even throws in a character who might be a ghost or only an hallucination.

Although Lainey is an optimist and believes that one day Jay will wake up, Berg is careful not to make the story too predictable or too sacharine. Not that this isn't the perfect Hallmark Hall of Fame made-for-teevee novel. But that doesn't really affect it's impact.

At 250 pages this is an easy read, although the subject matter is sometimes difficult. I think Berg was aiming for a novel that reads like the kind of memoirs that are popular these days: "How I made it through a really hard time in my life". She succeeded.

Tuesday, November 18, 2008

Want to be a better Doctor? Read Literature.

Last month the NY Times had an article about what is called Narrative Medicine.
While it has long been understood that clinical practice influenced the youthful writing of doctor-authors like Chekhov and William Carlos Williams, there is now emerging evidence that exposure to literature and writing during residency training can influence how young doctors approach their clinical work. By bringing short stories, poems and essays into hospital wards and medical schools, educators hope to encourage fresh thinking and help break down the wall between doctors and patients.
This is probably a challenge for residents and medical students because they already have a heavy load of reading, but it might also be a relief to them. I remember being a law student and having no time to read anything that wasn't related to my classes. So one semester I signed up for an elective seminar: "Law and Literature". It was so nice to be reading a novel or a play and I didn't have to feel guilty about it.
The idea of combining literature and medicine — or narrative medicine as it is sometimes called — has played a part in medical education for over 40 years. Studies have repeatedly shown that such literary training can strengthen and support the compassionate instincts of doctors.

Dr. Rita Charon and her colleagues at the program in narrative medicine at Columbia University’s College of Physicians and Surgeons found, for example, that narrative medicine training offered doctors opportunities to practice skills in empathy. Doctors exposed to literary works were more willing to adopt another person’s perspective, even after as few as three or four one-hour workshops.
This makes sense to me. If I can put myself in someone else's shoes I naturally become more empathetic. But to put yourself in someone's shoes requires a lot of information about that person. In literature that information is fed to you, so understanding and empathy is easier, at least for me. Then when I find myself in a situation with a live person, I can remember what it was like to stand in the fictional shoes of someone similar and I find myself being more empathetic.
Dr. Ramesh Guthikonda, a second-year resident at Saint Barnabas, spoke about a poem called “When You Come Into My Room,” by Stephen A. Schmidt. In the poem, published in The Journal of the American Medical Association, a man struggling with chronic illness lists all that he believes a doctor meeting him should know:

“When you come into my hospital room, you need to know the facts of my life

that there is information not contained in my hospital chart

that I am 40 years married, with four children and four grandchildren....

that I love earthy sensuous life, beauty, travel, eating, drinking J&B scotch, the theater, opera, the Chicago Symphony, movies, all kinds, water skiing, tennis, running, walking, camping...

that I am chronically ill, and am seeking healing, not cure.”

The poem so affected Dr. Guthikonda that he began regularly asking his patients about their hobbies and families, and he enrolled in a Spanish class so he could learn to better pronounce their names. “My rapport with patients, especially with my Hispanic patients, was not up to the mark,” he said. “I never asked about the patients’ lives, about who they are. I am much more sensitive to those issues now.”

The best doctor I ever had was a woman who had the ability to focus all of her attention on me the entire time she was in the room and make me believe that she was interested in anything I had to say. She always asked follow up questions if I mentioned something that I was noticing about myself and she would often bring it up up during the next visit. Unfortunately she left private practice to become an administrator at the VA hospital. I've always wondered if her skill was natural or if it could be taught. It never occurred to me to ask her if she read literature.

Monday, November 17, 2008

Want to Understand Global Issues? Read a Novel

According to a study by Manchester University and The London School of Economics, as reported in The Telegraph, novels do a better job explaining global issues than academic literature.
Novels should be required reading because fiction "does not compromise on complexity, politics or readability in the way that academic literature sometimes does," said Dr Dennis Rodgers from Manchester University's Brooks World Poverty Institute.

He said: "Despite the regular flow of academic studies, expert reports, and policy position papers, it is arguably novelists who do as good a job – if not a better one – of representing and communicating the realities of international development.
As examples, they give The Kite Runner by Khaled Hosseini and Brick Lane by Monica Ali, two books that I have read.

I can't do a formal comparison when it comes to Brick Lane. But I would never have dreamed of spending time reading research papers about the assimilation of Bangladeshi immigrants in London, whereas I had no qualms about picking up Brick Lane, so my knowledge of the subject is greater because I read the novel.

Afghanistan is a different matter, I can compare. After 9/11 I spent some time reading political histories of Afghanistan (my roots as a poli sci major coming out here). So I already knew a great deal about Afghanistan before I read The Kite Runner. But reading the novel locked into my mind the timeline of events and made the events seem more real to me. So while I'm not sure I learned more from the novel, I feel confident that I understood on a much broader level.


h/t Bookninja

Sunday, November 16, 2008

Some Unrelated - Related Thoughts

The intersection between my various areas of interest never ceases to amaze me. I'm constantly finding connections between areas of interest that I would never have thought had any connection at all.

For instance, I'm very interested in "The Arts", particularly the writing arts, and as a part of that interest I've been following some of the ongoing discussions regarding copyright law over the past ten years. I'm also interested in French colonial history in North America. You wouldn't think there'd be much overlap between those subjects, would you? Neither did I, until this morning when, stuck on a couch with my box of kleenex, I caught up on my NY Times reading.

Reading the book section, I happened upon a long and thought provoking piece by Daniel Smith on Lewis Hyde, the poet, essayist, translator and thinker-about-the-arts. Although I knew the name, Lewis Hyde, I knew little about him and had never read Hyde's seminal 1983 book, The Gift. Hyde is working on a new book that will apparently discuss the ongoing issues with respect to copyright.

After finishing the piece, I decided that I needed to read The Gift. Smith's brief statement that Margaret Atwood "keeps a half dozen copies of The Gift on hand at all times to distribute to artists she thinks will benefit from it" was probably enough to make me think that I should read it. But as Smith described it, I found myself wanting to read it for its own sake and partly because it connected with some of my reading on French colonial history.

The Gift, according to Smith, grew out of Hyde's reading of Marcel Mauss' essay about gift exchange societies.
His [Mauss] essay on gift exchange drew on the work of the seminal turn-of-the-century ethnographers Franz Boas and Bronislaw Malinowski to explore aboriginal societies in which the person of consequence — the man or woman who is deemed worthy of adulation, respect and emulation — is not the one who accumulates the most goods but the one who disperses them. Gift economies, as Mauss defines them, are marked by circulation and connectivity: goods have value only insofar as they are treated as gifts, and gifts can remain gifts only if they are continually given away. This results in a kind of engine of community cohesion, in which objects create social, psychological, emotional and spiritual bonds as they pass from hand to hand.
Hyde found this idea useful in his thinking about why The Arts are valuable in a market based society.
The ideas resonated deeply with Hyde. For nearly a decade he had been struggling to explain — to his family, to nonartist friends, to himself — why he devoted so much of his time and energy to something as nonremunerative as poetry. The literature on gift exchange — tales, for example, of South Sea tribesman circulating shells and necklaces in a slow-moving, broad circle around the Trobriand Islands — gave him the conceptual tool he needed to understand his predicament, which was, he came to believe, the predicament of all artists living “in an age whose values are market values and whose commerce consists almost exclusively in the purchase and sale of commodities.” For centuries people have been speaking of talent and inspiration as gifts; Hyde’s basic argument was that this language must extend to the products of talent and inspiration too. Unlike a commodity, whose value begins to decline the moment it changes hands, an artwork gains in value from the act of being circulated—published, shown, written about, passed from generation to generation — from being, at its core, an offering.
Without reading The Gift, I can't tell if I agree with Hyde's premise but the idea of the importance of gifts corresponds to my reading about the relations between the colonial French and the Algonquian and Illini tribes of the 17th century Great Lakes region.

One of the most enlightening books I have ever read is Richard White's The Middle Ground: Indians, Empires, and Republics in The Great Lakes Region 1650-1815. I don't think I'm exaggerating when I say that my entire way of thinking about French colonial life changed after reading this book.

Part of White's book examines the importance of gifts in Algonquian society. The French noted early in their relationship with the Algonquians that the Algonquians held liberality in high regard. Gift giving was a mark of the status and power of the giver and it was also a route to greater status and power. The French noted that sometimes the chief of a tribe had fewer possessions than other members of the tribe because he always gave away what he had.

Gifts were key to every transaction in society. A request had no significance if it was not accompanied by a gift. An agreement was not binding without an exchange of gifts. Marriages involved the giving of gifts. The power to mediate between opposing factions required the ability to present gifts to each side either to seal an agreement or to compensate one side for a loss it had received from the other side. Although the French understood the giving of gifts in the European sense, they had not encountered this volume of exchange of goods in any form other than trade before. They would need to adjust their way of thinking.

White contrasts the hierarchical, highly coercive French society in which the King was at the top, to be obeyed upon pain of death, and the society of the Algonquians. At the top of the French colonial society was the Governor of New France, the representative of the King in North America. The Governor was called Onontio by the tribes, a Mohawk term meaning Great Mountain that was probably the literal rendering of the actual name of an early Governor.

White's central premise is this:
Because the French and Algonquians were trading partners and allies, the boundaries of the Algonquian and French worlds melted at the edges and merged. Although identifiable Frenchmen and identifiable Indians continued to exist, whether a particular practice or way of doing things was French or Indian was, after a time, not so clear. This was not because individual Indians became "Frenchified" or because individual Frenchmen went native, although both might occur. Rather, it was because Algonquians who were perfectly comfortable with their status and practices as Indians and Frenchmen, confident in the rightness of French ways, none the less had to deal with people who shared neither their values nor their assumptions about the appropriate way of accomplishing tasks. They had to arrive at some common conception of suitable ways of acting; they had to create ... a middle ground.
White points out that the establishment of what eventually became the middle ground evolved through many steps, beginning with the crude first step in which each side tried to assimilate the other side into its own conceptual order - the French categorizing the Indians as sauvages with religions that amounted to devil worship and witchcraft and the Indians categorizing the French as manitous. And because the French were literate and wrote down these first impressions, people on the far side of the Atlantic who had never set foot in North America and perhaps had never met a native American gave these first impressions staying power and influenced how Frenchmen not on the ground in North America continued to view the native peoples.

The most important thing to remember about French/Algonquian relations was that neither side had the upper hand. Unlike other European powers in the New World, France never sent enough people to gain its ends by force. The French were always outnumbered. They were outnumbered by their Indian allies and they were outnumbered by their enemies - the Iroquois and the Iroquois' English allies. In order to protect themselves from the Iroquois and the English, the French needed the alliance with the Algonquians.

In addition, the French needed the Algonquians because the French economy in the New World was an economy based on trade - the trade of European goods for furs. Not an economy based on exploitation of the land, like the English, or an economy based on exploitation of silver mines, like the Spanish.

The Algonquians, in turn, needed the French. Not, as is commonly thought, for their trade goods. It would be a long time before the Indians were so dependent on European trade goods that they could not live without them. No, they needed the French to be an honest broker between tribes. As the Iroquois and disease pushed the Algonquian and other peoples west of the Great Lakes, they were jumbled together as refugees often are. Their ability to fight against the Iroquois (and the Sioux, against whom they were pushing on their western boundaries) depended on their ability to get along with each other. The French, as outsiders with access to goods that were highly prized presents, allowed them to act as mediators among the warring blocks crammed together along the shores of Lake Michigan and back into what is now Wisconsin. It allowed them to convince the refugee Indian tribes to act, and to help them coordinate the actions, in concert against a common enemy; to stop the bleeding so to speak.
The middle ground depended on the inability of both sides to gain their ends through force. The middle ground grew through the need of people to find a means, other than force, to gain the cooperation or consent of foreigners. To suceed, those who operated on the middle ground had, of necessity, to attempt to understand the world and the reasoning of others and to assimilate enough of that reasoning to put it to their own purposes.
The other important thing to recognize about the French/Algonquian middle ground is that it is based on congruences that did not necessarily derive from a true understanding of the other side. Again, White:
Those operating in the middle ground acted from interests derived from their own culture, but they had to convince people of another culture that some mutual action was fair and legitimate. In attempting such persuasion people quite naturally sought out congruences, either perceived or actual, between the two cultures. The congruences arrived at often seemed -- and indeed were -- results of misunderstandings or accidents. Indeed, to later observers, the interpretations offered by members of one society for the practices of another can appear ludicrous. This, however, does not matter. Any congruence, no matter how tenuous, can be put to work and can take on a life of its own if it is accepted by both sides. Cultural conventions do not have to be true to be effective any more than legal precedents do. They have only to be accepted.
One of the congruences that worked for the French and the Algonquians was the concept of father/child that took hold. For the French, to be thought of as "the Father" played into its feeling of being the person in charge who was to be obeyed which it saw as the natural order, despite the greater number of Indians.

For the Algonquians, the term "father" had a different connotation. Fathers weren't to be obeyed, they had no coercive power. But as the person with the ability to provide, Fathers were expected and obligated to provide. And as the person with more access to goods necessary for presents, fathers were expected to try to convince their children to get along. The fact that the French had access to goods that made wonderful gifts gave the French the obligation from the point of view the Algonquians, to provide those gifts and to mediate. There was no reciprocal obligation on the part of the Algonquians to obey. On this misunderstanding was the entire long lasting father/child relationship between the French and the Indians born.

One of the biggest hurdles that the French and the Indians had to cross was to understand how coercion did or did not play a part in the other society.
... Algonquian village leaders, unlike Onontio and his French officials, were not rulers. The French equated leadership with political power, and power of coercion. Leaders commanded; followers obeyed. But what distinguished most Algonquian politics from European politis was the absence of coercion. ... As Chigabe, a Salteur chief, and probably a lineage head of one of the proto-Ojibwe bands of Lake Superior told Governor Frontenac: "Father: It is not the same with us as with you. When you command, all the French obey and go to war. But I shall not be heeded and obeyed by my nation in a like manner. Therefore, I cannot answer except for myself and for those immediately allied or related to me.
If an Algonquian leader could not coerce, he could convince. And presents were a way to convince. By giving Algonquian leaders gifts that could in turn be passed along to others, the French were giving the Algonquian leaders the ability to convince their people to go along with plans that the French desired.

Keeping all of this in mind, White looks at the fur trade which is normally looked at from the French point of view with most exchanges being a form of commerce and other occasional exchanges being a form of gift giving.
It is just possible, however, to create a counter image in which the fur trade proper is merely an arbitrary selection from a fuller and quite coherent spectrum of exchange that was embedded in particular social relations. The fur trade was a constantly changing compromise, a conduit, between two local models of exchange -- the French and the Algonquian.

Both sides had models of equitable exchange. ... The Algonquian model proceeded from a different logic [than the French market model] and can be distinguished from the French on a series of important points. First of all, the goal of the transaction was not necessarily profit - securing the maximum material advantage. It was ... to to satisfy ... the needs of each party. Second, the relation of the buyer and the seller was not incidental to the transaction; it was critical. If none existed, one had to be established. Third, the need of the buyer was an important element in the logic of the exchange, but it exerted an influence opposite to that it exerted in the French model. The greater the need ... the greater the claim of the buyer on the seller.
In other words, the Algonquians only "traded" with those with whom they had a personal relationship (family, either real or symbolic) and the exchanges took the form of providing for the needs of the other person and if one side had greater need, the person with the greater means was obligated to try to meet their needs.

If the French wanted to trade with the Algonquians they had to understand at some level that exchanges of goods could not always be for mercenary reasons. At the same time, although the Algonquians had their own reasons for exchange of goods, by trading with the French at any level they had, without a doubt, entered into a global world market in which the furs they traded were eventually distributed all over Europe in the form of finished goods such as hats. And thus, the market system of Europe did impact their lives, as gluts of furs would cause Europe to send over fewer trade goods that could be used for presents to assist in mediation between the tribes. But the market never dominated the fur trade system because the French, especially in the 18th century as England became more and more powerful and her reach grew further, were fully aware that the requirements of the military alliance would necessitate the taking of actions that the market would not tolerate. As White says:
But precisely because the fur trade could not be completely separated from the .... relations of political and military alliance, a straightforward domination of the local Algonquian village by the market never emerged. Instead, a system of exchange developed that was notably different from earlier Algonquian models; it was a system influenced by, and yet buffered from, the market. The French-Algonquian alliance was the buffer. To allow profit alone to govern the fur trade threatened the alliance, and when necessary, French officals subordinated the fur trade to the demands of the alliance.
In other words, when the alliance demanded it, the French would countenance "trade" at unprofitable levels to keep the allies happy; they would act in the Algonquian mode as a giver of gifts that were needed because allies were tied by familial bonds that required those with more to take care of those with less.

How does this fit with Hyde's work? In the Times article, Smith says that Hyde's thinking over the years has evolved.
Since the mid-1980s, when his work began to gain in popularity, Hyde has often been invited to speak publicly about creativity and gift exchange. Invariably, the discussions following his lectures have wound their way to a practical question: If creative work doesn’t necessarily have any market value, how is the artist to survive?

In the course of writing “The Gift,” Hyde underwent an intellectual transformation on this subject. He began the work believing there was “an irreconcilable conflict” between gift exchange and the market; the enduring (if not necessarily the happy) artist was the one who most successfully fended off commercial demands. By the time he was finished, Hyde had come to a less-dogmatic conclusion. It was still true, he believed, that the marketplace could destroy an artist’s gift, but it was equally true that the marketplace wasn’t going anywhere; it had always existed, and it always would. The key was to find a good way to reconcile the two economies.


In other words, Hyde is looking for a middle ground.

I haven't even touched on my other interest in Hyde's current work, which has to do with the the tradition of the "commons" and how it influences his thought on trademarks. The "commons" played a role in French colonial life too, slightly different than that of English colonial life. But that would be the subject of a post for another day.

The Pirates of Penzance at OTSL

    The Opera:  Frederic has turned 21 which marks the end of his apprenticeship with the Pirate King (he was supposed to be apprenticed to ...