Sunday, November 25, 2012

Movie break: A family reunion would seem a winning ideal, but it runs aground on moral complexity and interpersonal tumult: The Royal Tenenbaums (2001)

[Edit done 2/20/13, between brackets. Edit 10/23/13.]

This almost might be a “Quick Vu” review, because I don’t intend to say too much, too deeply, about this film, but I have seen it numerous times, so you would think I would be able to say something incisive and wide-ranging about it.

The numerous times I’ve seen this peculiar film have mostly been widely spaced apart. I haven’t tried to focus hard on it to write a review as I have with numerous others films that I’ve been (relatively) new to. The Royal Tenenbaums (RT) has always seemed like a set of exotic candies to savor piecemeal, and think about afterward. It is one of director Wes Anderson’s films, and is the only such I’ve seen, and I’m interested in seeing some of his others. There is something at once precious (and fussily crafted) and incisive (and on the grand side) about RT, so it will be tricky to talk about this in any sort of generalizing terms and as if “it resonates with our concerns and lives in this easily defined way.” It’s not a film where you swing through an odyssey of “willy-nilly experience” and then can talk about it, wowed, at length over dinner.

Moreover, in terms of its mood, while this film is, as some today may say (in our weirdly shallow-emotions-featuring time), depressive, I don’t think it is nihilistic, reckless in what it delivers, stupid, tendentious…. It just offers a take on a certain kind of family history and family life, and it includes an often gentle handling of despair, though for those who crave fun and who are in not in the mood for any “dish” of despair, they might find it a little strong.


Details in shots help a very “literary” film

The film, with voiceover narration (by Alec Baldwin) adding to its fairly literary (wit-rich) style, includes a lot of shots of “illustrations” of aspects of the characters and things in their lives, almost like still photos. Especially noticeable in the “still photos,” “deep focus” is used, a technique going back to the 1950s by which all elements in a shot appear at the same level of focus, usually employed with black-and-white films. [Update: It would take a historical "review" more than I can give here, but "deep focus" was first (?) used notably artistically by Orson Welles in such films as Citizen Kane (1941) and The Magnificent Ambersons (1942). It became more common by the 1950s.] In this film, there is also a fussed-over color scheme, with color purity embraced while not-primary colors are often used, which makes the film sometimes seem like precious old paintings.

In these shots, details are highly important. Rather like the old-time details-rich shots in Orson Welles’ best films, or in the folded-in wit of shots in Coen brothers films, RT has a lot of shots where multiple viewings of the film allow you to appreciate what has been densely packaged, in order to convey the many little facets of this unusual family’s statuses and lives. Sometimes, this detail orientation facilitates the story itself.

For instance, where Royal Tenenbaum (played by an earthy/elegant Gene Hackman), the paterfamilias who has recently rejoined the household of the family from which he’s been estranged, wants to take his son’s (Chas’s) young boys Yuri and Uzi out for some fun, Royal sees the two boys close to the door (right in the front of the shot) working like diligent clerks—Chas is generally self-serious and manic about running a real estate/finance office in the house (he is played by Ben Stiller, whose real-life wife Christine Taylor also appears in one or two shots as a secretary in the background)—one of the boys gestures back toward Chas with a pencil, furtive and sympathetic to Royal, as if to say, “Don’t let the boss hear you!” This kind of funny detail can elude you on first viewing, but becomes a fun bonus when you view the film again.

The characters are so numerous and detail-rich, you seemingly need to set up a spreadsheet to sort them out, if you were really to come to grips with this film. (The screenplay is by both Anderson and Owen Wilson, who also features in the film.)

Hackman won a Golden Globe for his performance, and the film was nominated for an Academy Award for its screenplay (but did not win), according to the film’s Wikipedia article. The film seems to have made back more than three times its cost.

A lot of the jokes are drily funny, and music is used in relation to certain situations wittily—including a lot of sampled pop songs from several decades (e.g., The Ramones, The Clash, The Rolling Stones, Van Morrison), with the musical component apparently directed by Mark Mothersbaugh, one of the founders of the New Wave group Devo, and who has scored other films for director Anderson.


Scenes that seem more like a typical film’s

When we really want to see a more normal film in RT, we are rewarded by the scenes in which some significant drama between two people plays out at some length, and it seems as if the story’s got a lot of good tragicomic stuff to say, as articulated by actors allowed to unfurl their stuff:

* Etheline (Angelica Huston) receives a marriage proposal from Henry Sherman (Danny Glover), Etheline’s fastidious (if sometimes clumsy) accountant. Sherman sets this off by advising, in dry accountant terms, that she can change her designation to “single” for tax purposes. But, as the story will soon cement, he has also thereby unexpectedly entreated to become her suitor (while Royal and Etheline are still technically married). Amusingly, house butler Pagoda (played by Kumar Pallana, who is the Asian Indian janitor in Spielberg’s The Terminal [2004]; Pallana died in October 2013 at age 94), can be seen (in deep-focus style outside the window, apparently listening in). Etheline rounds out the comic moment with, “This isn’t really a tax issue, is it.”

* Royal encounters estranged wife Etheline on the street, and works to rejoin their household, claiming he’s dying (of cancer). There is some back-and-forth semi-accidents of understanding and tactical claims, making the scene almost slapstick, but the veteran actors make it work within the taste bounds of the film.

* Etheline and Henry walk and chat in an archeological site (archeology is her field). Henry accidentally falls into a trench, and Etheline realizes this belatedly, goes back to get him—another scene where almost-too-broad comedy is made to work.

* Royal strolls in a park with same estranged wife when he thanks her for how she’s raised the kids (one of the few scenes in the film that isn’t played for quirky or absurd or easy-laugh humor—a modest and adult scene, intimating Royal’s better side, which doesn’t always show in the story).

* Royal provokes a verbal fight (in a kitchen) between himself and Henry. Here, Royal shows a race-baiting side with Henry, but I think it’s acceptable in the film because he isn’t showing racism so much as jealousy and a sense of helplessness with regard to his wife being finally and decisively removed (partly by Henry) from his life (later Royal will grant the divorce between himself and Etheline and give her and Henry his blessing).

* Most touchingly, there is a pretty gentle and tasteful handling of things when Richie Tenenbaum (Luke Wilson), a failed tennis pro, and his adopted, mournful-faced sister Margot (Gwyneth Paltrow), confide in his colorful within-the-house tent in the wake of his having attempted suicide. She asks to know if his attempt was tied to his love for her (it is). (As the film works to make acceptable, it’s not horrible that Richie is in love with Margot, as “siblings,” because Margot is adopted.)

Such scenes as these show the heart of a story about an elaborate family and its various associates who have love come and go, and who suffer tragedy and the likes of estrangement, failure, and breakdowns of various sorts (the voiceover refers early on to “two decades of failure, betrayal, and disaster”), and generally negotiate with each other as the children return to the nest.

Royal, too, “returns to the nest,” after he has been living in a hotel for years (and has run out of money to pay his bill there). He is the one true cad of the film, who has been an absentee father for about 17 years; but he also turns out to be the story’s most well-rounded character, including in showing a generous side when he tries to teach Chas’s young boys how to have a little mischievous fun. (Typical of the film and its quirky ways of “coloring” characters—both superficially and sometimes as ways to indicate their inner characters—Chas and both his boys usually wear identical red sweatsuits, as if in their busy lives they sometimes make time for exercise, but that means keeping on their sweatsuits all the time for whenever they can squeeze exercise time in.)


Droll details are plentiful

Many little details abound that rival the detail-consciousness of the likes of Stanley Kubrick. For instance,

* It is probably not coincidental that Royal’s initials (he is mixed Jewish and Irish, with an O’Reilly surname in his background and in his full name) are R.O.T.

* In Chas’s room is a mechanized revolving tie rack, but all the ties are the same.

* Even such a brief, fleeting scene where how Margot lost a finger is recounted includes funny little touches: the Indiana relative who was showing her how to split a log, he looking hick-ish with his Cat Diesel Power billed cap, suddenly lets his corncob pipe drop from his mouth as he finds in shock he has accidentally chopped Margot’s finger off (i.e., both finger and pipe drop, but the finger is unseen).

* In a scene from a later time, Margot is rather lethargic in a bathroom where, in her and her husband’s house, she holes up most of the day in the bathtub, watching TV and indulging in her secret habit of smoking cigarettes. She is drumming her fingers on a porcelain surface, and you can hear the “indecent” hard tap of her wooden artificial finger hitting the porcelain. It’s these sorts of things that give the movie a Mad magazine air.

* Last but not least, Bill Murray plays Raleigh Sinclair, who with his rather outlandishly bushy beard is on obvious parody of neurologist/writer Oliver Sacks. Sinclair keeps studying a disorder in the same boy through many of the glimpses of his ongoing career we see; the boy almost seems part of the extended family, including with ironic, eye-rolling reaction to some of the family stuff he happens to witness.


Musical touches add to the exoticism

Some choices of music are so weird and yet complement the scenes in a rather exquisite way. When Margot goes by a “Green Line bus” (another regularly used quirky detail, along with the crappy-looking “gypsy cabs” that feature in so many scenes) to meet Richie at a shipping port, where he is returning from his long overseas cruise, they meet like lovebirds coming thro’ the rye. The background music is something unusual—with folkish fingerpicking on a guitar and a European (German?) voice singing the likes of “I don’t do much talking…”—what song is that? So odd, and yet it fits the scene in the quirky way the film revels in.

Some offbeat musical choices bleed from one scene into another. Starting when Etheline and Henry are at the archeological site (after Henry has emerged from the hole he’s fallen into), and some aspect of their being in a loving relationship manifests, this seems underlined with music starting that sounds like some slouchy background accent of horns off one track of a multi-track jazzy recording done late-night in a nightclub, with a human voice echoing the melody of the trumpet amid the horns, scat-singing, with a sort of “shower-stall Sinatra” banality. This same somehow atmospheric (yet seemingly facetious) music carries over into the scene where Royal meets up with Chas’s boys (at an athletic field/tennis court/such) and starts to arrange with them to appeal to Chas to let him meet them.

If you haven’t seen this film, all I’ve said may make you think, “What kind of weird film is this?” If you haven’t seen it, take a look; at worst you would find it weird. No denying that it’s loaded with a host of carefully laid bricks of amusing details, but what really allows it to grow on you is whether you will embrace its melancholy, yet hearty—and still quirky—portrait of a rich-yet-sad family’s life.

Larry Hagman, as an American type

Maybe, in light of the above-named’s passing, it’s worth relating something I’d thought of including in my review of Oliver Stone’s Nixon (see relevant two parts), but which I did not include for space considerations.

One fictional liberty that Stone’s movie took (which was one of its freer conceits, but wasn’t quite so bad as any possible canard about a “Track 2” Cuba/JFK plot) was representing the business interests behind Nixon largely in one obviously composite figure, “Jack Jones,” played by Hagman, complete with cowboy hat and J.R. Ewing look. Hagman and other apparent “boys in the back room” first appear with Anthony Hopkins’ noodgy Nixon, as if helping philosophically prepare the old Trickster as “their boy” for his 1968 presidential run, in expected liberal-defined “conservative interests” fashion, including darkened room in a Texas locale.

Later, Hagman’s character appears (as Nixon pays him another courtesy call) as if to complain disillusionedly about the new governmental enactments that seemed to be putting his shorts into a twist, like hands being tied (amid his oil business) by the EPA (yes, that agency started during the Nixon administration), and among other new pains in the ass, having to bus his kids to a different district (for racial desegregation purposes). (We’d forgotten about bussing as an old hot-button topic, hadn’t we?)

I thought this portrayal by the movie was rather weak. I mean, even in 1995 (when the film was released), of all the things a J.R. type could have grumped about in trying to convey his conservative disappointment in about 1973, was bussing such a big deal? (Just check out how Jack Jones lists this among his grievances. Doesn't it seem like self-parody?) Oh, boo hoo! J.R. was pissed over having his kids bussed to go to school with a bunch of “coloreds” [or whatever Jack Jones would have called them]!

If only that was Nixon’s worst legacy.

And how far we’ve come in terms of headache-giving issues we want to choke a politician about today.

I’ve always thought of Larry Hagman as “Major Nelson!” (as hollered by his supervisor, Colonel Bellows, I think his name was) from I Dream of Jeannie. But of course, he seems more remembered for his longer-lived role as J.R.

And to capitalize on this figure to make “Jack Jones,” Stone showed what an image Hagman had managed to carve out for himself, with his handsome features seeming to front a certain “heart of darkness of America.”

Friday, November 23, 2012

Skoder-tale interlude: Was my tone too nasty for Thanksgiving time?

[Corrections done 11/27, 11/29, and 11/30/12.]

One of the mixed-feelings luxuries of being a writer over many years is that, after you have worked on something into which you’ve poured your present-day heart, well-crafted intellectual angles, long retrospect, and careful sorting out of old feelings, you still may wonder if you were a little harsh (on someone or something that is a part of the story), or a little precipitous….

I am not an impulsive writer, and even among my blog entries that may seem to you like a rant, the important thing to remember is that any entry I do that is of real substance, not least on subjects that have aroused anger in me over years, has been crafted in a cauldron of trying to find a way to articulate a difficult matter where balance—intellectual and emotional—is crucial.

In particular, I wondered whether, with my Skoder entry on November 21, and with the associated entries on my “Mountain Bear” blog, I had been too harsh on NR, the boss I had at a newspaper job.

One important point: There is no way to talk about Skoder in particular without seeming to have the scorn knob turned up high, continuously. And I should add that this tone is far more suited to Skoder (due to her long-term behavior, among many other people) than to NR (due to her short-term behavior, with me).


Some food for thought at a cornucopia-like dinner table

On Thanksgiving day, I thought about the NR/tone issue a fair amount, and my emotions seemed inflamed enough that I knew I had to do (on my blog) some qualifying, reconsidering, etc. (I think that my drinking of wine that day, and more ongoing frayed nerves, helped condition this mood, artificially. And while the wine was screw-top, it wasn’t horsepiss!) A conversation with an elderly in-law relative at a dinner table in New York, while in general she evinced no obvious familiarity with my blog, led to her commenting on some old anecdote (from maybe 60 years ago) where an elder (relative to her) taught her the meaning (as she posed it) of respect for elders.

In a way, for me to hear this old story (about an old issue of manners), which seemed on its face like a “lesson from an old fogey” (i.e., as how the relative portrayed it--as her having heard it from what arguably she considered an old fogey 60 years before), and for me to (“accordingly”) feel bad about my rhetorical manner related to NR, seemed a little bit of short-circuiting of my mentality regarding writing on a difficult topic (while there might have been some suitable enough guilt mixed in). The short-circuiting, for its part, seemed like too much, simple-perspective guilt tied to a piece of work I had wrestled with, with care, for some time.

One option in my mind—which could have shaped a possible response I could have given if someone criticized my blog to my face, outright (and which I have not had cause to exercise, thank goodness)—was a sort of “aloof writer’s” self-justification, which would have been not terribly different from what you see here, but cruder, and due to the spontaneity of social circumstances, may have been not terribly well thought out. (You could call this the “New Yorker writer” sort of response: “Art stays above the fray,” etc.)

Another angle on this is that, for years (yes, years), I helped shaped my inner debate on how to present the 1998 NR/Skoder story amid occasionally picking up a copy of the Suburban Trends in a library and looking at NR’s column that always appeared in the Wednesday issue. Such a nice old woman, talking good-naturedly about trivial stuff; and we had good times, a recollection that was implicit in my “catching up.” (Her columns have long tended to seem with their offhand and tiny-scope style like blog entries, even if written by someone who obviously had developed as a journalist before there were blogs.)

That gets at part of the conundrum with NR: even when I worked with her in the office, she could be as nice as pie most of the time, but rather shockingly high-handed and mean at other times (and in highly isolated ways). If this meanness had happened only once or twice, it might have been something to brush off, but especially in 1999, it became a troubling habit of hers—with me, but also in a sense with others.

Today, she must be at least 80. (And she’s still working!) So, if she saw my November 21 blog entry on the Skoder stuff, how might she react? And do I care?—yes, I do.

But I also care to make clear why I present this story with as much vinegar as it has.


Hard tone inevitable in an account of violence

Yet another angle to consider this problem of tone is this: In recently editing the actual sections of First Love that appear in the “Mountain Bear” blog, I was sometimes struck by how much they seemed expressive of billowing indignation. They seemed to express so much of my raw emotions from 1998-2001 as tied to their content, not how I feel now (at least about many aspects of the experience I had at NJN as I might tend to review today).

But just as quickly, I realize that in talking about this matter of old violence, in being as succinct about a messy situation as the story would allow, it can’t help but sound indignant, even raging at times. That’s what violence means. You can’t pussyfoot around with a story of violence.

If you read Robert Conquest’s excellent account of the Stalinist purges, The Great Terror: A Reassessment (Oxford University Press, 1990), or Aleksandr Solzhenitsyn’s The Gulag Archipelago, there is a lively emotion—a seeming florid rhetorical slant—that comes with these books’ accounts. A sort of bloody-minded or rich-spirited humor comes up, and/or a sense of indignation; some of what the books relate seem like a satire of awful behavior. The humor, or sense of outrage, is a human correlate of telling these stories as responsibly as possible.

My own smaller story on smaller matters isn’t too different in this regard. As I said above, there is no way to talk about Skoder in particular without seeming to have the scorn button turned up high, continuously. And I should add that this tone is far more suited to Skoder (due to her long-term behavior, among many others) than to NR (due to her short-term behavior, with me).


Holding NR relatively blameless

Which helps us to mitigate any sense of how I speak about NR. I never meant to imply that NR was as bad as Skoder was in 1998. I knew NR as a coworker, and worked with her peaceably, much longer than I did the same with Skoder (which latter was only about six weeks in 1989, and while I have observed Skoder in action as a community figure for many more years than I had worked with NR). But a striking part of this story is how, in winter 1998, NR went right along with Skoder’s “conveyed sense of outrage”—which was at least as much untoward bluster as it was rooted in any sane sense of morality—in NR’s forbidding me to do very much regarding Skoder than I had already done in February 1998. And it wasn’t as if NR was acting one time on impulse with this; she reinforced the message with a number of versions, making sure I got her point.

And I’ve long thought—I am sure—she was completely wrong in this. And this wasn’t just with respect to acting on a board I was leaving anyway. It was in forbidding me even to feel as if I had the freedom to defend my reputation in town in 1998, via whatever means I was used to employing responsibly as a community member in the past. This meant a sort of harm to me that lasted for quite some time. On the one hand, I knew that many people in Vernon “politics” came to bad ends, whether deserved or not. But on the other hand, one always wants to leave a few years of honorable service on better terms than a half-hidden flogging in a grossly unprofessional free-for-all.

NR could be excused to the extent that she was thrown into some kind of illusion about what was going on with the Environmental Commission in early 1998 by the intensity and extent of Skoder’s bluster, which has been in evidence for years and with a range of people (and, of course, there is the element of how Skoder misused her role as a reporter, which, I should add, many people have been hoodwinked by: numerous people over years  seemed to accept her as a valid reporter, with all her habitual ways of approaching local issues, when they didn’t [yet] have the solid wherewithal to see how she was so frequently unprofessional in this).

What has long remained with me as a lesson in this is actually something I’ve seen in far different circumstances at other employers: when one woman (in the Skoder role) employs a version of the “victim card,” even when she goes well over the top with her claims and tone, other people (almost in automatic hysterical accord) go right along with believing this, and accordingly turn on you (when you are the object of Skoder’s claims) with about as much ungrounded, headlong momentum as Skoder has created with her bluster.

If NR ever came to understand that this was part of the “mechanics” of what happened between me, Skoder, and her in February 1998, then I can willingly excuse her (NR). I don’t know if she ever did understand this. In fact, her behavior in early 1999 (which I have not yet addressed much) suggests not—and in its own right, as not directly linked to Skoder, it actually became an occasion for me to resign from that copy editing job of two and a half years.


Corroborating incidents

As I’ve also suggested (at the end of my November 21 entry), Skoder was even released from working for the NJN paper from which she posed her obstreperous issue in February 1998—but this didn’t happen until about 2001. And apparently it was a lieutenant who let her go. But all things considered, since I knew Skoder would eventually be the source of her own unmaking, this made all kinds of sense, and I knew it need not have been very much on the basis of my own “case I made” in 1998 that there were grounds for her to be let go in 2001; all I knew was that it was virtually inevitable, especially as the lieutenant who (as far as I know) did the releasing had a brain (which I definitely know) and would be able to see Skoder for what she was before long. I hope to look at this situation in more detail soon.

For now, I feel that my November 21 entry is probably as balanced as it needs to be—and the “Mountain Bear” entries probably are fair enough (especially as they were originally done in the “sanctum” of writing literature of a type that, far from cheeky or offhand blog entries, is generally meant for that kind of “airing grievances”—with an eye to some kind of reconciliation, or “edifying meaning”).

I will try to tweak the blog entries on this old 1998 mess in order to be fair, but will try not to overhaul things much in view of any sense of “untoward harsh tone” or the like. (By the way, I remember someone [pompously-in-retrospect] chiding me for my “tone” in reports or the like…this happened at the Marvin Center in the 1980s, but there was someone more recent, in publishing, maybe Cam at AAC [see my June 4 blog entry]…and I have to say that, today, I don’t recognize that sort of objection as valid, after all these years and all I’ve learned to deal with in the turbulent, occasionally-butting-heads work world. Consider me in general to present as appropriate a tone as is warranted, and assume that there could be a good bit more anger below the surface that I work in good faith to have the good graces not to treat you to.)

It’s tough enough trying to just get the basic facts of the 1998 story to be accessible. Whether I sound like I’m being tough on an elderly supervisor (NR), well,

(1) I’m trying to moderate the tone as reasonably as I can (given relevant facts), and

(2) NR’s downright abusive behaviors (of 1999 in particular) are something I have a hard time reconciling with her more usual “nice old woman” demeanor, other than to say that people who are given to be occasional bullies in pressured work situations do seem this contradictory way: sentimental softies a good part of the time, and a grossly invasive source of violence a tiny percentage of the time that nevertheless has serious consequences—in your work status, and in your emotions, sometimes for years to come.

Perhaps my account of the 1999-2001 follow-up to this will add helpful perspective.

Wednesday, November 21, 2012

The place of Skoder in my war stories, Part 1 of 2

For better public service against days of crisis, we need NO assaults close to home


(In some ways, this Skoder story—which I present in my habitual way of trying to make old woolly-bear stories relevant for modern-pragmatist times—still seems like an awful big knot of professionalism-related Sturm und Drang to try to make relevant to our post-election, post-Sandy situation of “Where to next, Quasimodo?” But this intro right here isn’t too bad—it’s built for possible perusal at a Starbucks; the much different Parts 1-4 [subheaded “Assault Close to Home”] on my “Mountain Bear” blog should be interesting but to a limited readership; and Parts 5 and following, which could well appear on this blog, should be more attuned to current needs and tastes. Bottom line? This old war story provides me with some experiential basis for deciding what to do about a more current issue—licentious behavior at a medical-media firm.)

[Editorial note: You know it, and I know it: time to remember what’s important, as we gather around the holiday table, and savor kith and kin, and give thanks. We’ll gobble down gobbler meat; suck up that delicious stuffing and/or mashed turnips and/or cranberry sauce; knock back a few tall, cool ones (of whatever sort). Some will go watch football for the rest of the afternoon. Big break from all the recent Sturm und Drang, right? And we deserve it. But life goes on; dark clouds are on the horizon, and it isn’t just perverse thoughts that lead us to acknowledge them. Our enthusiasm is for meeting challenges lately, and the challenges never sleep. But they are such that we get a bit grumbly thinking of them, as creative as we want to be. Some of the thoughts are fairly universal: “Where’s my f**king money?!” and “I ought to choke that so-and-so…!” Then, we can reach for therapy too: get on the laptop, maybe a smart phone will do—check out a Web site. “What is the dweeb up to now? What war stories has he got? How can I look good in comparison to him?” And you check out the latest blog entry, and then have that little voice in your head say: Ask not for whom the dweeb lands on his face: for he could be you, too.

[Another, unexpected spur to my posting the below information, especially relevant to Gene Mulvihill, whom I don’t want to sully the memory of any more than is incidentally necessary, is something that appeared in a food section—see under the columnist’s page of the company Web site—of the New Jersey newspaper The Star-Ledger on November 21, on Mr. Mulvihill’s having a nice wine cellar (for some reason the Mulvihill column didn't turn up when I tested this link; it should). Now I’m not slighting the columnist’s opinion, but, from the standpoint of someone who has lived in a town affected by Mr. Mulvihill’s business for years….  Mmmm! It’s cool that Mr. Mulvihill had this bon vivant side of him, but it also seems as if some public relations so-and-so (not the columnist) has been doing an assiduous job burnishing the reputation of his former employer. Not to worry, folks, a little history shown below—not to make an untoward mountain out of Mulvihill’s past deeds—will convey the realistic metes and bounds of what it has meant to pursue good work of various kinds in Vernon Township within the past quarter century, whether that work was paid or volunteer. So raise a glass, whether filled from a wine cellar or not, and say, “Prost!” (There may seem a wobbling between tones here; I sympathize with Mr. Mulvihill's family's sense of loss on Thanksgiving; but Mr. M was a focus of important news and grassroots controversy for many years in a township comprising ~60 square miles, about public discussion about such a figure, even following his death, can't be mealy-mouthed, though it tries to be fair.)]

[I will be unable to make corrections to this entry until after Thanksgiving. Edits done 11/23/12 & 12/6/12.]

Subsections below:
The 1998 Skoder story to be released in edited form; two phases to the story
The 1998 assault phase: Lessons for later, especially on the question of letting time heal wounds
The business-model side of the little newspaper involved
The parameters of my work arrangement: Quite a substantial job, for a part-timer, yet with profile very hidden
How the 1998 assault-phase story, at least, is relevant now
A taste of the 1998 assault-phase stuff, including telling exhibits
Links to obtaining a novel a friend wrote, inspired by Skoder


You may have wondered, as you read my recent entries related to Gene Mulvihill, the businessman who recently passed, what Skoder (pseudonymous) had to do with anything. Good question.

Skoder is at the center of a hairy story from 1998, which I have contemplated posting something of (i.e., in some form, or in some part) for quite some time, even before I started this blog (but had my own Web site). For a long time, I kept it under wraps…but one trick to dealing with it is, as when I was thinking of producing it before Hurricane Sandy hit, how to make it relevant to today (to either my own concerns, or others’ concerns).

In fact, Hurricane Sandy, with its bringing to the fore concerns about local forms of help (first responders, utility companies, FEMA helping out, and so on), seemed to make the Skoder story not irrelevant again, because it had to do, in part, with providing local public service, which could relate to (among other things) a sort of infrastructure being in place in case of emergency.

(Actually, my own experience on township boards in the 1990s—which Skoder in 1998 did affect permanently for me in her idiosyncratic way—really did relate, to FEMA/emergency type parameters: in one isolated instance, my term on the Environmental Commission related to what information the township was apt to have on file with FEMA, or such, in 1996; and in 1997, when I was on the Board of Health, that board dealt with an issue regarding health department employees of a certain class being on call for emergencies…a very interesting issue in which I played a helpful role, which I should tell you sometime.)

The 1998 Skoder story ended up comprising a sizable enough chunk of my short novel manuscript First Love, though it was atypical of the larger novel (partly because the Skoder chunk closely hewed to the facts, not putting fictional twists on things as the rest of the novel did). And that’s where it was relegated for years, though I wondered if there wasn’t something more I could do with it….

The real-life correlate of Skoder has been a local person (in Sussex County, N.J.) who has worked as a news reporter, and more recently (for different employers) a teacher and an editor within a publishing company. Her career from about 1991 on was pretty scattershot, from what I could tell; I mean, mine has been catch-as-catch-can too, but she had a family she helped support, and the types of things she aimed for were (1) of a more conservative-career sort and (2) based on limited education, as she had for years, so in view of these features, the fact she ran afoul of employment desiderata in more dramatic ways than other people who work in the editorial and related fields was rather strikingly evident and telling. An interesting area I’m only being very cursory with here.

Skoder, when “flourishing” as a reporter in the late 1980s and through the 1990s, was highly controversial, for two reasons: she tended to engage in what many considered slanted news reporting on municipal issues—favoring one faction in town over another (typically she favored one faction or constellation of local Republicans); and she was highly litigious. This might seem like old history if her way of insinuating herself in an unseemly fashion into local politics, and being apt to threaten lawsuits, did not crop up again in 2010-11.

In fact, it is an easy assessment to make that no one person has caused more damage to civic life in Vernon Township in the past 25 years, or done it in a more peculiar (and that consistently peculiar) fashion. If this was confined to 1989-2000, it might be “able to be forgiven or forgotten” a bit, but it has extended to as recently as 2010-11. This along with the range of people whose rights she has trampled on or whom she has offended mean that her role in local politics has qualified as a serious problem locally.

Obviously, all this not only makes her a sort of “case study” in her own right, but also it poses a peculiarly paradoxical kind of threat: as she has shown over years, if you try to write about her (or otherwise address her publicly), she threatens a lawsuit (and at least in the past, this had typically been in a rather rambunctious, uncompromising manner).

The fact that she made strides in getting an education and becoming a teacher and an editor at an educational publisher does not negate the fact that her career trail has for years been littered with much “collateral damage” in terms of people she fairly noisily clashed with, sued, caused to leave local (volunteer) government service, and so on. In my opinion, as a self-determining career woman, she leaves quite a bit to be desired, to say the least.

How this related to me in 1998 is that, after I had been involved in a civic fashion (volunteer service, attending meetings, letters to the editor—not anything that would ordinarily have resulted in commercial benefit to me) in my town for approaching a decade, Skoder caused something to happen that resulted in the sudden crashing to the ground of my local-government service. After my service that included a little over two years on the township Environmental Commission, and one year on the Board of Health (as well as partaking in a local Democratic club, which did not provide the solemn, public-affecting work that the other positions did, and which Skoder couldn’t affect), I suddenly was shot down in a peculiar situation that not only involved a grossly unprofessional move on Skoder’s part, but also involved a phenomenal move on the part of one work boss of mine. My boss at a local-newspaper company, for which I’d worked (as a part-time staffer) since November 1996, was also indirectly a boss of Skoder, who worked as a stringer reporter for a local newspaper I did not have any direct involvement with. The boss favored Skoder, in effect, over me in grossly uncompromising terms in a particular issue. How this happened makes for a detailed, fascinating story that is the climax of the 1998 set of episodes included in the First Love novel.


The 1998 Skoder story to be released in edited form; two phases to the story

The Skoder part of that novel, on which I recently did editing to make it intelligible to people outside the situation, is essentially Parts 1-4 of a series with the thematic subhead “Assault Close to Home,” available on my “Mountain Bear” blog. One reason it has taken so long to get any version of this tale available publicly is that the full story of “Skoder and consequences for me” actually did not merely comprise the 1998 stuff, but included an attenuated 1999-2001 phase, which had very little directly to do with Skoder, but also involved my boss and one or two other staffers at the newspaper.

In fact, the 1998 Skoder violence was an important precondition in my own mind for how I dealt with the 1999-2001 stuff, which included what I considered abusive behavior of my boss’s (which in 1999 did not directly relate to Skoder), which itself, after I resigned from the newspaper, I eventually complained about to the human resources department at the larger company that owned the newspapers that both I and my boss worked on as well as Skoder’s newspaper. The 1999-2001 stuff was largely confined to 1999, but there was a set of sequelae to it in 2000 and 2001. The whole mess ended in early 2001. This whole situation was all the more amazing for how it seemed so uncomplimentary to my two and a half years of solid copy editing work for the newspaper company, which over a fairly long time, my boss praised about as readily as she was inexplicably nasty in early 1999.

The 1999-2001 phase I have started to write on, but am not finished with, yet. I am less sure how much of this I would release publicly, at least in the near future. (It actually is suitable to my presenting the theme of how companies today, in their financial travails, try to make themselves able to be adapted to readily and ethically by talented, idealistic twenty-somethings, or not—which I think, today, is one good measure for how much “sleaze” element there is in a company that also causes it to shoot itself in the foot.)

One relevant feature of all this is that, not least in the 1998 Skoder phase—call this the “1998 assault-phase” story—lawyers were amazingly unhelpful in a situation in which a local news reporter, in effect, grossly interfered with a volunteer government board’s business. This experience of mine with lawyers went on through a number of months in 1998.

In the 1999-2001 phase—call it the “post-abuse/quixotic phase” story—another lawyer also proved distinctly unhelpful, including on a specific aspect of the 1998 assault-phase matters.

The two phases’ lessons about lawyers help explain one solid reason I was very unapt to use an attorney in the Bauer v. Glatzer mess of 2008.

More generally, the lessons I got about lawyers seem to show how lawyers are very difficult to get help from in complex, subtle situations of legal infringement on workers at media companies.


The 1998 assault phase: Lessons for later, especially on the question of letting time heal wounds

Not only this, but when it comes to local political bodies being allowed to function as they should, and meeting people’s needs even in an emergency, it is important that the public understand—and be quite willing to learn—how these bodies are supposed to function, rather than these members of the public imposing a grossly biased, recrudescent, or otherwise unhelpful attitude onto their dealings with such a body. In this regard, both Skoder and my boss, in their relating to me in the 1998 mess, seemed much more suited than otherwise to being intemperate functionaries in a seedy division of a quisling/quasi-fascist Eastern European government, which had more of a tradition of stultified, bullying bureaucracy than respect for the earnestly embraced precepts of Americans trying to serve their communities in line with Anglo-American civic-life ideals.

Further, the 1998 story poses a lesson in the following way. When we’ve allowed an old story of professional mishap, indeed assault on one’s person, to remain “in a drawer” for over a decade, can we return to it later and tease out meanings “for us today” that we didn’t quite see then? Does forgiveness help “allow good lessons to stew”? Do certain parts of the story fade in importance with time?

These questions not only relate to the 1998 assault-phase story, but also to my 2010 CommonHealth story. If I put a lot of that (2010) story in a drawer for a decade, would the nastiness fade with time? Would the sense of what lessons there are, change? (This is aside from whatever relevance there is now to the CommonHealth story in terms of current public-health interests.)

Well, I find from the 1998 assault-phase story that some things are about as outrageous as they were then. In particular, my boss’s worst actions look now about as ugly as they ever did: the stark “unprofessionalism” about them was so, you might say, world-class and world-historical that they still offend, and hold lessons, today. And of course, Skoder’s worst actions don’t fade much either, though from a broader viewpoint, a lot of her behavior looks like the many silly details of a vastly manifesting source of peccadilloes, infringements, stumbles, outrages, threats, sick comedy, and so on—from someone who, in a most fundamental, unambiguous way, can’t mind her own business well at all.


The business-model side of the little newspaper involved

One aspect of this story is that the newspaper company involved—particularly in its local, non-subscription papers for some of which I did my work—produced papers that were primarily advertising vehicles, not so much servants of journalistic ideals. This can be readily appreciated in the kinds of papers that come freely in the mail, which seem to feature mostly advertising and whose articles seem mealy-mouthed, naïve, intelligence-insulting, and/or the like. Various consumers who receive these newspapers regard them with appropriate scorn, and may consider them “straight-to-the-recycling-pile” fare. Indeed, when I worked at this company, I fielded at least one phone call from a consumer who demanded that the distributor of one paper stop throwing it in his driveway. Similarly, a different company, in Sussex County, that distributed a similar advertising-vehicle newspaper received complaints from my lake community, Barry Lakes, because at the time the papers were thrown in driveways and ended up clogging drainage culverts and the like. The newspaper responded by rattling swords through an attorney who claimed First Amendment rights (of the newspaper company). For some time now, this paper is distributed in the mail.

Add to this basic understanding of a certain kind of newspaper that in the department in which I worked, my boss and I and numerous coworkers worked on such non-subscription, advertising-vehicle newspapers, but another newspaper produced in our office suite, over which my boss had a titular supervisory role, was a subscription newspaper (which hence had more class, as well as incentive to do professional news reporting), for which there was a tiny-circulation alternative edition, called the Argus, that was not a profitable proposition business-wise, and whose editorial coverage had mainly been West Milford, a neighboring town to mine. The company wanted to spread this newspaper’s subscription base to Vernon Township, my town, but the only reporter who regularly did news reporting for Vernon Township for the Argus was none other than Skoder, as a stringer reporter (a low-level kind) and not as a staffer.

And Skoder, unexpectedly for the Argus’s management, posed the dilemma that apparently no one other potential candidate for being a news reporter for the paper would consider writing for the Argus on Vernon regularly because of the ill repute brought to it by Skoder, whose baggage was already well established in Vernon Township by 1998. All this was easily enough appreciable background (certainly among various Vernon residents) to my 1998 assault-phase story. Even if my boss didn’t appreciate all these factors—and I think she was engaging in wishful thinking, at best, to blink the ways Skoder was a liability to the Argus—the ways the 1998 assault-phase story played out, which my “Jersey Bear” blog delivers as to the details that were important (in a sort of legal-case way) at the time, still shows both my boss and Skoder, in their respective ways, to have been inexcusable for what they did.

To some large extent, this whole story looks like “very local crap.” It’s the problems posed by people who were, so to speak, “not ready for prime time.” This is part of the reason I kept the 1998 assault-phase story under wraps. At the time I worked for the newspaper company from 1996 to 1999, I also worked for The Genesis Group Associates, a market-research firm concerned with nationally distributed products; Prentice Hall (the nationally distributing educational publisher, worked at through a placement agency); The World Almanac (worked for directly, not through an agency); Country Inns Bed & Breakfast, a nationally distributing magazine; Troll Communications, another nationally distributing media-related firm; and in 1999, TSI Graphics, a vendor to educational publishers such as Prentice Hall. The newspaper company was a place from which to draw a steady income (especially with taxes taken out, helpful at tax time when so much of the rest of your income was freelance, typically without taxes taken out), and it was an office to turn to like a “steady friend,” a place that regularly embraced my services every week—it was like a steady roosting place while so much else I was doing was in flux.


The parameters of my work arrangement: Quite a substantial job, for a part-timer, yet with profile very hidden

When the Skoder assault-phase mess happened in winter 1998, I had already been with the newspaper company almost a year and a half (which was long by the standards of the kind of position I had there). When I quit that job in June 1999, I had been there about two and a half years (again, long for that kind of work there). Though the Skoder infringement (of 1998) and my boss’s bad moves (in 1998 [relevant to Skoder] and 1999 [not directly related to Skoder]) were hurtful, at points even profoundly disturbing, at the time, I sort of chalked it up to the kind of crap you could see at a local craphole of a company. And indeed, as I once found when I did a quickie rating of three aspects of the various companies I’d worked for through the 1990s (paraphrasing the categories: care for product; office politics/brattiness factor; and general honesty/ethics), this newspaper company scored the lowest along the dimension of “care for product.” How this could be appreciated is seen, first, with the amount of work I personally did, which was overwhelmingly not on anyone’s bylined stories.

I copy edited, and later page-fitted (did page designs to fit the material I copy edited), press releases that made up a large enough percentage of two issues per week of Wayne Today and one issue per week of Suburban Life. The department I worked in, which served these two non-subscription, freely distributed newspapers, was inefficient in how it handled such editorial material. The material I was to work on was initially selected for being edited and prepared for possible publication by higher-ranking editors. A young woman who didn’t even have a college degree yet rammed all this material through a scanner—and its readiness for simple copy editing in a normal sense varied quite a bit—and then I had to edit it, whenever I got in to do this. I could have maybe a dozen such things to work on in a given night.

Altogether in my two and a half years there, I edited, I figured, over 6,000 press releases, but largely as a function of the space on pages available for it, only approximately one-fifth, I believe, were ultimately used (and I usually chose what was used). Measured in piecemeal terms, my work accounted for about 1,449 pages I laid out; and it accounted for 245+ issues of newspapers in which my editing featured. In all, for a given issue, the material I was responsible for editing amounted to an average of one-fourth to one-third of the total editorial material that featured in the pages of each of the papers I worked on. (And yet, again, I copy edited a lot more material than was ultimately used.)

Meanwhile, based on hypothetical estimates of others’ pay, I figured I accounted for only about one-eighth of the pay-related budget for the papers, and took only about one-twelfth of the time (total editorial hours from all editors on the papers) to do the work. I was a bargain in terms of preparing editorial material for those papers. I even pointed most of this out in my resignation letter of May 24, 1999. (Wayne Today, by the way, had a circulation of 43,000; Suburban Life, distributed to a weirdly concatenated set of municipalities, had less of a circulation.)

With this large load of work, there still was so much that typically happened—via management and sheer accident—that worked against quality of the product that the company seemed almost self-consciously intentional about producing shoddy work (bad editing, stories with parts bluntly missing, etc.). These errors often happened within the bylined-articles parts of the newspapers I was not responsible for. So, in my own “island” of responsibility, I tried to do the best I could in this larger situation.

Despite this function I served the company, while I also worked at nationally distributing publishers in that period, I could sometimes be treated as a measly dog with no rights—a hyperbolic statement you would understand more if you saw the full 1998 assault-phase story. The later “post-abuse quixotic phase” story tends to support this interpretation, too (but less).

As I’ve so often found in publishing, the decisions that get high-handedly made about you can have nothing to do at all with the quality of your work and everything to do with very petty concerns of office politics. (And do you think I was respected for “keeping the faith” with the large amount of efficiently done copy I was responsible for? At times, a bratty comment from a kid who had basically no experience beyond the local media level would speak as if I was a monkey not to be trusted with the bylined stuff.)


How the 1998 assault-phase story, at least, is relevant now

Today, when we consider a number of things, we can see how the Skoder story can be relevant again. These things are:

(1) how local organizations (government, nonprofit group, whatever) function should be understood as fully as possible by the public before they make complaints—and maybe the public, once understanding, can help them out more;

(2) business should not be illicitly pulling strings on the workings and fate of local government (though the details of this sort of thing narrow the definition here helpfully, and await actual stories);

(3) litigious-paranoid people, especially women of this ilk, are especially difficult, but have to be understood in their own crabbed terms;

(4) local lawyers, as I have found from long experience, are notoriously unhelpful with regard to items (2) and (3) here; and

(5) how young people starting out in a media career understand what is honest or honorable (and thus what they should adhere to as they develop their “work chops”) can vary widely, and this can affect how you function in a complex, pressured context with them (while you can be caused greater pain as a young person shows greater disloyalty to you, shows judgment errors, and/or such in this sort of situation).


A taste of the 1998 assault-phase stuff, including telling exhibits

In Part 3 of my Skoder story, to appear on my other blog, http://jnthetransient.blogspot.com,  there is the following newly added section, which has the benefit of being linked to “exhibits” that have the additional benefit of not revealing Skoder’s identity clearly (though in other respects their meaning is clear). Skoder, in general, seemed to think that taking a Woodward and Bernstein approach, while siding with local officials she favored, was an appropriate way to doing journalistic coverage in Vernon Township. As it turned out, she played a busy enough role in depicting the “nefariousness of Gene Mulvihill” that was a widespread phenomenon (certainly not limited to media professionals) in Vernon Township for years.

It was within my 1989 “tenure” working under Skoder [at The Vernon News] that, at her direction, I interviewed [Gene] Mulvihill for his opinion about a woman, AH, who was serving as chair of the township Planning Board at the time. It was fairly generally perceived, whether rightly or not, that Mulvihill was having a running feud with her over development issues he was partaking in—generally, she tended to be a stickler about certain criteria, and seemed to run up against his being expedient as a businessman. But the specific issue that came up, that prompted Skoder’s having me interview him, was some allegation that Mulvihill made about AH having a conflict of interest in a specific application I believe he had before the Planning Board. [For an article reflecting some of this matter, see Exhibit A, from the state newspaper The Star-Ledger; the second page is the back of the newspaper clipping from which the story comes, to show the date; I have the original in my possession.]

In the interview by phone, Mulvihill and I got along OK; he was cooperative and forthcoming enough within the bounds set out by what Skoder had me ask about. In fact, his frank assessment of AH, which I duly reported in my not-quite-story, was such that Skoder, who was a blatant ally of AH’s—and typical of the way Skoder functioned as a reporter, with her taking sides in local political issues—reacted to the draft of the story as if I’d engaged in egregious libel. Mulvihill’s comment, as I wrote it in a sort of crude draft of a story, not necessarily meant all to be published as is, was that AH “ ‘has a problem—and she desperately wants to be involved in our applications. It’s very important [to her].’ He added that he ‘doesn’t care’ about [H___], but that ‘anyone [he’s] talked to, any businessman in town, doesn’t feel she can do the job.’” Skoder wrote on the hard copy I gave her, which I still have—“libelous statement[;] all-out attack on Holbert.” [See Exhibit B, which shows my draft, not really an article but a sort of report (because I didn’t think there was much of a story—I mainly opted to show what Mr. Mulvihill had to say); the second page is an actual, un-bylined story Skoder later had published (probably in August 1989) that included the two quotes she marked with such a “teacherly air of criticism” on my typescript; I have the originals.] Of course, in some sense this meant that this report could put the newspaper at risk, etc.—and yet her comment had a flavor as if Mulvihill’s statement was my fault. [As I will convey in a future posting, she had no college degree at this point—which I only found out from a credible source in 1998—though in 1989 it was a clear impression to me that if she had attended college, she hadn’t done terribly well.]

At first she signaled she wasn’t going to use this report. For one thing, her kind of accusing an underworker (myself) for something she set the underworker up for was something she did with at least one other reporter at that time [in line with Skoder’s “investigative journalism” philosophy—she tried to press low-paid stringer reporters into the same kind of Woodward and Bernstein efforts that she herself espoused in her own work, at the time and later]. Jan P., a professional psychologist who was also working as a reporter and office clerk at the newspaper at the time, had something of the same experience. Yet, even more amazingly, either just after I left working there or just prior to the time I did, Skoder used part of this report I’d written—had the part printed—based on the interview with Mulvilhill, not changing what it substantively said. Her version removed my careful brackets with the resulting quote, “She desperately wants to be involved in our applications[…] It’s very important to her.” Not only that, but an additional statement from Mulvihill in my report—“Further, he said there are ‘other reasons why she should excuse herself,’ although he wouldn’t elaborate to this reporter,” regarding which Skoder hand-wrote the remark “vague”—ended up in Skoder’s un-bylined story [as you can see in Exhibit B] as “He said there were other reasons why she should excuse herself but would not elaborate.” The larger story, which still was on the short side, had Skoder representing AH’s comments in response to these remarks from Mulvihill—a sort of method Skoder used enough other times: giving some information or quotes she had acquired to someone else “on her side” for that person to have a chance to comment as if to “counteract” the information or quotes. In this small article, AH’s quotes went along with some hints of opinions from “Deputy public advocate Stephen Eisdorfer”—from whom Skoder obviously tried to get official input (I don’t know if he was county-level official)—who said “he had no public statement to make on the issue at this time and has only offered ‘background information’”—which Skoder did not specify—“as is the policy of his office, and should not be quoted by the press” (!!). This all is a good example, small enough but vivid and documented, of her ways, which would balloon in implications in later years.

Skoder’s allegiance to AH was such, and her attitude toward me after she was fired from The Vernon News in mid-1991 was such (even though I had had nothing to do with her after September 1989), that she worked to try to discredit me when I started working for The Vernon News again in fall 1991 (while I was working full-time at All American Crafts, where I’d been, starting part-time, since August 1990). AH made an issue over something I reported in a story about a local microwave-communications business, MicroNet, regarding which the township Planning Board, with AH as a member, had dealings. Tina Halsted, the editor of The Vernon News at the time, went to an effort to defend my reporting by even going to the township meeting tapes to check what I reported. Her effort is reflected in Exhibit C. Ms. Halsted reflected to me that she had her work cut out for her in dealing with AH’s (I put it nicely) entreaties, and Ms. Halsted suspected (rather behind the curve on this, all things considered, and not that she could be blamed) that Skoder was putting AH up to this.

Skoder would later file a lawsuit in 1993, in Superior Court in Sussex County, against numerous parties for her loss of her Vernon News job in 1991. The suit was dismissed, from what I heard, in 1994.

These are just select highlights of Skoder’s business in town from the period of 1989-93. Her working for a newspaper (that folded after a short time) in 1994 is reflected in my second blog entry on Gene Mulvihill. Two women whose (supposed) letters, supporting the school of township-political thought that Skoder herself supported, ran in that newspaper were later sued by Skoder, in a suit filed in 1996, alleging defamation by six codefendants (all former friends of hers). That lawsuit was dismissed in 2000.

An editorial note in The New Jersey Herald in December 1995, which pointed out how Skoder was using a fake name under which to send letters to the editor of that paper, is discussed in Part 3 of my 1998 assault-phase story. I have an original and copy of this editorial note in my possession.

So here we have a history of Skoder’s functioning as a local-newspaper reporter and otherwise as a “local activist” over about a decade in the 1980s-90s—the length of time not connoting merely a passing whim or impulse. Her age from 1989 through 2000 was approximately from 35 to 46—she was no kid. Leaving aside whatever may be of similar ilk in Skoder’s public career from the past 12 years, I think we have adequate grounds to appreciate what a shaky number she was, as to feature as she did in my 1998 assault-phase story. In the details of that 1998 story, we can see how poor my boss’s judgment was in dealing with me vis-à-vis Skoder.


Links to obtaining a novel a friend wrote, inspired by Skoder

A friend of mine whom I first met when we were working for The Vernon News in 1991 wrote a short novel about Skoder, naming her “Pinky Antonelli,” which is for sale on Amazon and can be seen listed here and here. An e-book version can be gotten here. (I haven’t read the whole thing but am amused by the initial impression given of Skoder in the freely available sample chapters. The image of this person with her large bag—very much the impression Skoder gave in 1989. However, what I have seen of the book’s characterization of her personality, specifically some illustrations of her paranoid ideation, show the book takes liberties with reality that may be its right to do as fiction.)


To be continued. Part 2 was envisioned to include a thematic part, “An explanatory principle is my boss’s eventually putting a young lieutenant in charge of Skoder’s paper.” This lieutenant, apparently, is the staffer who later released Skoder from working for the Argus, in about 2001. This plan altered. My November 27 entry shows one way I truncated this plan, with the darker Skoder story diverted to a Part 2 viewable here as well as a suggestion in the November 27 entry that there could be (not 100 percent likely) a mostly positive story on the lieutenant, which would have very little to do with Skoder.