Novel Update: The Afterword

My novel is in the process of publication and will be on the shelves in November. I realized I needed an afterword. I thought I’d share my efforts with the history surrounding Inside the Gold Plated Pistol. New followers and old friends might find it interesting.

Photo by Cindy Bruchman

Chapter One: Sally  

     The Roaring 20s was a special time for women to break boundaries and demand their independence. Innovation, music, movies, art, extravagance, and exuberance commanded the decade. Researching the historical climate circa 1927 led me down one road and then another; it was a fun way to get lost. Trying to conceive original characters depended upon a historical vision and then allowing the characters the flexibility to form themselves out of the mental mud I spun. Thank you, Barbara Stanwyck and Flo Ziegfeld girls, for providing me clues about a lifestyle for the fictional character Sally. Vaudeville acts, traveling dance troupes, nightclub dancers, and the high-class Ziegfeld Follies were a part of the Jazz Age across America. Though the Wild West was technically dead by 1927, no one told the 15,000 residents of Jerome, Arizona. The family of a copper baron, miners, cowboys, Native Americans, dance-hall girls, and prostitutes fused with the best technology of the age and imitated the urban environment out in the middle of nowhere with impressive results. Several silent-era actors and actresses transitioned from the chorus line on Broadway by Ziegfeld from 1907-1931. Many westerns were filmed in the area including nearby Sedona like Zane Grey’s Call of the Canyon in 1923.   This is where Barbara Stanwyck comes in.

    Stanwyck was orphaned at four and a frequent run-away from foster homes. She became a Ziegfeld dancer at fourteen. That led her to the movie industry and subsequent sixty-year career with 80-plus films to her credit. Imagining Barbara Stanwyck as the driven girl who possessed grit, sex-appeal, and survival instincts were the inspiration for the fictional Sally Vandenberg. 

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 Barbara Stanwyck photographed by Alfred Cheney Johnston

Chapter Two: George 

     German Expressionism. What is it? Simply put, it was a movement in art, film, and architecture during the Weimar Republic (1919-1933). At its height during the 1920s, it was a German reaction to the horrors of World War I. Mutilated soldiers returned with haunted eyes, hopeless, and depressed. Society as a whole suffered from nightmares more than dreams. Scholarship suggests there was a correlation between the Weimar years of emasculated men who committed depraved sex acts and murders against women particularly in the 1920s. This reaction to the war might be a link explaining the mindset of a society that allowed Nazi intolerance toward Jews.   https://harvardmagazine.com/1997/03/right.lust.html 

     I turned to the 1927 silent film, Berlin: Symphony of a Great City, an impressive composition about urban life during the Weimar Republic. Before the catastrophe of Nazism, Berlin was a mechanized, modern center of Europe. With subways, canals, taxis, factories, and elevators, Walther Ruttmann began his film with the sunrise, and clocks chronicled the day of Berliners. I am reminded of ordinary occurrences that are extinct today. Toddlers and children played outside with very little supervision. Milk was delivered to your home in bottles. On the corner of intersections, newsies sold newspapers for five cents, and policemen directed traffic. Horses still competed with cars and trolleys for the use of the street. Men pushed brooms while women beat the dust out of their rugs. Water was pitched on front steps for daily scrubbing. Reports were typed and letters were written. People shared rotary phones and were restricted to booths and cords. These details seem meaningless, but they are vital when recreating the time period. In a paralyzed German society after WWI, it is easier to understand how horror came to be expressed on the film screen. Abstract production designs mimicked Surrealism in art. Architecture with exaggerated lines and points replicated the skyscraper. Shadows, nightmares, long staircases, dream sequences, ghoulish villains and pretty, naïve women fed the psychologically damaged. The Man Who Laughs is an example inspired by Bram Stoker’s classic, Dracula. Actor Max Schrek plays the vampire Count Orlok the nocturnal stalker in F.W. Murnau’s masterpiece, Nosferatu (1922).

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Berlin was a stimulating, indecorous urban center. Expressionist German architect, Hans Poelzig created buildings with a creepy touch. Director Fritz Lang was a key pioneer of German Expressionism in the film industry. Thea von Harbou, the screenwriter and wife of Fritz Lang, had a grip on my imagination while I created the climate of Weimar Germany. The fictional WWI veteran, George Hero, arrived in Berlin, and stumbled into the world at UFA studios wherein 1922, Thea’s script was directed by Fritz Lang: Dr. Mabuse: Der Spieler. What happened to George’s psyche mirrored the country’s neuroses displayed visually in Lang’s film and substantiated by Otto Friedrich’s account of Berlin during the Weimar Republic in his fascinating book, Before the Deluge. How wild were those Berlin cabarets? For descriptions of the venues, the clientele, and street addresses, Mel Gordon’s Voluptuous Panic was an eye-popper.

Chapter Three: Kay 

     The Hopi People by Stewart B. Koyiyumptewa, Carolyn O’Bagy Davis and the Hopi Cultural Preservation Office was instrumental in learning about the culture of the Hopi. Another imperative work was James W. Cornett’s Indian Uses of Desert Plants. To be Hopi is the life-long pursuit to be whole with the universe through traditional ceremonies practiced by a lunar cycle. They revere all things in nature. Their creator is Maasaw and their matrilineal clan is peaceful. They are migratory farmers and in Clarkdale, their footprint is left by their ancestors, the Anasazi, whose “condominiums” from a thousand years ago are displayed for us in the Verde Valley to admire such as Toozigut or Montezuma Castle. Many Hopi lives in Northeast Arizona in the four-corner region of the United States. I was fascinated by their expansive knowledge of desert plants and holistic healing. They are expert artisans of silver making, weaving, and pottery design. Their wooden Kachina dolls are a beautiful insight into their spiritual world.

         Zane Grey (1872-1939) was known as the father of the Western novel. With 64 books, magazine articles, and 130 films to his credit, to understand his influence, I recommend Thomas H. Pauly’s biography, Zane Grey: His Life, His Adventures, His Women. In his stories, Grey described the grandeur of the Southwest that evoked a desire to visit and a need to protect the vanishing frontier. His heroes were flawed and troubled. He honored the Native American instead of portraying him as a savage. His women were virtuous, strong, and spellbinding. The violence and action of the gunfight were secondary to the enchanted topography Grey conveyed with love. His popular novels contributed to the collective consciousness of the myth of the West well into the 20th century. 

     Silent films capitalized on Grey’s novels. Of the 130 films adapted from Grey’s books, a third of the filming locations occurred in Arizona. Reading his most popular novel, Riders of the Purple Sage, revealed how descriptive Grey’s talents were. There is no doubt for me that Zane Grey’s real adventures made his fiction stories authentic. The adage, “write what you know” is exemplified by Zane Grey. His descriptions are from someone who rode through the Southwest by horse. I respect the man’s adventurous life and his writing style is nothing short of inspirational. The Western genre in film originates with Zane Grey. His influence spilled into radio shows and television. His film adaptations provided the impetus for many careers including Shirley Temple, Tom Mix, Randolph Scott, and Alan Ladd. 

     Zane Grey’s influence abounded in far-reaching ways. While associated with the arid, desert landscape, his passion was for deep-sea fishing. He owned patents on fishing lures and held eleven world records in deep-sea fishing. His letters to friend Ernest Hemingway linked Grey’s attempt to conquer the Marlin. Their discussions became the inspiration for The Old Man and the Sea. Today, Zane Grey has schools, subdivisions, and roads named after him. However, by the end of the 1920s, Zane Grey’s popularity dipped as a deluge of westerns circulated the movie industry. Many careers of Hollywood’s best actors participated in the genre of the western. Connected to the Sycamore Wilderness Canyon is Oak Creek Canyon in Sedona. Sedona was a popular spot for filming and starred several Hollywood heavyweights: Joan Crawford, Henry Fonda, Glenn Ford, Sterling Hayden, Rock Hudson, Elvis Presley, Donna Reed, Richard Widmark, and John Wayne. 

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When I wrote the book, I decided on the 1925 William K. Howard lost film, The Thundering Herd, for the fictional setting of the film.  

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A most beautiful man: Gary Cooper 

Besides Jack Holt, Lois Wilson, Noah Beery, Sr., and Raymond Hatton, the 1925 version was  Gary Cooper’s first uncredited role in film. The Thundering Herd is about a trader who uncovers a scheme to blame the Indians for a Buffalo massacre. Director William Howard remakes the film again in 1933 and stars Randolph Scott. Sally was besotted by Gary Cooper. Can you blame her? 

Chapter 4: George 

     I give my deepest thanks to the board and members of the Clarkdale Historical Society in Clarkdale when I volunteered heavily for a year learning about the William A. Clark family and the United Verde Copper Company. An intricate mining system located in the Black Hills of Jerome sent the raw deposits to the smelting plant below in Clarkdale. Jerome by Midge Steuber and the Jerome Historical Society Archives was instrumental in learning about the mining history of Jerome and Clarkdale. The galleries of photos, newspaper articles, books, and older residents shared their personal histories and gave me a valuable history lesson. A true company town, William A. Clark was a rags-to-riches story of the famous copper baron who turned senator. He died in 1925 at the age of 86 leaving an estimated $200 million ($2.5 billion today) and his company town. He established a rail line and a depot in the middle of the desert called Las Vegas. He had nine children from two marriages. His son, William A. Clark Jr., went to Los Angeles and became a rare books collector and the driving force of the Philharmonic Orchestra. William A. Clark’s reclusive daughter, Huguette, has become popular to do the excellent biography by Bill Dedman, a Pulitzer-prize winning reporter, entitled Empty Mansions: The Mysterious Life of Huguette Clark and the Spending of a Great American Fortune. The grandson was an aviator who tragically died in the hills outside of Clarkdale when his plane failed to come out of a spin in 1932. Earlier that year, he helped establish the Cottonwood AirField (later known as the Clemenceau Airport) in the neighboring town of Cottonwood. A special guest attended the two-day dedication celebration–Amelia Earhart. 

Chapter 5: Sally 

     Many times my family and I ride up the dirt road to what we fondly refer to as “The Plateau”. The stunning vista views of the Sycamore Canyon and the Red Rocks of Sedona always impress. It is a place for a campfire and stargazing. It is also the starting point of the story’s camping expedition. 

Photo by Cindy Bruchman 

     Fictional Kay is 19 and experienced a loss of self. In the 1920s, Native Americans generally had three choices for adopting an identity. First, return to the Hopi tribe and “be” Hopi. Two, reject the Hopi tradition and assimilate into the white culture. Three, become a hybrid of sorts, holding on to and existing in the white culture while honoring parts of Hopi traditions discreetly. As Kay figures herself out, she is befriended by an old Apache grandmother who tries to teach her Apache ways. From the 1880s to the 1950s, Yavapai, Apache, Hopi, and Navajo tribes shared traditions because of the forced removal and tribal integration on the reservations. Over the years, tribes blended versions of dances and art forms. While there is a fierce pride in keeping with tribal traditions that are distinct as Hopi or Navajo, Native Americans instinctively bonded with other tribes first before they would bond with whites. This is a generalization and exceptions are always found. What fascinates me as a social historian is how an individual chooses their cultural identity. Native Americans see themselves as unique. They are a minority group trying to be autonomous while surviving in a larger culture. I find their grace and artistry and traditions fascinating. I’m a big fan of Native American photographer and ethnographer, Edward “Shadow Catcher” Curtis. From the 1880s to 1930s Curtis recorded thousands of wax cylinder recordings of music, language, and mythologies of Indian tribes in the Southwest. His expansive photography captures the grace and beauty of Southwest Indians. His photographs are now famous although he had little fame or fortune during his working years. I recommend reading Edward S. Curtis: Coming To Light by Anne Makepeace. One aspect of the Indian tradition that they all shared was their way of harvesting and use of wild desert vegetation. I recommend James W. Cornett’s informative book Indian Uses of Desert Plants by Nature Trails Press.

Chapter 6: Kay 

     Early Glendale by Juliet M. Arroyo was helpful in getting an idea of what the Los Angeles Area. Who knew Native Americans camped out in the parks or that there was a union formed by Native Americans objecting to the depiction of Indians in the movies? Another aspect of Los Angeles I was drawn to was the Glendale airport. One of the biggest advancements in the 1920s was in aviation for women. One singular organization validated the unconventional woman who dared to fly, the Ninety-Nines, which are still in existence today. The club was created for the purpose of chronicling the achievements of women aviation. I saw photos and posters featuring Native American women aviators and knew my fictional heroine had to make the decision to “aim higher”. Flying was the answer to her independent nature. The Ninety-Nines played an active role during the depression with their marking project across America. And there was a female pilot as talented as Amelia Earhart but gathered an ignoble reputation as a Nazi spy, Laura Ingalls, a distant cousin to the famed writer of life on the prairie. It was a good way to tease the reader’s interest in the third book of the series when it will be set during World War II.

     In general, my goal was to write a compressed story of three believable characters in the 1920s. Creating a historical climate was the overarching goal. Inside the Gold-Plated Pistol is the second novel in a six-part series showcasing the twentieth century with new heroes who have been underrepresented in United States history.

1 Shot Wednesday: Frida Kahlo

When a traveling exhibition of Frida Kahlo’s paintings, drawings, and costumes came to Phoenix, it was a no brainer to visit. Do you find wherever you live, you are caught up in the day-day-to-day routine of life? But then someone comes to visit, and you seek out like a tourist entertaining things to do? My Mom came to visit. We both love art and museums. The Phoenix Art Museum has world-class visual arts and impressive traveling exhibits. We had a great morning wandering around the galleries and absorbing the colors and passionate life of Frida Kahlo. I never would have gone to the museum if she hadn’t come to see me.

Frida Kahlo self-portrait, 1943

This particular self-portrait was painted in 1943. I read that she was teaching at that point in Mexico City but her health worsened and she was forced to teach in her home. Her class trickled down to four. The loyal students sat by her bed. It has been suggested that the “Los Fridos” monkeys represent her four students. I like her eyes.

 

L13FC: 1960s British & U.S. Significant Films

Welcome back to Cindy’s Lucky 13 Film Club. I heartily give thanks to Pete from Norfolk, England who agreed to co-host this month. After a discussion about significant films, not necessarily Oscar winners or box-draw favorites, we hashed out the details and chose three favorites from each side of the pond. What do our choices show about society at the time? Please comment and feel free to turn this into a discussion board. What films would you add? 

PETE FROM BEETLEY asserts: 

The 1960s were an important time in the development of British Cinema. From the home-made epics to the emergence of the kitchen-sink’ dramas reflecting real life.  The ‘comfortable’ class-ridden films that had gone before began to fade away, as film-makers sought to portray life as it could be understood by the people who paid for tickets. With most of the poverty behind them, and the absence of the rigours of war and rationing, cinema-goers began to expect more, and they got it.

In the era of ‘Swinging London’ and the culture of pop music and fashion that defined it, I became a teenager and a film fan, at one of the best times in history to have been both.

I recall three films that, showcased what was going on. Changing attitudes to class, approaching the horror film in a very different way, and a fresh approach to the espionage genre.

Peeping Tom (1960)

In the same year that ‘Psycho’ was released, the esteemed British film-maker Michael Powell released this film about a disturbed serial killer. Set in London’s seedy glamour and soft-porn industry, it followed a troubled young man unable to control his impulse to not only kill, but to film those kills as they happened. The audience followed the camera into the terrors of the victims and then watched as he not only reviewed his crimes but also played old reels about his own abuse as a youngster. It proved too much for the time. Critics and censors were appalled, and the audiences were shocked beyond belief. Powell’s career was ruined by the uproar, and the film took many years to gain a cult following of those who appreciated just how radical and powerful it was.

 

The Servant (1963)

Joseph Losey made many films with the leading man, Dirk Bogarde. In this film, he is cast against type, as a nasty, manipulative manservant, keen to take advantage of his aristocratic and superior young employer, played to perfection by a young James Fox. To achieve his goal, he introduces an attractive young woman into the house, to act as a maid. He claims she is his sister, allowing his young master to believe he can take advantage of her. Once hooked on sex with the girl, (a suitably alluring Sarah Miles) the upper-class man has his life slowly dismantled by the scheming pair, as they destroy his relationships, and make him increasingly dependent on them both. With wonderful location filming in London, tight direction by Losey, and a powerful script, this film reflected changes in class attitudes driven by 1960s society. Foretelling the end of so much privilege by circumstance.

The Ipcress File (1965)

The first of the ‘Harry Palmer’ spy films saw Michael Caine emerge as a new kind of secret agent. Not an upper-class university educated gentlemen, or aristocratic fop, and not resident in the glamorous fake world of James Bond. This was the everyday slog of spies in the Cold War. They still have to overcome class prejudice from their superiors, but they are playing a new kind of game, one where winning is the only acceptable outcome. Ex-military, unimpressed, and wearily flirtatious, Harry was the perfect role for Caine, who ran with it to the sequels too. Although the film builds to a climax, it excels in the small details of Harry’s everyday life, and his interaction with his colleagues. When we went to watch this film, it was undeniable that things were changing in Britain, and we now had a new kind of hero.

CINDY’S CHOICES

Only three? Should I choose one from the start of the decade like Spartacus (1960) directed by Stanley Kubrick for an undeniable well-crafted epic? What about the film that gave the voice to the counterculture in 1969, Easy Rider? Which film reflected the terror and paranoia of the Cold War best? Dr. Strangeglove? Should I choose a film that typifies vibrant NYC and its spokesperson, the endearing Holly Golightly in Breakfast at Tiffany’s? I adore West Side Story. It is probably my favorite film of all time. I chose not to mention it here today. God that was hard!

Cool Hand Luke (1967)

The 1960s was about finding one’s inner strength. It was about non-conformity. Paul Newman as Luke Jackson does this best and becomes a martyr in the eyes of his Florida inmates. Directed by Stuart Rosenberg, what a cast and outstanding performances by Newman, George Kennedy, Strother Martin, J.D. Cannon, and Jo Van Fleet. Just look at that trailer to remind you. The film is art.

The Manchurian Candidate (1962)

In answer to my question about the Cold War, The Manchurian Candidate hit a nerve. It raised fears that top-secret missions existed and fanned the flames of fear and paranoia. Angela Lansbury as Eleanor Shaw was frightening while Frank Sinatra gave one of the best performances of his career.

Psycho (1960)

Alfred Hitchcock pushed the envelope with his most famous film. He filmed Janet Leigh in her bra and slip. The central character was female; she had a steamy affair and embezzled from the bank. The toilet flushed for the first time in film. A trifecta of taboos inferred: transvestitism, incest, and necrophilia. Who can forget Bernard Herrmann’s score with violins that pierce the air like a knife? Or Hitchcock’s filming of angles, the play with light and dark, and the awesome editing montage during the shower scene? The exterior and interior shots of the house? Those top shots of the stairs? Doesn’t everyone cringe at one of the best final shots in film history–the stare of Norman Bates played by Anthony Perkins? Well done, Janet Leigh, for starring in two out of three of significant films from the 1960s.

Your turn!

Thank you, Pete! Don’t forget to visit Pete’s blog soon. You can find him in Beetley HERE.

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