Sometimes, iconoclasts are far more valuable than the creaking icons they destroy. Harper Lee has done well to disillusion her readers—. — Jeremy Brunger
Go Set a Watchman
288 pages ($27.99)
Early on in Go Set a Watchman, Jean Louise, now grown into worldly womanhood since her juvenile escapades as Scout in Maycomb County, Alabama, is being chastised by her aunt Alexandra over her potential marriage partner and childhood sweetheart, Henry Lincoln. Alexandra, earlier glimpsed in the Pulitzer-winning To Kill a Mockingbird as the family bitch, says “We Finches do not marry the children of rednecked white trash, which is exactly what Henry’s parents were when they were born and were all their lives…You can’t call them anything better. The only reason Henry’s like he is now is because your father took him in hand when he was a boy, and because the war came along and paid for his education. Fine a boy as he is, the trash won’t wash out of him.” Atticus, Jean Louise’s lawyer father, is now crippled with rheumatoid arthritis, though he remains as spry as ever. Her brother, Jem, is dead of a bleeding heart. The most absurd thing in the world is always its people. Jean Louise is an image of the Southern version of The New Woman, several decades displaced from the Northeast’s Jazz Age cultural eruptions. Jean Louise prefers to reference Freud and the married men who take on psychiatrists’ couches instead of taking up mistresses, rather than referencing the Bible. The novel opens with an image of modernization: the black residents of Maycomb County finally have television antennae. But, alas, Maycombians are people who have never experienced the narcissistic injury of Charles Darwin’s biology, who think the “white trash” epithet was a meaningful term replete with the gravity undue to it, who reckon not the deep time of geology but the all-too-ephemeral time of family lineage. Time has caught up with Alabama’s most famous residents, who rank with Jesus, Harry Potter, and Karl Marx as the most recognized figures in the literature of the West.
The central tension in Harper Lee’s novel is the meshing of old with new, of experience with memory, of reality with romance. It isn’t badly written, either. The prose does not read like a first draft; but if it did, that fact would only solidify Lee’s reputation as a master writer of the Southern region. Images from old Southern culture—now largely displaced by standardized Hollywood and New York boilerplate, as with the rest of the country’s bygone eccentricities—constantly appear in the dialogue: the Israel of the prophets is as alive as ever, as is the concept of sin (though Jean Louise takes it in stride). The sum of human misery is measured in theology, not metrics. Shakespeare is coincident with the law. The metaphysical age has not yet dispersed into the Federal Materialism. Life has not yet succumbed to the utter cheapness of our twenty-first century, though its depth is built on the facade of social grace of people who have nothing better to do. One wonders, with a raised eyebrow, whether our time is better than their time; and no viable answer of worth can possibly be forthcoming. The clean churches of Maycomb strike most of us as strangely as the soothsaying, snake-handling pits of the Pentecost, as do the quiet rages of its people, who could probably name the Founding Fathers but not Jefferson’s slaves. Perhaps the exception to this time warp is Dr. Finch, Jean Louise’s uncle, who feels more at home in the Victorian era than in Maycomb’s. Because of his wide, nigh-insane learning—he is a racist of the books, while his brother is a racist of the heart—he defies the silly and sheer localness of the town’s prejudices and predilections toward the temporal and the mundane.
But Go Set a Watchman is not merely a novel of time and place. It is a time-paradoxical bildungsroman six decades in the making. Although it was written before Mockingbird, it is the proper sequel to that classic, since tragedy—and this is a tragic novel, for even the Finch family’s house formerly belonged to a “a renowned lady poisoner”—is the necessary consequence of human life, something which only fools manage to escape. Decay happens, as does disillusionment. No family is truly happy, because whatever binds families together is made of the stuff of pathology and myth, not mythology and pathos, though once synthesized they come to much the same thing. Lee writes with the slow verve of a woman who grew up in the same South she writes about, where the Christian doctrine of degradation pervades nearly everything. Now a New York woman, eminently modern, she comes back to Alabama to find that her roots are dirtier than she suspected, though she finds them more real than life in the big city. Having exchanged the soul of Israel for the soul of Athens, she finds the mire of Southern heritage burdensome: she cannot interact with her backwards family with the easy grace others manage (not that the tomboy Mr. Peck knew ever did), with the sole exception of her father Atticus, whose benevolent patriarchy remains intact. There is no music in Harper Lee’s novel, though its music is implied.
To Carthage then I came
Burning burning burning burning…
So writes Eliot of St. Augustine, in The Wasteland, as he depicts the ancient trip from countryside to city center, which has so long underwritten the young person’s mental revolution. Augustine, too, came to the city from a backwater; but, unlike Jean Louise, he came to regret his praise of novelty and reverted to the intensity of his native religion. Jean Louise did no such thing. Of course, Atticus, like all of our parents, proved not to be the man she thought he was when she was growing up. He is just a country lawyer who at one time thought the human spirit was universally benign and who came to think so no longer. The Southern progressive family man, who defended the honor of Tom Robinson—to no avail, as Tom was shot to death—turns out to regret the integration of the black and white communities. At one point Jean Louise sees a “carload of Negroes” careening around a bend, and Henry Lincoln—the replacement of the father in her Oedipal series—remarks that they assert themselves because they finally have enough money to buy used cars and thus constitute a public menace. Of course, Jean Louise and Henry later go skinny-dipping in the heart of God’s country. Elsewhere, Lee references the repressed and the “Young Turk faction” of Maycomb’s Methodist church choir, no doubt slyly winking to a contemporary and left-wing audience. In other times and other parts of the country, the New Lights would have been received more gently; but not in the South, where social and official politics remained savage for far too long, despite such internal contradictions as liberal tendencies. When even the anti-dogmatic liberals are racists of the brightest stripes, one wonders how human society prospers.
The religious overtones of the Southern culture of Jean Louise’s childhood come out in full force with the concept of revival. Lee writes, during a flashback to Jean Louise’s days with Jem and Dill, that “revival time was a time of war: war on sin, Coca-Cola, picture shows, hunting on Sunday; war on the increasing tendency of young women to paint themselves and smoke in public; war on drinking whiskey—in this connection at least fifty children per summer went to the altar and swore they would not drink, smoke, or curse until they were twenty-one; war on something so nebulous Jean Louise never could figure out what it was, except there was nothing to swear concerning it; and war among the town’s ladies over who could set the best table for the evangelist.” This is small-town religion, divided among “Methodist, Baptist, and Presbyterian” congregations, not unlike today’s right-wing support for spiritual warfare. So goes a passage about a church briefing:
From the time of Jean Louise’s earliest ecclesiastical recollection, Maycomb had sung the Doxology in one way and in one way only: Praise—God—from—whom—all—blessings—flow.
Coca-Cola—metonymic for the psychotic churning of pan-regional capitalism—was on par with the demons as sex was, and perhaps more destructive, since the churches could condone the one under certain conditions. Atheism was not the exercise in humanism it is today; it was the locus of “disrespectful quarters,” presumably the whores, drunks, and tax-cheats of the town, who did not uphold the civic mythology of little Maycomb. Lee inserts a sly reference to the counting of angels on pinheads in this scene, painting the Baptist Reverend Moorehead as a pedant more concerned with philologic accuracy than a social message: “the wages of sin is death or the wages of sin are death?” This bores the children, of course, because Christianity was not concocted for disputation, but for the veiled utility of social control; its worth could never be boiled down to the job security of argumentative pastors from the northern parts of Georgia or from below the line of Dixie. It does not matter that medieval theologians never actually worried about angels on pinheads, since the wages of sin themselves proved ethereal. Success, as it has always been, was a result of accident, connection, and talent, not a matter of human goodness. Corruption was already rampant even in the decent households of Maycomb. Judgment, vicious classism and racism, and God-bothering were already the chief specters haunting these parts. Jem and Jean Louise are one-parent children (Dill, the doppleganger of Truman Capote and later an Army ensign, is a no-parent child)—the fact of which makes even Atticus shed a tear, a fact with which we are now quite familiar—whose religion pales in comparison to their need for security. Much as how Tom Robinson, a Christian man par excellence, would die at the hands of no-account racists, the deliverance unto justice would be grounded not in God’s law but in man’s. Transcendence could never be doctrinal for these provincial people, since the doctrines were no more than a long game of scofflaw.
At one point, Jean Louise finds one of her father’s books, The Black Plague, which he brought home from a Maycomb County Citizens’ Council. She compares it to the literary taste of the Nazi Goebbels and expresses the deepest shame that her father would read such a thing. Of course, her father was steeped in the law classics of the ancient world—Tacitus, the literary founder of national racism, would not be out of place in his library, nor would rationalists like Socrates and Cicero. The Black Plague is nihilism masquerading as systematic reason in a world that still believes in racial essentialism. Dr. Sussman’s The Myth of Race, a study of the history of scientific racism published by his Harvard anthropology department, is a good contemporary foil to such pseudoscience as The Black Plague. Nevertheless, Harper Lee is—contra criticism—only being realistic in describing Atticus as a scientific racist, as such ideas then permeated Western culture, from the centers of science to the most time-warped counties like Maycomb. Even the progressives believed in racial segregation as a means of progress, since inferior races could not but help themselves from being determined by genetic and social death; the paternalism, and the patriarchy, of the work is but a literary expression of what posed then as the scientific mind. People would be hard put to think of macroeconomics instead of personal failing, and what could be more personal than the color of one’s skin? Jean Louise was not raised in chaos like so many in the impoverished South, then and now, but the thinking that produced her milieu was. After all, people still named their children after General Lee or President Lincoln. Citizens’ councils are for people with nothing better to do than to conceive of themselves as citizens in the polity; Atticus, an old man, is exemplary of the type; Henry Lincoln is only following suit. These are the people who would go on to buy into suburbia and white flight, for the lack of understanding of macroeconomic trends. These are the people who could not recognize evil where it stood, if it stood gasping in whiteface in the homes of the agricultural middle class.
The same people are now denying of senility, with their own families raiding their accrued fortunes, rather than the oft-despised tax officials, in the modern day. Jean Louise “wished she had paid more attention” to those citizens’ councils, “but only one glance down a column of [New York] print was enough to tell her a familiar story: same people who were the Invisible Empire, who hated Catholics; ignorant, fear-ridden, red-faced, boorish, law-abiding, one-hundred percent red-blooded Anglo-Saxons, her fellow Americans—trash.” In short, the Klan lived in Maycomb, whether it opted for the white hood or the white, pressed suit. Jean Louise, upon learning of this development, falls into a mental spiral and runs to the same courthouse where Atticus had defended Tom Robinson. Such a scene is beyond reality, of course; it reeks of a winking author in search of emotional profits, though it is one of few such graspings in the novel. In reality, Jean Louise would have nodded at such a development and thought it normal; she never would have doubted that her father found more meaning in paranoia than in justice. One is more apt to think of parentage as a form of preternatural death, as a spectroscope of what is to come. In the courthouse, Jean Louise reminisces on William Willoughby, a judge “bleeding slowly to death in the midst of abundance, for his life’s blood was poverty.” The dialectic of misery and the law has perhaps never been put plainer. Harper Lee ends the chapter with a wanton admission of the theme of childhood loss, but such loss would have been plain to Jean Louise by such a point in her life. To have even gone to New York from Alabama suggests the thing in the first place: she was trying to escape the clutches of her youth for the full vigor of modernity the Big City represented. Such a narrative is daily recounted by the women of the South who dare to get away from the scarred and bony hands of history, even if they do tend to return to its storied pages. Rarely do they do so innocently.
Harper Lee writes of Jean Louise’s father that “Atticus Finch’s secret of living was so simple it was deeply complex: where most men had codes and tried to live up to them, Atticus lived his to the letter with no fuss, no fanfare, and no soul-searching. His private character was his public character. His code was simple New Testament ethic, its reward were the respect and devotion of all who knew him.” He was no prophet of damnation (the Old Testament is today lived out by the Christian Fundamentalists and by certain of the Marxist ideologues who wish above all for earthly vengeance); he was a simple country man, a lawyer by practice if also by accident, who lived a human life how most human beings do: because he had to and to the best of his ability. What some might call baggage and others flaws, he lived with as his fallen nature as a man. He had fallen in love with a woman fifteen years his junior—with no regard for the streak of unhealth or white trashiness—and produced children by her. She died of her heart, as her son Jem would later die by his. The viscera of the scene belies its sentimental content, since people really do die by heart defects all the time; it is one of human health’s ticking clocks that rings especially loud in the South’s Tobacco Belt. As if Jorge Luis Borges had increased the population of the world instead of its copyrights, “Atticus killed several birds with one stone when he read to his children, and would probably have caused a child psychologist considerable dismay: he read to Jem and Jean Louise whatever he happened to be reading, and the children grew up possessed of an obscure erudition. They cut their back teeth on military history, Bills to Be Enacted into Laws, True Detective Mysteries, The Code of Alabama, the Bible, and Palgrave’s Golden Treasury.” They were literary children no matter their aspirations. To be raised in deep thought is to be raised to think deeply. Such is the situation of brooding progressives. Jem of the Mockingbird era achieves adolescence and begins “slicking back his hair with water and dating girls,” no longer having time for his younger sister, though his heart beats on the clock.
All Jean Louise has for company is her father—perhaps the loneliest man in Maycomb County and brother to the most learned, Dr. Finch—an Alabaman Freud—who teaches her the value of thinking of herself as a sexual being, rather than as a permanent child. Her father had sent her to a women’s college, but such an entity was misfit for her: it could only teach her the surface of manners, not the depth of human being. “What would Atticus do?” In one of the strongest passages of the novel, Harper Lee recounts of Jean Louise’s thinking that “All she knew was that she felt sorry for the people her age who railed against their parents for not giving them this and cheating them out of that. She felt sorry for middle-aged matrons who after much analysis discovered that the seat of their discomfort was in their seats; she felt sorry for persons who called their fathers My Old Man, denoting that they were raffish, probably boozy, ineffectual creatures who had disappointed their children dreadfully and unforgivably somewhere along the line.” What better, and bitter, few sentences to describe the Southern condition than these last? How many people were born Southern in place but not of soul, who wanted to experience the newer things of the world and yet refused to, who grew used to hating life too young, who blamed their accident of birth, rather than the agency of their conscience? It is not destiny that snares and damns some people. It is peace. Knowing that the people she grew up around were little better than that which they condemned—there is at one point a reference to mother-daughter incest and the intrusion of the welfare state—convinces Jean Louise that whatever moral superstructure she thought governed the little world of her childhood was but a figment of convenience.
The human being is born for conflict. It is in our very biology, already prepared for death at birth. Give us a gathering, and we are prepared to witness an execution: we smile not for pleasure but to flash our shortened incisors. “Had she insight,” Harper Lee writes of Jean Louise, “could she have pierced the barriers of her highly selective, insular world, she may have discovered that all her life she had been with a visual defect which had gone unnoticed and neglected by herself and by those closest to her: she was born color blind.” But color blindness is a fiction, even in fiction, when it comes to the old South. Young people were taught by elders to reflect on race, to reflect on history and the desert of damning of subaltern people. Women were warned that to consummate sex with black men was to enter among the devils; men were warned that to make friends with black men was to ruin their sexual readiness for marriage and to ready themselves for the taint of alcoholism. To sight blackness was to sight the color of criminals, of American outlaws, before a time when Americans accepted “outlaw” as a vision of deliverance from illegitimate constriction. In this, Harper Lee is disingenuous, though her prose style is immense. She once represented the future of American race relations in the realm of art—though Richard Wright did it better with Native Son and with more obvious courage, two decades before Mockingbird; to repent from such a forward view for her supposed color blindness suggests Harper Lee is mistaken in her characterization of Jean Louise’s own progressivity. No Southerner of that era was really color-blind, as few are now, not least the author or her fanbase at the time of Mockingbird or her imagined characters in our time of Watchman. Perhaps she can be forgiven this sleight of hand, since she is an author of fiction, but it certainly does not strike the reader as realistic. Griffin’s experiment in color blindness, Black Like Me, was not written as medicine for citizens of the North. Jean Louise, no matter her later education in the anti-Fascist canon, would have grown up a racist in Maycomb, no matter how liberal her bent. As she says to Henry Lincoln at one point of flirtation, “I just don’t want my world disturbed without some warning.” Who ever did? Like many resentful children of the white middle class, Jean Louise feels her birthright is sold from under her—her birthright to a just world, in which all things balance—but such a balance proves for her as false as it ever did for the trash of the county or its racial minorities. In the real world, one must believe to the point of delusion to believe that all is just; the gifted know the world is an incremental mountain of wrongs upon wrongs. Even the young men who read Harper Lee’s original novel or watched Gregory Peck’s classical intonations of the Ciceronian type became lawyers who largely gassed themselves to death in the garages they had mortgaged on hope.
Later, Jean Louise meets Zeebo, one of whose sons is facing charges for murder, and his lawyers. Atticus has consulted with him for legal work numerous times—in cases of bastardy, the text implies—but he has since given up the ghost because of all the racialized trouble inflaming the South. Atticus believes the NAACP to be a troublemaking entity rather than an entity of law and order. Jean Louise, to her credit, thinks of it as a saving force in Southern life and jurisprudence. Frank, Zeebo’s son and her family’s servant Calpurnia’s descendant, is “on a waiting list for the Tuskegee Institute,” a message doubtlessly included for Harper Lee’s knowledge of Tuskegee’s infamous experiments with syphilis. Jean Louise does not even know how old Calpurnia is, and neither does Calpurnia. Barefooted Helen, Zeebo’s wife, remarks that he has “done got old,” as though a great fatalism pervaded the lives of the poor in Maycomb County. Entangled family lives of the sort with which we are now familiar existed then, as they do now; recognition of them was another matter entirely. Harper Lee’s conscious nodding toward such shifts in culture gives the reader too much cognizance where there should be plot. But, just as her first novel was one of social message, so is this one, and sometimes plot gets in the way of message. After all, our world has its plots and will always have them, but, when the messages dwindle, those plots might very well be entertained for the worse. The Blues was invented by such people, who knew America for what it was and what it largely remains.
It is little wonder that scholars often remark the one true musical form of America is the Blues. Where most Americans are chattel—and always have been—in service, if not in name, music can transcend the divisions which law cements. If there is proof of God, it comes to man in music, for such proof carries little weight otherwise. From Billie Holiday to Langston Hughes, tragedy built upon tragedy has informed the country’s artistic conscience. Holiday died a drug addict, a Jewish sympathizer, and a rape victim, and gave us some of our most beloved songs. Her tastes were thoroughly American, as ecstatic as the High Church beatifics of the pitching Presbyterians of her era, recording lung-work for the Divine (compare both, and bother God as to whose art was higher, the quietest of sinners or the loudest of the pious). Of this treasure alone did one gain Southern merit. Hughes—a gay man permanently at odds with civil society—was a fellow traveler with Marx and Lenin, who announced African-American entry into the disunited worlds of labor strife and irreligion. Harper Lee, a woman of great learning in literature and law, no doubt intended for such connotations to appear in her novel. To mention Tuskegee is to mention social revolution without mentioning it. She mentions Coca-Cola about as often as James Baldwin did, which is to say Coca-Cola capitalism had more power over people than their own consciences. The sprawl of modernity had its victims, and it had its products: Jean Louise became one of them. Calpurnia—a practical slave, like many motherly black women of the era—has more dignity than the white trash of Maycomb. “Had the earth stopped turning, had the trees frozen, had the sea given up its dead, Jean Louise would not have noticed.” I confess my own family, during the 1960s, long before I was born, had such a woman in domestic thrall, her name now forgotten to anything but state funeral registries. My grandfather earned six-figures working for a motor company and thought a black servant an appropriate form of surplus. Calpurnia is not just a relic of Harper Lee’s imagination; she is a reflection of the real life of the era’s white middle class who, it turns out, died deaths just as miserable as anyone else’s, despite their grandstanding pretensions. Heart attacks kill even the weary who thought they had behaved in strictest measure with the Dispensations. Écrasez l’infame.
Calpurnia does not hate the Finch family for having the power to do good and failing in that power, at least according to how Harper Lee paints it. But one can only wonder how deeply bitterness can reside before it begins to present symptomatic good manners. The British socialist Bertrand Russell once wrote that barbarians have the best manners. I have known men of Southern breeding who, once they clear six-figures for the first time in their family history, denounce the rest of humanity as trash because the stamp of their lowly origins might show through. Their horse teeth show through nevertheless. Human dignity is born of suffering, not of breeding, nor of pretense: the dignified often have no other proof that they are human in an inhuman world. Calpurnia is the novel’s figure of Christ, who bears her cross in peace. Perhaps such symbols should be spurned. The region is worried about race war, Jean Louise learns. Had there been a race war, justice might have learned to spurn symbols and to quash its prejudices. This is an era where one learned Santa’s Little Helpers were really exploited proletarians from far, far away and from nearby, who—from fear of being thought shiftless—engaged in shift work. What slave to racism ever gained from politeness, even in the gain of dignity?
The issue of marriage comes up, and Harper Lee’s treatment of the problem leads the enlightened reader to think she is a Marxist feminist of the respectable variety. She depicts the “Perennial Hopefuls” of the not-yet-married quadrant as people who do not conform to Maycomb’s small-minded conception of human union. Who can blame her? The wives Jean Louise knows are more concerned about the husband’s bottom line (and their own) keeping up with the Joneses’—just as ignorant of everything worthwhile as the rest of the county and just as miserable, except for the reasons behind the civic charade. These women marry because manners demand it. They are repressed beyond the line of ill health. They marry because they have nothing else to do and know no other manner by which to feed themselves. They count themselves the courtiers of Maycomb’s rituals: do how they do, or do no other. But Jean Louise, fresh from a civilization so diverse it hurts with it, cannot help but look upon these country dunces as but figures in a time warp. Even the women who took time getting married, and so took on the “strays,” find little comfort in her worldview, though these last most mirror her own standing. These are people who think of Mobile, Alabama, as a center of culture. It is little wonder Harper Lee degrades them so, as with the light of time they should be degraded. Even the “Amanuensis Club,” a no-lipped venue for the lonely bookish to come together, is based upon the legal practices of slave sympathizers who thought black letters equal in essence to white letters, but for their reading public.
Compared to New York, the small hometown and its social ripples must seem like former centuries demanding countenance in the newer. Small people—who can easily be good people, but who choose not to be good people—often choose to be small people who do active evil. Goodness is a product of leveling borders and of sharing minds, not of damning some and profiting from others. These women of Jean Louise’s acquaintance, so tiny in the universe it did not even recognize them, probably went to sleep at night knowing they counted for nothing of more gravity than their husband’s ejaculations. Their flesh counterparts thought the era eternal—their culture, their references, their values, their children and grandchildren—and aged as Harper Lee did. They died with as much history in their graves as the people they abhorred and with the barbs they heard hissing at them as they were lowered at their wakes. Many mortals mourned them, but many more will mourn Harper Lee.
When one differentiates between ignorant Southern gentlemen and ignorant Southern strays, one can little hope for value between such similar poles, for the mainstay of one culture is the straying of another. “All that is solid melts into air,” as Harper Lee no doubt recognized some several decades between the publication of Mockingbird and that of Watchman. What is so intense to some isolated people is so silly to others who are more learned in the ways of the world. The small women of Maycomb may not be devils in cheap dresses—their limitations are their own, as all of our limitations are—but some, like Jean Louise, dare to break such absurd codes. Inevitably, those who break them return to a world so alien they know not where they come from or to where they return. An estranged world is a world as cold as a married one, to which any aging spouse of 2015 might admit. The values of old are always the evils of today; if this function is not one of biology, it is one of culture. Anyone bored in Maycomb might have desired a “good nigger trial,” because why watch shooting stars upon the hills generously arranged by God? God was absent from the get-go. The women who cried over a wedding of selfsame Janes and sob-story Joes would not have cried over a funeral of niggers, and on such shiftless sands the South of Harper Lee ought to be damned entirely. The only Job she ever knew was a black woman named Calpurnia. Human suffering was so commonplace these innocents could only paint it on the palette of folk knowledge, for thereby alone could they displace it. Barbarians do have the most elaborate of manners, having nothing else: even Atticus, whom time has caught in its clutch, aspires to his grave soon enough.
Atticus engages in a deep conversation with Jean Louise concerning the Constitution and states’ rights—one a reasonable defense of the body politic, the other the tiredest of rhetoric. Having never read Schopenhauer on the immaturity of the Christian religion, Atticus declares the black people of the South remain ever yet in their childhood. Paternalism is one thing when it comes to minorities, but it is another thing entirely when it comes to the Federal government: Dr. Finch, his brother, tells Jean Louise that the source of conflict over civil rights is the intrusion of government into local affairs. Of course, the Federal government produces problems and is an example of injustice in itself. But such injustice pales in comparison to the normal prejudices of Maycomb and every county like it. Backward people announcing the backwardness of their neighbors ought to elicit the laughter of Jean Louise, now that she has received a New York education. It only serves to enrage her: she curses at her father for the contradiction of his intellect and his sentiment, since his logic, once cast iron, has become unapologetically repellent. The machine of selection has come home to roost with Maycomb’s most famous lawyer. Although its local color is childish in the eyes of the rest of the country, its own peculiarities become coincident with the will of God. Such places have always fostered such delusions. These are the same people, Atticus included, who would now moan about states’ rights on the issue of gay marriage. Having little of worth in their lives except the rote repetition of biological sustenance, Maycombians would construct a grand narrative outlining why their lives were undermined by the activity of Big Government and its formal sponsoring of deviance. One could as soon imagine the humbly clad denizens and wage slaves of Maycomb reciting “It’s Adam and Eve, not Adam and Steve” were they around today. These are people who retire after having spent their lives in boring work, around boring people, and having boring children. Then they die even more boring deaths. They are the salt of the earth, which has been sold from underneath them, for their lack of empathy—a concept relatively newer than brimstone—with people just as damned as themselves. Their lack of empathy need only issue from the Hell that is other people.
The novel’s ending is the weakest part of Harper Lee’s efforts. It is not only weak, it is unconvincing. Jean Louise makes up with her family—her “spleen and vapors” disappear—after realizing that she has to disengage herself from Atticus, because she alone can develop her conscience. But racism is not so gentle a family trouble as that. It ruptures families, and it does so permanently. The bitterness and cynicism it implies do not exist in a vacuum: racism speaks to a way of thinking so absolute and sociopathic that one can either live with it in bad faith or one cannot. The sheer ease with which the Finch family discusses racial segregation and Anglo-Saxon history ought to surprise readers from without the American South and liberals within. The theory of social control behind such ideas is Draconian and deadly; that they historically pervade the social fabric so thoroughly—and still do, on the lower frequencies—speaks to the nightmarish culture that fostered them. Ask an elder about the good old days and hear the frank reply “What was so good about the good old days?” Like the Baadher-Meinhoff complex, the liberals of Jean Louise’s generation knew the epistemology they inherited was so rank it had to be discarded, not synthesized. Though her uncle cautions her that there is no such thing as collective consciousness, she finds more truth in Jung than in Moses.
Laws produced by corrupt people are themselves corrupt, inevitably. Walter Benjamin once wrote about “The Destructive Character” who, rather than reform, prefers the destruction of codes that do not conform with moral reality. Sometimes, iconoclasts are far more valuable than the creaking icons they destroy. Harper Lee has done well to disillusion her readers—many of them now in old age, who in their youths went on to battle injustice with either law practice or drugged bohemia—because illusion can only ever serve the interests of power. Law is that which prevents terrorism, but it does disfigure people. Liberals would do well to note that novels can change this world no more than the canons of law can, that most people are born serfs and shall die serfs, and that hope without the fatalism born of misery is but the sigh of wishful prophets. Were there justice in the human species, it would not take decades to accrue, but instants to occur. However, Harper Lee has written a good novel—one deserving of note, certainly, and, above that, study. The Mockingbird novel that purported to change the consciousness of middle class Southerners did just that; its published hindquarters, long in the issue and overmuch controversial in coming to daylight, will, too.
— Jeremy Brunger
Jeremy Brunger is a Tennessee-based writer and graduate in English of the University of Tennessee at Knoxville. His interests trend toward Marxist-humanist political philosophy, the psychological tolls of poverty, race theory, and the end results of religious practice in modern societies. He publishes poetry with Sibling Rivalry Press and the Chiron Review and nonfiction prose with various and sundry venues and can be contacted at firstname.lastname@example.org.