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Book Review - Crisis of the House Never United by Chuck DeVore
June 02, 2023
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Every few months, it seems that the vast majority of Twitter is suddenly comprised of experts in US Constitutional law. Then we slip into a morass of sticky arguments about the role of the government: “Do we want more freedom, or more safety?” “More regulation or less?” “Is it time for a national divorce?” What we may not realize is that these questions have existed in one form or another from the moment of our founding.

While I would never claim to be expert in anything legal, I know enough world history to understand that the US Constitution is unique and the greatest legal document ever written. What I never considered is how US history would be different (or even exist) if it hadn’t been ratified. Precious things tend to be fragile, especially in their infancy. So too with the creation of our system of government. 

Which brings us to Crisis of the House never United.

Author Chuck DeVore takes a different approach to alternate history. And given his background serving in both the military and government, he’s more than qualified to reconsider the past and write of battles, both with ballots and bullets (to borrow from the back cover). Usually authors include some fantastic element like a major technological advancement as justification for altering events. The closest thing to which I can compare Crisis of the House Never United is Susanna Clarke's Jonathan Strange & Mr. Norrell, and even that framed its retelling of the Napoleonic Wars with magic.

There's nothing like that here, let me be clear so that so no one quits this book frustrated. Rather, DeVore's novel attempts to answer the question "What would have happened if the Constitution had not been ratified?" Put another way, "What if key players in US history, like Aaron Burr, hadn't miscalculated their opponents?" and "What if (as many of today's generation complain) slavery had been abolished immediately at our founding?"

The answer, it seems, would be a national divorce, an idea that's come into vogue as of late. And it's not pretty.

All history eventually becomes story, and real-life figures morph into characters no more or less real to us than Luke Skywalker or Huckleberry Finn. In an undertaking like this, it falls to the author to research and replicate the once-living men and women in close approximation to how they truly were. The reader can tell that DeVore did his homework as he writes of the time with meticulous detail and authority, so one can safely assume he did the same with Aaron Burr, Alexander Hamilton, Thomas Paine, et al. At the back of the book are copious notes explaining the historical deviations for those without an encyclopedic knowledge of events.

It's frustrating to me that there are so few novels (and films, and TV shows) set during our nation's founding. Having visited Colonial Williamsburg, I know that it was a vibrant and fascinating time. So even though war is hell and this novel speculates a much darker post-Revolutionary War era than the difficult reality, I savored the depictions of day-to-day life.

Through this narrative speculation, we're reminded that this country which the whole world takes for granted has always been poised on the edge of a knife. Sometimes the edge has been a little sharper than at others. There's never been a nation like the United States, and there likely never will be again, for all our successes over the last 250 years. To suggest that we burn it all down and start over, that if we'd been there we would have done better, or that smashing it to pieces now would improve things, is foolish and dangerous.

One small criticism: I wish that DeVore had taken on a co-author schooled in writing fiction just to polish the dialog and narration. The plot flows organically and maintains its logic, yet the writing is sometimes stilted and the dialog awkward. Those flaws take away from the pleasant experience of reading a novel, though the intent here is to be thought provoking more than entertaining.

That aside, I recommend Crisis of the House Never United for anyone who loves the era, or would like some context for how we arrived where we are today and what stands to be lost if we don't fight to preserve it.

 

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Content warning: language and sexual situations.

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If you'd like to buy the story and read ahead, it's available in the Fall 2020 issue of Cirsova, available here: https://amzn.to/3yRRywY

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Girl-Power Isn't the Problem: Stop Treating Movies Like TV Pilots

Last weekend I was able to sneak off the theater for a screening of From the World of John Wick: Ballerina. Did I feel silly, telling the high school girl at the ticket counter, “One for Ballerina, and a small drink”? Well, not in the moment. 

I probably drank a liter of cherry vanilla Coke Zero, and that didn’t feel so great.

Plenty of box office analysts and Hollywood types are wracking their brains, trying to figure out why movies like Furiosa and Ballerina aren’t drawing huge crowds. Mad Max and John Wick are popular franchises, but apparently telling the stories of the women in those worlds isn’t working. Even if the movies are pretty good.

I’ve seen both, and they’re pretty good.

Some are arguing that no one will go near a movie that looks like it’s feminist girl-bossing. Others counter that movies like Alien and Kill Bill are female-led action films that were successful. Now, I’m not going to say that Ballerina is on par with those modern day classics. But I will say that, as a man watching the movie, it didn’t offend me. The movie never challenged me to confront any internalized misogyny. The small girl doesn’t take down John Wick in hand-to-hand combat.

Honestly, if you like franchise, whether you’re male or female, you should watch Ballerina.

In short, from a purely cinematic experience perspective, neither Furiosa nor Ballerina would be any better or worse with a male lead. Maybe that’s a hot take. But that’s mine, for whatever it’s worth. Well, okay, I wouldn’t watch a movie called Ballerina if it stared a dude. Nevertheless, I think you get my point. Petite women warriors aside, the plots and action are exactly as expected.

So what’s the deal?

Well, what no one seems to have noticed is that Ripley and The Bride weren’t replacing anyone. As we were watching their movies for the first time, we weren’t thinking about other characters for whom we already had a preference. Movies are more like TV than TV right now, and replacement characters have always been a hard sell, regardless of gender. We all remember Sam and Diane. Who still talks about Sam and Rebecca (even though Kirstie Alley won an Emmy and a Golden Globe for the part)? I had to look up her name. 

No, they aren’t technically replacing them. It’s a spin-off, set in the same world.

Spin-offs tend to succeed when the characters are already well established (eg: Frasier). Furiosa and Ballerina are more like backdoor pilots, where new characters are dropped in for a single episode to sell us on the idea of a new show. This technique is very hit and miss on TV, and I can’t think of a single example of this working in a movie franchise. Film and television are very different mediums, and should be treated as such.

Still, if it doesn’t work on TV, it’s probably not gonna work at the movies. Not where new characters and spin-offs are concerned. 

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Going Back to 1995

Maybe I’m just getting old, but it doesn’t feel like we had the thriving and distinct pop culture of past generations. Has there been a look or stye, or feeling, that defines this moment? Everything seems to have stagnated for the last twenty years. And it’s not as if I don’t pay attention. 

It’s making me nostalgic. 

Consequently, for the rest of the year, I’m prioritizing movies from 1995, the year I was twelve. At that time, my family didn’t really go to the theater, and when we did rent VHS tapes, more often than it is was older Disney movies or entirely forgettable Christian titles. Now that I’ve grown tired of trying to keep up with new releases, not there’s much worth watching anyway, it feels like a good time to catch up on those 30 year old movies that have become ingrained in what’s left of our pop culture.

So over on Criticless, I made a list.

Some of these are movies I’ve seen before, but not in a long time. Others will be first time watches for me. There’s really no rhyme or reason to what I put on my list. It’s just movies that either interest me, or are currently in my collection, sadly unwatched. As things become available on streaming, I may add to the list. And if I don’t get to everything before the end of the year, no big deal.

Hopefully, they aren’t going anywhere. 

I’ll be posting some reviews and analysis as I go, so be sure to follow me here. 

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Ironheart and Superman: A Failure to Launch

Yesterday two trailers were released for upcoming superhero projects. First, we had Marvel's Ironheart, which Disney has been sitting on for years at this point. Apparently it follows Riri Williams (Dominique Thorne), a young black woman at MIT who is (was?) intended to take over for Tony Stark as Ironwhathaveyou. If you haven't seen the trailer yet, take a look.

I stopped paying too much attention to the MCU a long time ago, but apparently Riri was introduced in Wakanda Forever, and her fans have been clamoring for a standalone show ever since (/sarcasm). Watching the trailer, I can't help but notice how many times we're told she's smart and capable. Any suggestion that she can't do something is shot down immediately. We're supposed to believe that The System is against is her because she's poor, I guess, and doesn't have Tony Stark's advantages.

Remember Tony Stark? Sure, he was rich. But he was also a self-absorbed man-child who found himself in a cave in Afghanistan who had to engineer his own escape with scrap parts. Tony Stark, who had to learn about self-sacrifice and the consequences of his actions. Robert Downey Jr. make us like the guy, with his easy charm, even though we wanted to see him grow up. There was room for a character arc. No offence to Dominique, but she doesn't have the charm, and her character clearly has nowhere to go.

A few hours later, Warner Bros./DC released the trailer for James Gunn's Superman, the latest reboot of the iconic superhero. We've been waiting for a good Superman for a long time. Something to reunite the fans, the casually interested, and possibly the entire country. And to be honest, I don't think this is gonna do it. Take a look.

Before I go any further, I want to spin my theory on the interview scene, which is a little different from what I'm hearing from most anyone else. Notice how David Corenswet pitches his voice really high when he says, "Sure!" At this point in the movie, I don't think Lois (Rachel Brasnahan) knows that Clark is Superman, and thinks he's just playacting. But when Clark drops his voice, he's showing his cards a little bit. Then, when he completely loses his cool, he's just acting how Lois thinks Superman would respond. In context (the scene is reportedly ten minutes long!), it might be interesting. Out of context, in a trailer, it's a stupid decision.

Throughout the entire trailer we see Superman smacked around, knocked out, screaming out in self-defense, and made fun of for having a dog. There are some super-heroics, to be sure, but they're mitigated by the overwhelming amount of thrashing he takes. Unlike Riri, I guess he's got some room for growth. But it doesn't inspire me to see the movie. Some are defending this approach, suggesting that someone with such a clear cut understanding of right and wrong would be frustrated and confused by our complex, political climate. And I agree. But his moral compass and grace towards an unfair world should have been set before leaving Smallville and going out into the world.

So on the one hand, we've got a flawless female character. And on the other, we've got an immature Superman. Neither character is attractive, warts and all. Neither character is relatable or inspiring in the ways the filmmakers intended, as presented. Maybe the show and movie will be good. But someone else will have to let me know. Because right now, I'm not inspired to see either one.

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