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TIMES THEY ARE A WRINKLING – commentary on Madeleine L’Engle’s novel “A Winkle In Time”

7567On the occasion of a major motion picture adaptation of Madeleine L’Engle’s A Wrinkle In Time 56 years after its publication, I decided to tesser through the fifth dimension back to 1962 to learn about the novel’s apparent durability among middle-grade literati. What I discovered is a mid-generational artifact wedged right between the 60’s feminist movement and McCarthy era preoccupations.

Meg is a twelve-year-old science nerd and bullied weirdo at school. However, at home she is the fulcrum of her weirdo science nerd family, including her unusual five-year-old brother, Charles Wallace, who hides his amazing intellectual gifts from other children. After Meg’s father, a physicist, mysteriously vanishes during a top secret experiment, a trio of intergalactic ferry-like women – Mrs. Who, Mrs. Which, and Mrs. Whatsit – arrive offering to help find him. They lead Meg, Charles Wallace, and a teenage friend, Calvin, on a dangerous mission to rescue the father, and introduce the children to the Tesseract, a method of space travel that involves folding (or wrinkling) time. From a luminous spot in the cosmos, the children are shown Camazotz, a dark planet shrouded by a malevolent cloud called The Black Thing and inhabited by people whose minds are controlled by IT. The authoritarian IT, is a disfleshed, mechanical brain, imposing total social conformity among Camazotz population. IT also holds Meg’s father prisoner. Meg and the other children are the only beings capable of traveling through The Black Thing to Camazotz, and risk being indoctrinated into ITs ethos of homogeneity. Through Meg’s journey two major themes emerge, the indicated one, appointing a young girl as progressive protagonist and hero of individualism, the other a subtextual bulwark of anti-communist zealotry and prevailing conservative values.

Meg begins the story as a hesitater and social outcast among her peers. Because she does not fit it, she is considered stupid, (a missummation also applied to Charles Wallace). Although, the three missuses celebrate Meg’s differentness and individual gifts, ultimately saving her family and the world from galactic evil is something she accomplishes alone. They provide the vehicle of the Tesseract, the mission, and the encouragement, but Meg’s strongest tool is her inner ability to overcome self-doubt. That is the novel’s timely, broad-minded wrinkle.

Within the same pages a second, less forward-looking theme lurks. The nebulous Black Thing is slowly encompassing planet Earth, as it has to completion the less resistant planet Camazotz, a name which happens to rhyme obliquely with communist. Citizens of Camazotz live in identical suburban houses, where all children play games in unison and parents fearfully obey an average routine. The Black Thing suppresses individuality itself, replacing its importance with the false bliss of social equality. Camazotzians are not starved, or deprived of civil rights. Sameness, civic efficiency and the provision of equal economic resources are depicted as worse deprivations. “[Meg] held on to her moment of revelation. Like and equal are two entirely different things.” Children of Camazotz are bereft because they have been absorbed philosophically by IT. The literal brain IT takes over independent thought making a person not just part of IT but turning them into an IT, and IT takes over Charles Wallace’s mind. Depriving Charles Wallace of self-determination is described as an act hate, so Meg resolves to give Charles Wallace what ITs vacuous equality cannot – love. That is, nonsectarian Christian love, which is moderately referenced throughout novel.

Besides Economic Liberalism and Christianity, there are other quaint ideological convictions touted. Intellectualism is a bogeyman as demonstrated when Charles Wallace, the most erudite of the children, falls into ITs mind control most easily because he has the arrogance to think he can defeat IT with logic alone. Meg’s father admits to irresponsible scientific exploration of the Tesseract – “we’re children playing with dynamite” – a reference to nuclear weapons. Also, L’Engle’s composition has a formal, fairy tale cadence that was perhaps the culture of children’s books in 1962 – a lot of dears and darlings and Faaathers.

This brings me, in brief, to the 2018 movie version. The adaptation is successful in imagining a fantastic special effects vision of the novel, distinguishing the characters, and abandoning some of L’Engle’s passé ideology. The movie seizes on the spirit of Meg learning to take pride in being an individual and turning her anger, stubbornness and impatience into strengths. And the filmmakers grow L’Engle’s feminist seed into an inclusive and multicultural universe. There are some deficiencies. The acting is broadly terrible, and L’Engle’s Christian sentiment has morphed into New Agey child-of-the-universe-summon-your-inner-light platitudes that feel drippy. But the best parts of the movie would not exist without the best parts of the original novel.

On the whole, A Wrinkle In Time is a novel from which young people will still draw relevant positivity. It is a story about a girl possessing the ability to solve problems with interior powers even the immortal, interstellar traveling women do not have. Maybe its 1962 first-world triumphalism does not hold up, but the message of children, particularly female children, learning to respect themselves is enduring.

Blessed Insurance- book review of Norma Zimmer’s unlucky autobiography

Do not be surprised at the fiery ordeal that is taking place among you to test you, as though some strange thing happened to you. – 1 Peter 4:12

Norma Zimmer was a gifted soprano who performed for decades on television’s ‘LAWRENCE WELK SHOW.’ Welk even gave Zimmer the title of Champagne Lady, the highest honor among other fine women vocalists on the show. Zimmer accepted that appellation graciously in her autobiography,norma although with reservations about sounding like she would be promoting liquor.

She was raised by alcoholic parents in poverty in the Pacific Northwest. Her parents were emotionally abusive, they smoked cigarettes, and they did not yet know God. But Norma grew up to confess Christ on her own. Throughout her story she draws Christian lessons from a life of “tests” and “fiery ordeals.” Her gifted singing, confident will, and the generosity of early supporters enabled Norma to make a great career of radio/recordings, television, and Christian revival concerts. She describes her adult life with financial comforts, devoted family, and spiritual bliss. Yet through bad luck (or influence of her book editor), tests of her and family’s allegiance to God never abate: toxemic pregnancy, auto accident, crooked car salesman, crooked agent, twisted intestines, psoriasis, debilitating arthritis, broken back, brain shunt, family strokes, sister dies of liver disease, father dead in a car two days, family dog burns the house down, near death penicillin reaction, near death choking on beef Stroganoff, stranded on treacherous river rapids, water skiing accident, downhill skiing accident:

“…’one of the [ski-lift] workers climbed up on the tower to repair it and he called for a peen hammer. They threw one up to him but he missed it and it fell and hit your husband.’ I was crying, and praying, O God, help us! Please protect him, Lord!”

A prayer too late, if you ask me. I imagine if Job read Norma’s autobiography he would say, “Wow, this dame can’t catch a break.”

Still, what also never abates is Norma’s optimism about life, people’s good nature, and her faith in God’s long game. Some readers may discover her buoyant attitude and ornamented writing style ironic, others inspirational. If you are a fan of the ‘LAWRENCE WELK SHOW’, like I am, you already have a sensibility for what is over-decorated but enjoyable. If you take your Lawrence Welk more serious, you might also find Zimmer’s book metaphysically uplifting.

Lawrence Welk

Lawrence Welk

However, if you pray to read more detail about what it was really like working under Welk’s baton for twenty years, God’s answer will be No. There is not much behind the scenes here, except some descriptions of how busy Norma was on days driving between the studio and hospitals, and lists acknowledging all the backstage angels who kept Norma looking grand. I hoped for behind the curtain conflict among the performers, rather than hearing more about Norma’s redoubtable faith in Jesus, no matter what terrible shit life threw at her. I wanted to read more shit about Lawrence the hot-headed puritan, or the over-the-hill band member schtuping a teenage Lennon sister, or the on-camera star who had an off-screen champagne problem.

I admit that despite my being atheist, I did find Norma’s take on life encouraging. She was a person who absolutely believed that smiling into the video camera communicated a hopeful message to viewers. At another scene in the book she describes laying awake with her her croup-afflicted toddler Ronnie, worrying if she should take him to the hospital for a tracheotomy:

“He was barely able to breathe… I lay beside Ronnie, watching and praying. ‘God,’ I prayed over and over, ‘please heal our little son.’ Suddenly I noticed a brightness behind me… Standing near the bed was a lovely blonde woman with a white blouse and dark skirt… She just stood there with a radiant smile on her face, looking down at Ron. Then she just faded away. It was a glorious experience. I felt no fear – just awe. I have always believed that I was permitted to see Ron’s guardian angel.”

A blonde in a blouse and skirt? Who was her son’s guardian angel, Donna Reed?

Off screen Norma Zimmer sounds like she was a bit of a kook, but I’m also convinced, beyond a doubt, that she was a wunnerful, wunnerful lady.