Now As Then: "Thanksgiving Day—1941"

Well, it took me some time to get it. Thanksgiving, I mean. Being German, I was unaccustomed to the holiday when I moved to the United States in the early 1990s. I didn’t quite understand what Steve Martin’s character in Trains, Planes & Automobiles was so desperately rushing home to . . . until I had lived long enough on American soil to sense the significance of this day. Now that I am living in Britain and, unlike last year, not flying back to America to observe it, I wish I could import the tradition.

I don’t mean to ship over all the trimmings and fixings, the pies and the parade. Just the concept of an annual get-together that encourages one to reflect upon what matters in life—provided that those who matter as “family” are understood to be any gathering of people (and, Montague insists, pets) whose presence spells home.

To the horror of some, an Americanized Halloween has caught on big time here during the last few years. Why not a grown-up holiday like Thanksgiving, regardless of the direction in which the Pilgrims were heading? With an eye to the future, I am not even being ahistorical.

A feast in defiance of the old saw that you can’t go home again, Thanksgiving is often thought of as an occasion to wax nostalgic. Sure, it is a time to look back; but that does not mean it should exhaust itself in sentimentality. It can be an incentive to pull through, an event for which people pull themselves and one other together in the face of adversities.

Belittled as a ritualistic tripping on tryptophan, bemoaned as an annual family headcount that starts with the headache of getting there and ends in a bellyache getting back, Thanksgiving still compels millions to travel hundreds of miles and, unlike Christmas, has remained remarkably free from commercialism. It mobilizes more folks than a national election. It is a day of the people, not of corporation (unless you are running an airline). And despite its culinary excesses, it is simple, solid, and reassuringly primal in its cheering of the harvest and the life we owe the land and its natural riches.

A celebration “wholly of our earth,” is how the aforementioned American poet Stephen Vincent Benét expressed the meaning of the day in a speech delivered by actor Brian Donlevy and broadcast on 19 November 1941, just a few weeks before the US entered the Second World War. “This year it is and must be a sober feast,” Benét reminded the listener. Even if the attack on Pearl Harbor was a surprise, the bombs over London were clear enough signs of the perils ahead:

Today, one hundred and thirty million Americans keep the day they first set apart.  We all know what Thanksgiving is—it’s turkey day and pumpkin pie day—the day of the meeting of friends and the gathering of families.  It does not belong to any one creed or stock among us, it does not honor any one great man.  It is the whole family’s day when we can all get together, think over the past months a little, feel a sense of harvest, a kinship with our land. It is one of the most secure and friendly of all our feasts.  And yet it was first founded in insecurity, by men who stood up to danger.  And that spirit is still alive.

“The democracy we cherish,” Benét concluded,

is the work of many years and many men.  But as those first men and women first gave thanks, in a dark hour, for the corn that meant life to them, so let us give thanks today—not for the little things of the easy years but for the land we cherish, the way of life we honor, and the freedom we shall maintain.

If it is set aside to cherish land, life, and liberty, Thanksgiving cannot mean a retreat into the home, a shutting of doors and a closing of one’s eyes to the responsibilities that lie beyond the closest circle of relatives and friends: the duties of citizenship and the challenges of living in a global community. Some of the liberties fought for, the life and the land enjoyed in the past are now being threatened; not by foreigners alone, but by those of us who rely on or deal in outmoded constructs, who promote the concept of nation while defying the communal for their own profit.

“There are many days in the year that we celebrate,” Benét remarked, “but this one is wholly of our earth.” Although he might have meant his native ground—his speech being a pep talk to potential soldiers and a rallying cry for the home that soon would turn front—it won’t hurt to misread him, to consider “our earth” to be that truly common ground we share and to reflect on the global crises that may lie ahead and that, if at all, can only be met jointly. I hope we are “still alive” to this “spirit” and am thankful to those who keep on conjuring it.

Trivializing History Is a Dangerous Assignment

Well, I have always been somewhat of a ham, even though my own life has remained the only long-running drama in which I have had the good fortune to play a sizable part. Yesterday, the cured meat was of the smoked variety. I spent the weekend, it having been a sufficiently dry one, at last, watching our gargantuan compost heap go up in flames (or smolder, at any rate). As the plumes wafted over the fields, I was reminded of the invisible cloud that, back in April 1986, made its way westward across Europe.  

Brian Donlevy in the television version of Dangerous Assignment

I am referring, of course, to the nuclear disaster at the Chernobyl power station, the fallout and immediate aftermath of which I well remember as I saw polluted playgrounds being closed in Germany, pharmacists profit from outbreaks of hysteria, and toxic milk vanish from supermarket shelves (to be shipped, in powered form, to apparently immune consumers in the Middle East). It was a disconcerting experience worth recalling today, as oil prices in the West are rising nearly as fast as concerns about emerging nuclear powers in the East.

Is there any drama equal to the times in which we live? Is it in need of fictionalization? Can—and should—our fears—as far as they are felt by those who prefer to numb their pain or ignore its sources—be melodramatized and acted out for us in order to bring distant terror home and to render vague anxieties concrete?

During World War II, the mass media of radio and film tried to do just that—letting the home front see and vicariously experience what was at stake overseas. Such blatant propaganda would hardly be Hollywood-endorsed or swallowed whole today, be the objective ever so unobjectionable to the many.

I thought about this again last night, when I caught the Basil Rathbone/Nigel Bruce thriller Sherlock Holmes and the Voice of Terror (1942), which was shown on the British cable channel UK Drama. In it, the wireless becomes a tool used by the enemy—my ancestors from Germany—to instill fear and doubt in the British people. The air is contaminated by the less than subtle influences of a demoralizing force not unlike that exerted by the infamous Lord Haw Haw.

The thriller sought to counter this terrifying voice by giving the speaker a face, by turning fascism into a concrete figure—and a single one at that. As ideas become flesh, they not only seem more readily conquerable, they very nearly vanish altogether behind the mask created for the purpose of propaganda.

Melodrama operates by processing the abstract—the tangled roots of a problem—into a visible, tangible entity. What makes melodrama unlike life is not that it offers a happy ending—not all melodramas end happily, no matter how strongly our viewpoint might be enforced—but that it embodies and thereby obscures what is most potent and problematic in its disembodiment: the war of ideas.

Melodrama does not encourage its audience to perceive the ideological bases of any problem. It deals in specifics, thereby encouraging us to believe a problem to be solvable if only its manifestations can be overcome. Instead of making us question the sources of our fears—which may well be our own ignorance—melodrama provides more or less ready answers, for which reason it is the idiom of propaganda, used by politicians the world over with considerable success.

What has this to do with Chernobyl, you might ask. Well, the atomic age got under way by creating the illusion that nuclear power is safe as long as it is in the right hands—which means, of course, our own. It was a belief instilled in western minds ever since the dropping of the bomb that ended World War II. Popular storytelling, whether overtly propagandist or not, has assisted in selling atomic power as a safe source of energy and in justifying the nuclear arms race of the cold war.

On this day, 24 April, in 1950, for instance, Steve Mitchell (portrayed by Brian Donlevy) went on another Dangerous Assignment (in a US series of episodic radio thrillers so titled), this time in search of a missing nuclear physicist. A few weeks earlier, Mitchell (pictured above, in one of his TV adventures) had been sent to the Middle East to prevent a uranium-enriched sheik from creating an atomic bomb. The peril, such fictions insisted, lay not in the substance, but in its possessor.

As I shall explore in subsequent essays, the airwaves carried a great deal of such propagandist fiction into US homes during decade following the end of the Second World War; some of these stories trivialized uranium in everyday American life while most others demonized foreigners with a hankering after atomic might.