Wednesday, August 3, 2016

A Great Novel Restored

(Front  cover of original 1958 edition (left) and restored edition (right)



The Rack, by A. E. Ellis (Derek Lindsay)

Restored Edition, published by Ashgrove Publishing/Zephyr Books, UK, 2016

Peter Anastas

“There are certain books we call great for want of a better term, that rise like monuments above the cemeteries of literature: Clarissa Harlowe, Great Expectations, Ulysses. The Rack to my mind is one of this company.”
– Graham Greene

            Some books remain with us.  Even after subsequent readings they amplify rather than shrink our understanding of them.  One such novel is The Rack, published in London by William Heinemann, Ltd., in 1958.

             I discovered the 1961 Penguin Modern Classics edition of The Rack in its characteristic orange and white jacket in the bookstall of the railroad station in Florence, Italy.  It was December, shortly before Christmas, and I was on my way to England.  Opening the first pages, I learned that The Rack was a novel about a young Oxford student and former captain in the British Army during the Second War.  I also discovered that the protagonist, Paul Davenant, was suffering from tuberculosis and was traveling with a group of British students to a sanatorium in the French Alps, where they were to be treated under the auspices of an international student organization.  This brought to mind The Magic Mountain, Thomas Mann’s novel of life in a Swiss sanatorium.  However, once I began to turn the pages, I found myself in the hands of a far different writer from Mann: a writer whose first sentences were as sharp and clear as the air his protagonist and I were soon to breathe on our very different passages through the mountains.

            I had been ill during the unusually cold and wet Florentine winter.  Though I felt well enough to travel, and would by no means have given up my first opportunity to experience London, I still felt feverish in the overheated train compartment I occupied, especially after I began reading about the state of health of the British students making their way to the mountains.  Paul Davenant, who was among them, was scarcely able to get around he was so incapacitated by the disease he hoped to get some respite from in the French sanatorium.

            I was drawn equally into the obsessive routines of temperature taking and sputum checking, as, having settled into sanatorium life, the patients shuffled from their rooms to the service medical for their x-rays.  Reading further, I would learn more about the array of interventions available to tuberculosis patients at the time, each stage of which became potentially more painful and, all too often, less effective.

            By the time we had reached the Italian-Swiss boarder I simply could not put the book down.  As novelist Alan Wall writes in his superb introduction to this restored edition of the novel, for whose important restorations he is also responsible, The Rack, “is the greatest novel of medical confinement in the English language.”   Even without coming to that conclusion during my reading in the stifling compartment, I clearly felt the sense of the novel’s projection of confinement, not only between the walls of the sanatoria where the patients were confined, but also in the book’s interconnected stories about several of the patients, many of whom represent the major countries of Europe not long after the close of the war.

            And the war itself is not far from the confines of the hospital, or the lives of its inmates.  Each in some way, including Paul, has suffered from the conflagration.  Paul, who saw combat as a captain, might well be suffering from Post-Traumatic Stress as much as from the effects of TB.   It could also be ventured that his physical illness is a function of his depressed emotional state, which often causes him to strike out verbally against the person he most loves and to express his own growing self-hatred.

            While I concur with Wall’s discerning introduction that the subject is confinement in all of its senses (one can actually feel claustrophobic reading about the characters who spend their days in bed, or navigate the narrow hospital corridors in shabby robes and slippers), I also feel that the trope of confinement, along with novel’s multiple images of malaise, can be extended to Europe itself after a war believed by many to have brought on the collapse of the Old World order.  In other words: Europe has become the sanatorium and its people are now patients in an uneasy post-war recovery.  In fact, some, like the Dutch inmate and fantasist, Delmuth, also have troubled consciences, which may well be emblematic of a general European guilt over the war and its exterminations.

            Nevertheless, Paul’s case is central to the novel’s development.   He will learn that he is a very sick man.  We already know, and will learn more, about his early life as an orphan, about his shifting residence from one family member to another, about his having been bullied at a provincial public school, and his underachieving years as an Oxford undergraduate, all contributing to his depressive state, as does his physical illness.  We will also learn that he is a reader, when he is well enough to be; and that his preferences are for Stendhal, Dostoevsky and Proust, especially Proust.   One wonders if these writers are not also the preferences of the novelist himself, and if he is not signaling to us his influences in composing a novel that while eminently contemporary in subject, tone and language, also pays homage to those 19th and early 20th century novelists of the grand subject—war, the conflict within the human soul, and life in society as it etiolated (Proust), told by a writer who had been an invalid himself.  

Like the classics with which it has been compared, The Rack is one of those novels that continue to yield rewards upon each successive reading.  Subtleties of characterization emerge, especially the dynamics among the doctors in charge of treatment, along with the politics of the sanatorium culture of Brisset, the Alpine mountain community where the sanatoria are located, and the conflicts among the patients themselves.   At the vital center of the novel, whose narrative tensions can often feel excruciating, is the story of Paul and the woman he comes to love and will sadly lose, the young Belgian patient Michelle Duchene.   Doomed by deteriorating health, their age differences, and Paul’s diminishing prospects, yet alive to each other in the ways only young people in love can be, their story, narrated in unsparing and utterly unsentimental detail, takes its place among the great love stories of contemporary literature.

            Shortly after the publication of the first British edition, Atlantic Monthly Press issued an American edition, followed by a larger format Penguin Edition with a cover illustration from a 1926 painting by Ubaldo Oppi of three surgeons standing austerely in white coats.  The illustration itself is reflective of the three often competing doctors, who attempt unsuccessfully to treat Paul’s condition.  

The new Ashgrove/Zephyr edition restores 25,000 words from the original manuscript, cut by the book’s first editor, James Mitchie, who hoped to present a novel in the “existentialist” mode, in keeping with Continental fiction of the era.  A decidedly existentialist cast to the novel remains, even as restored, reflecting the underlying hopelessness and despair in Europe after the war, growing anxiety about the emerging Cold War, and the very real fear of nuclear holocaust.  Though these concerns may lie under the surface of the narrative they are often acted out by the characters.  It is my belief that the restored edition presents the novel as Ellis/Lindsay originally wrote it and would have wanted it to appear, in the same way that the restorations to the texts of D. H. Lawrence’s major novels in the Cambridge University Press editions give Lawrence to us undiluted and in all his narrative and linguistic brilliance.

            Alan Wall’s judicious restorations present us with a more ample narrative, a deeper sense of characterization, a comic spirit, often black but still bracing, and a more discerning sense of place; for place itself, not only in the confinement of the two sanatoria in which Paul becomes a patient, but also in the surrounding mountains, and the town of Brisset itself, is as much a character in the novel as are Paul and Michele, the other patients we come to know and care about, and the attending doctors, Vernet, Bruneau, Dubois and Roussel, whose bravado may often exceed what we view as their competence.

            Then there is the disease itself, barely able to be confined if not cured, even as the new antibiotics, in the form of streptomycin, are beginning to be tried and tested, only to discover that the subjects of the trials are often resistant to them.  Amply documented from the author’s own suffering are the horrors of the other modes of intervention, under oddly aseptic names like pneumothorax  or plombage.

            The new edition itself is in an attractive paperback format, designed by its publisher Brad Thompson, and illustrated with a front cover portrait that might well be Paul Davenant himself, hand on book, eyes on the surrounding mountains, the two poles of his life, inside and outside, confinement and freedom, the life of the mind and that of his gradually diminishing body constantly oscillating under his, and our, anxious gaze.

            Derek Lindsay (1920-2000), did not publish another novel during his lifetime, though he is said to have been at work on a sequel to The Rack, and also to have written plays.   While one might have wished for more from this clearly major novelist, it is enough for him to have written a single masterpiece. 

(I wish to thank publisher Brad Thompson for providing me with a copy of the novel soon after publication and for his assistance in helping me to understand the extent, nature and importance of Alan Wall’s restorations to the original text)

         

Monday, May 2, 2016

Proud to be Greek

(Polisson-Anastas family, October 27, 1946, 3 Perkins Road, Gloucester, 50th anniversary celebration for Angel and Angelica Polisson.)


You gotta love it.  Due to the success of the Academy Award-nominated film, “My Big Fat Greek Wedding,” Greeks suddenly found themselves to be “in.”  According to the New Yorker, Greeks, who once rushed to Americanize themselves, were “now adding syllables back to their names.”

So, in keeping with this new ethnicity, let me tell you a secret.  My real name isn’t Anastas, it’s Anastasiades.  Yes, there really were a couple of syllables dropped from our original family name.
It happened to my father like it did with so many other Greeks.  Upon his arrival at Ellis Island in 1908 at the age of nine, the immigration authorities couldn’t handle Dad’s given Greek name, Panos Anastasiades.  So they changed it to Peter Anastas.  My actual first name is Panayiotis, which means “little Peter” or “junior.”  But my parents only used that for my baptism, after which they reverted to Peter, like my dad.

If you are wondering what Anastasiades means, let me explain.  Anastas is the past participle of both the ancient and demotic, or modern, Greek verb “anisto-anastasis,” which means “to stand up, rise or be resurrected.”  So Anastas means “having stood up” or, like Christ, “having risen.”  The final syllables, “iades,” stand for “the son of,” like the Russian suffix “ovich.”  Therefore, my name literally means “son of the one who stood up” or “son of the arisen.”  Not bad for the child of an immigrant, who arrived in America at the age of nine wearing his mother’s shoes.

Ah, but it wasn’t “in” to be Greek in 1908, anymore than it was hip to be Italian or Jewish.  When my father arrived in Lowell to join his father as a laborer in the Massachusetts Cotton Mill, he witnessed some horrendous battles between the newly arrived Greeks, the French-Canadians and the Anglo-Americans, who made up the primary workforce.  They were turf battles that later became labor struggles, eventually driving many immigrants to other towns, or even back to the “old country,” as the Greeks called home.  In fact, my father, whose own father had actually died before Dad arrived, soon left Lowell to sell newspapers and shine shoes in downtown Boston, where he remained until his induction into the army during World War I.

From boyhood I heard these stories about my father’s arrival and subsequent life in America, stories which I’ve passed down to my own children.  Dad’s story is the story of many Greeks, who came here penniless or orphaned, went to work, educated themselves, and eventually started their own businesses, not untypically lunch rooms or grocery stores.

Some immigrants, like my uncle Cyrus Comninos, who was a physician, or the sculptor George Demetrios, whom Dad knew when they were both young men in Boston, became successful in the professions or the arts.  Yet, while Greeks, like Theodoros Stamos, have become major painters in America, and Harry Mark Petrakis has written powerfully about Greeks in Chicago, we have not produced a novelist of the stature of Jewish American writers like Saul Bellow and Philip Roth, or the Italian American novelist Pietro di Donato, whose Christ in Concrete is one of the great novels of immigrant experience in this country.  But look how long it took for Greek American life to make its way into the movies!

For all its popularity, which led the New Yorker to compare the film unfairly to a sit com, “My Big Fat Greek Wedding” is a remarkable picture of Greek American life, pitting first generation children like me against their foreign-born parents.  On the afternoon I happened to be seeing it, the audience was comprised mostly of Greek Americans.  There were a lot of little old ladies in black dresses, whispering to each other in Greek before the film began.  And once it started, I listened with delight as many in the audience anticipated the words before they had even come out of the mouths of the characters, especially the father, who, naturally, owns a restaurant at which the entire family works.

“Oh, God, how I know that world!” I exclaimed during the film, tears of recognition streaming down my face.  Tears, too, of immense sadness because the father, who is constantly reminding his children of their Greek heritage, was so like my own father, now dead.

Of course, the power of the film, and, indeed, its immense appeal, is not only because it’s about an ethnic group that many Americans know very little about.  It’s also because the film depicts family dynamics that we all share—a child’s need to separate herself from an overprotective family, a traditional father’s conflict with modernity, and the terrible difficulty we all experience in letting go, no matter what our ethnic backgrounds may be.

If anything, the film’s sequel, “My Big Fat Greek Wedding 2,” just released in time for Greek Easter, is even more relevant, as it explores the relationship between the teenage daughter, Paris, and her mother, Tula, who, in the first film, was struggling to individuate from her Old World parents. In choosing to leave Chicago for college at NYU, Paris separates herself from her loving, if often stifling, Greek family; but in the process she learns that they will always be part if her life.

And, yes, even for the strength of their critical insights into the crippling aspects of Greek American culture that so many in my generation tried to escape from, these two films, which I highly recommend, still made me proud to be Greek.

Peter at Museum (1)Peter Anastas, editorial director of Enduring Gloucesteris a Gloucester native and writer. His most recent book, A Walker in the City: Elegy for Gloucester, is a selection from columns that were published in the Gloucester Daily Times.

Thursday, April 14, 2016

Night Train at Wiscassest Station




Showdown at Roundhouse Corral, (Boston Railyard) © 2000 ~ David Tutwiler (b. 1952)
Showdown at Roundhouse Corral, (Boston Railyard) © 2000
David Tutwiler (b. 1952)

I come from the era of trains.  As a child during the war, I would lie in bed on Perkins Road listening to the shrill whistle of the Boston & Maine’s  Gloucester Branch crossing the trestle over the Annisquam River.  Ever since then I have associated trains with the mystery of travel.  I could never get enough of them, pestering my grandfather Angel Polisson to take my brother and me to the station in Gloucester to see the trains arrive.  I especially loved it when we could watch the passengers getting off and I could only imagine where they had been or where, if the train was about to depart, they might be headed.

As we got older, our mother took us to Boston on the train, when she went shopping at Jordan Marsh’s or Filene’s.  I’ll never forget the time I got separated from her in Filene’s basement.  I went screaming up and down the aisles of bargain clothing piled on tables that women fought over, cursing each other, sometimes tearing the garments to shreds in their furious attempts to possess them.  After that incident, my mother took to pinning a name tag on my brother and me, so that if we got lost or separated from her the clerks would know whom to page.  Luckily, it never came to that, and we quickly learned how to navigate our way around the big department stores, or the Peabody Museum in Salem, where our mother also took us so we could look at the ship models that fascinated us, or the life-like local birds and mammals that the taxidermists had exhibited in large glass cases.

Recently I thought of those cities I came to know in wartime when the gasoline ration prohibited travel by car—Boston, Salem, even New York when we got older—and the trips on trains it took to get to them.  I was on the train to New York again, racing along the Connecticut coast, in and out of harbors and across russet colored fields on the way to see my new grandson in Brooklyn.  The train was packed, the early spring day was bright, and I felt like a child again on an adventure.

It was the way I felt in Europe, where I took the train everywhere, never thinking of schedules or reservations.   If you wanted to go somewhere, you showed up at the station and there was a train waiting or about to arrive.  One night a group of us were sitting over dinner at the Buca Niccolini, on Via Ricasoli in Florence, just behind the Duomo.  It had been a grand meal, well moistened with the local red wine the Florentines call “vino nero.”  We were about to order desert when someone suddenly suggested, “Let’s go to Vienna for desert!”

We jumped up, settled the check and set out for the railroad station, a short walk from the restaurant.   The Brenner Express was about to depart.  We knew we would never get to Austria for desert, but we did arrive in time for one of those marvelous Viennese breakfasts.  We took a spin around the city and got back on the train, arriving in Florence in time for dinner.

Naturally, this was the kind of gambit you engage in when you are young—we were in our early 20s, students: Americans, English and Italian.   I never did it again, but I took the train at every opportunity—to Bologna for lunch (best pasta ever); Pisa for a run up the steps of the Leaning Tower with my high school classmate Bob Stephenson; Viareggio to get my beach fix when I missed Gloucester.

Trains were even more important for me before I lived in Europe.  I went to college in Maine and most of the time I took the train to Brunswick or back home.  I’d hop on a Gloucester train to North Station, where the Flying Yankee left for Portland, Bangor and points north.  There was a club car serving beer and other alcoholic beverages all the way to Portland, where it was uncoupled before the train left for Brunswick.   On many a night we could be seen stumbling up to our rooms from the Brunswick railroad station.

At midnight the mail train stopped in Brunswick, allowing those who had girlfriends in Boston to post letters that would be delivered to them that morning.   I can see myself hastily typing a letter, throwing on parka and boots, and trudging through the snow from my room on Federal Street down to the railroad station on Maine Street, often getting there just as the train was about to pull out.  The guys in the mail car knew us.  Obligingly, they would lean out of the doors to accept our letters on the fly.

 At four a.m. every morning the Milk Train coming through from Northern Maine to Boston woke up those of us who lived near the railroad bridge on Federal Street.  If I was reading or studying late, I knew that its whistle in the dead of night was the sign for me to go to bed. But the big event of the day was the non-stop rush through Brunswick of the freight train.  Imagine an engine pulling 100 or more cars all the way from Aroostook County tearing through the center of town, the late afternoon traffic sometimes halted for close to 30 minutes.  Our philosophy professor told us that if we still believed in the non-existence of un-thinking matter we should stand next to that freight train as it roared through town each afternoon.

While some students had their own cars, most of us depended on the train for a fast getaway to Portland to see a movie or to eat Chinese food.   Often enough we traveled north to Rockland, and sometimes further Downeast, stopping at Wiscasset on the way to Rockland, Camden or Belfast.   There was something special about Wiscasset, a sense of arriving in a small riverine town with redbrick buildings, the train pausing, it seemed, until the very last passenger appeared out of the dark, the conductor waiting with his lantern and finally shouting, “All aboard, all aboard,” as the train pulled slowly out of the station.  I can still hear the chugging of the steam engine, the way the wheels clicked on the tracks, and the eerie whistle as the train plunged into the darkness.

It is the image of that night train at Wiscasset Station that remains with me above all others, a sense of the isolation of the station itself and the deserted town, the slowly diminishing sound of the whistle and the rhythmic clicking of the wheels on the tracks, the lights from the cars gradually becoming bright points in the darkness and then disappearing altogether as the train itself faded into the night.   It is an image that takes me back to the boy awake in his bed on Perkins Road, listening attentively each time for the train to cross the trestle over the river, imagining what it might be like to travel on it, to arrive in unknown places, connected only by the trains themselves, the infinite network of tracks, as they raced through the vast spaces of the night.

Peter at Museum (1)Peter Anastas, editorial director of Enduring Gloucesteris a Gloucester native and writer. His most recent book, A Walker in the City: Elegy for Gloucester, is a selection from columns that were published in the Gloucester Daily Times.

Sunday, March 27, 2016

The Consequences of Unplanned Growth

Prospect Street, Gloucester. 1928 Hopper, Edward (1882-1967)  

“Stop this renewing without reviewing.”
–Charles Olson, “A Scream to the Editor”

What do the proposed “Soones Court” Back Shore luxury housing project and the recently floated ideas for the development of Ten Pound Island have in common, aside from the fact that they have provoked vociferous public opposition?

These are projects that have no foundation in planning.  They were neither anticipated nor considered as part of an overarching plan for the growth and development of Gloucester or the protection of our natural resources.  Why is this?  Simply put, it is because the city effectively does not have a Master Plan that is currently valid.  Our Master Plan is neither valid nor relevant because, having last been drafted and voted upon in 2001, it is fifteen years out of date.  As such, it does not—and did not—anticipate major projects like Gloucester Crossing or the Beauport Hotel on the Fort, both of which also stirred divisive public opposition.

The purpose of good planning is to avoid such controversies as much as possible and make clear in a democratically created document what is needed for the orderly growth and development of the community; in other words, what should be built in the future and where it should be built.  Such a plan also provides for what the community wishes to preserve in  terms of landforms, historic sites and buildings, neighborhoods, or cherished places— iconic locations like the shore side of our Back Shore, Ten Pound Island, Dogtown, or the Magnolia Woods.  It is possible through planning to set aside such “magical places,” as Janice Stelluto, who shepherded Plan 2001 from the talking stages through to its completion, called them, so that they would remain undisturbed to be enjoyed by future generations of Gloucester citizens and visitors drawn to the natural beauty of our city.

Good planning also anticipates the impact on the economic and social well- being of the city of foreseen growth; for as a community considers what it hopes to live with in the present—which amenities it needs, what kinds of new business might be provided to create necessary jobs, how new growth and development will affect tax base—it also looks at what is not wanted.   It provides for the preservation of what is valued like the untrammeled view out to Thatcher’s Island from the Back Shore, or Ten Pound Island left in its natural state for students to study its geology and birdlife.

Plan 2001 did not call for a shopping plaza adjacent to the Fuller School, nor did it consider the marine-industrial Fort as an ideal location for a “boutique” hotel or conference and function center   These were not developments growing out of the community’s pressing desire to have them (there was consensus about a downtown hotel but not on the Fort); they were developer-driven projects, coming, as it were, from a vacuum created by a lack of planning.  Taken by surprise, as the community was when these unanticipated and unplanned for projects first surfaced, many in the community reacted like we all do when we are confronted with the unexpected.  There was anger, frustration and, naturally, resistance, creating rifts in the city, which deepened as one unanticipated and unplanned for project followed another.

To be sure, the planning process cannot anticipate or parry in advance every controversy; nor can it satisfy all sectors of the community.  But it can help us to avoid the divisive acrimony we now experience in Gloucester with the concomitant anger against and distrust of government and public officials, neither of which help to promote or sustain our wellbeing as a people, collectively hoping for a deserved quality of life in the place we call home.

Without good planning a city is helpless in the face of the relentless drive to develop that we and many seaside communities like Gloucester are facing, just as a family that does not budget its finances or plan for the future is stymied when there is job loss or catastrophic illness.  Good planning can help to avoid the raucous public hearings that have been a sad feature of local life, pitting neighbor against neighbor and ward against ward, only fueling the enmity and distrust of government that have come to characterize national life as well.  Good planning can also help the community avoid costly litigation that drains both public coffers and private citizens of funds that could be more wisely and creatively spent.

So, before we get into another battle royal over the next development proposal to come down the pike (and there will be many), would it be too much to ask if we, as a community, could take that superannuated Master Plan off the shelf and revise it?  Or better: couldn’t we begin again, utilizing all the experience we have gained during the past fifteen fractious years, and write a new one?   Call it a roadmap for the present, or a GPS helping us to navigate our way through the complex terrain of the future.  Call it what you will, but for the sake of all of us let’s not move forward without knowing what’s ahead.

(On Thursday, March 4, 2016, the Gloucester Planning Board said “No” to preliminary plans for Soones Court.  Shortly afterwards, it was announced that Save Our Shores Gloucester had entered into an agreement with the developers to purchase the site for $75,000.

On Monday, March 21, a community meeting was hosted by Ward One city councilor Scott Memhard, at the Rocky Neck Cultural Center, 6 Wonson Street, at 7 p.m., to discuss “Ten Pound Island: Recognizing its Past, Planning its Future.”  The consensus was that the island should be left in its natural state.)

Peter at Museum (1)Peter Anastas, editorial director of Enduring Gloucesteris a Gloucester native and writer. His most recent book, A Walker in the City: Elegy for Gloucester, is a selection from columns that were published in the Gloucester Daily Times.

Sunday, January 10, 2016

Toward a Vision for the City's Future

 

With Mayor Sefatia Romeo Theken, Inauguration Day, January 1, 2016, City Hall


            The American Heritage Dictionary defines inauguration as “to induct into office by a formal ceremony” or “to cause to begin, to dedicate, to consecrate.”  Our Gloucester High School Latin teachers, Josephine P. Ray and Vincent Elmer, would have taken pains to point out the Latin root “augurare,” “to presage, to foretell, to look ahead.”  This gave us the Italian “augurio,” “to wish, to be of good omen, to give one’s best wishes,” as in auguri.   So, in effect, we are here today not only to celebrate the induction of Sefatia Romeo Theken into her first full term as mayor of Gloucester, we are also gathered to look ahead, to consecrate ourselves and the city we love to a future of good omen, to wish our new mayor and her administration, our new city council and school committee—the community itself— tanti auguri for the New Year ahead and for our hoped for future.

            Before I speak of that bright future we richly deserve, I’d like to look back for a moment, to pay tribute to those who have made it possible, particularly our parents and grandparents; and for Sefatia, her mother and father, Rosalia and Enzo Giambanco.  Enzo Giambanco, was president of the Board of Directors at Action, Inc., Gloucester’s antipoverty agency, when I first went to work there in 1972.  I found in Enzo not only a mentor but a person of deep compassion for the low-income families we were serving, including out-of-work fishermen, children who needed a pre-school education their parents could not afford, people who did not have health insurance, and elders who were torn between paying rent and utility bills and eating.  As an immigrant he understood what it felt like to be on the outside, whether you spoke a different language or your customs differed from those of the community.   Along with Executive Director Bill Rochford, Enzo helped to steer the agency through some of its most challenging times, while never abandoning those who depended on our services, whether it was help with fuel bills, home care, or after-school care for the children of working mothers.

I will never forget the time when, after the construction of the O’Maley middle school, the city was deciding what to do with the suddenly empty Central Grammar School with its beautiful WPA murals, where many of our parents had gone to high school and my generation had spent our 7th and 8th grade years.   Action proposed a reuse of the stately building for apartments for the elderly; but there were questions about the need for such housing and the ability of an agency like Action, which had never done bricks and mortar, to undertake such a project.  A public hearing was to be held at City Hall to determine which direction the city would move, and it was necessary to show support for the agency’s plan to create quality housing for our senior citizens.   Enzo told Bill not to worry.  And that night he arrived with 500 elders and their families, filling city hall auditorium and convincing the council of public support for the project.   The present Central Grammar Apartments not only met a crucial need in the city, it became a pioneer project in the regional movement to adapt former schools into much needed housing.

            Sefatia learned these innovative and caring ways from the cradle.  She has spent her entire life helping the people of Gloucester as one of the city’s hardest working councilors and as a health care advocate and human services liaison at Addison Gilbert Hospital.  During her tenure as interim mayor, Sefatia again demonstrated her skills at reaching out to citizens across the entire social and economic spectrum of the city, listening compassionately to their concerns, hearing the ideas they shared, and making decisions in a thoughtful and intelligent manner, while relating to all of us in an open, caring and humane way.  When you are hugged by Sefatia you know she means it.

            Sefatia has roots that run deeply into the community and its history.  She’s gone to school and raised a family here.  She can walk down the street and recognize everyone she meets.   She can tell you who lived on which street, who worked where, and what happened to them if they got laid off.  This kind of knowledge that comes from growing up in one place and feeling it in your blood is indispensable when it comes to understanding the needs of neighborhoods and their residents, no matter which part of the city they are located in.  A public official who is not deeply in touch with the culture of the community he or she hopes to serve is already at a disadvantage.

We need a mayor who encourages our community to engage in the kind of constructive dialogue that is the cornerstone of our democracy, a mayor who will lead us toward a more vital sense of community in education, civic responsibilities, historical awareness, fiscal prudence, economic and social self-sufficiency, and love of place.  We particularly need a mayor who understands and cares deeply about our fishing industry and the importance of our working waterfront and the innovative Blue Economy.  I believe that Sefatia will be this kind of mayor.   Just as we need to move ahead, we equally need to maintain our roots as a city of families and neighborhoods, where everyone has a place at the table and everyone’s  voice is listened to and respected.  There is a yearning all over America for the sense of place, of shared history, of belonging, that we in Gloucester are fortunate to enjoy in abundance.

            Gloucester has always been a city of ethnic and economic diversity—and this diversity has been one of our greatest strengths.  We live in dangerous times and we need the peace and comfort that a community like ours affords.  It is through community that we learn together and grow together, as we help our children and grandchildren grow and prosper. 

            Concretely we must address the following issues as we look to the city’s future:

            --We need a revised and updated Master Plan so we can best manage growth and know where to build and what to preserve.

            --We must recommit ourselves to our embattled fishing industry and to the working waterfront itself, continuing our long history of adaption to change with the creation of a strong seafood innovation cluster economy and the good local jobs it will create.   We are also a great boating community and while we work to make our waterfront a more welcoming place for recreational boaters, we must not forget the importance of community boating facilities for our own residents.

            --We will need to look newly at tourism and its impact on the city’s life and infrastructure (traffic, the harbor, the beaches, the land), with a special conversation about the role of a smart,  human-scale visitor-based economy, the corner stone of which should be cultural and eco-tourism.

            --We need to continue our conversation around the development of a public arts policy with added discussion on the place of the arts in local life and the visitor-based sector.  Essential to the future of the city as a magnet for the arts is the development of live-work housing for local artists, who constitute a bridge between the life we all enjoy here and what we want to offer to those we welcome into our community.  

            --Essential also is an initiative to involve more citizens in public life, volunteering for boards and commissions.  We must especially nurture a new generation of engaged citizens: our democracy will depend on it.

            --As for schools, plant is important, but what happens in the classroom is paramount.  We must transcend the tyranny of standardized testing, reasserting the primary role of the imagination, critical thinking and creativity in art, music, drama, science and the humanities.

            --We must do everything to keep our city beautiful, not only for those who wish to visit but for those of us who live here year round.  The restoration of Stacy Boulevard, Gloucester’s crown jewel, is long overdue.   Dogtown is our refuge for hiking, cross country skiing, berry picking, and the exploration of nature.  Let us continue to support the work that volunteers are engaged upon in preserving this treasure and keeping Dogtown unspoiled for future generations.

            What we especially need, along with careful planning to account for inevitable change, is a land ethic, a way in which we view the land and its uses beyond mere profit-taking and commercial development.  We must build what we need, but we must do it in a way that does not destroy the unique character of neighborhoods or disrupt human and natural ecologies.

            We must plan regionally as well as locally, always with a sense of preserving the character and integrity of particular communities; for I believe that only those places which are sensitive to their uniqueness will survive.  Without an informed, coherent and humane vision of ourselves in relation to our environment we will not survive as a community, let alone as a planet or a species.

            So as we inaugurate our new mayor and congratulate the city councilors and school committee members we have elected to represent us, let us re-commit ourselves to working together, to building “not only for today alone but for tomorrow as well.” If we expect it of ourselves, those who come after us will thank us for our vision, our imagination, and especially for our commitment.

            Thank you e tanti auguri a` tutti for the New Year and for Gloucester’s future.

            (This speech was delivered at City Hall, on January 1, 2016, at the inauguration of Sefatia Romeo Theken as Mayor of Gloucester)