The weather is definitely turning steamy and tempers are running short. Patti LuPone has emerged as the Anti-Cell Phone Avenger, to which I say loudly and emphatically “AMEN.” Is there a regular theater-goer or opera or concert attendee who hasn’t been disturbed by some moron who refuses to turn the infernal machine off or worse, texts during the performance? (Incidentally, that was me about to strangle the young idiot sitting next to me who drank beer and texted throughout that performance of “Wozzeck” at the Met).
So thank you, Ms. LuPone, for sticking up for the rest of us, who revel in that quaint concept of live performance uninterrupted by the Electronic Age. By all means, steal as many cell phones as you need to stop the madness.
One by one my favorite shows are ending their lives on the tube. First “Mad Men,” now “Nurse Jackie.”
After seven years and several stints at rehab and jail-induced detox, our last image of Jackie Peyton was as an OD’d junkie stretched out on the floor of All Saints’ ER. “Nurse Jackie” ended as it should have—despite her lengthy penance in the Diversion Program, she remained an incurable addict. She seemed incapable of comprehending how her addiction and the accompanying lying and cheating impacted the lives of people she seemingly cared most about. As Eleanor O’Hara (thank you, Eve Best, for returning for the series finale) told her point-blank “You make it so damned hard to be your friend.” Truthfully the reality of her situation made it so damned hard to watch. The last straw came when, after fighting so hard to get her nursing license back and enduring one humiliation after another in doing so, she pops a mouthful of pills seconds after donning those blue nursing scrubs again.
In a sense the end was foreshadowed from the first episode of this season. I was never on Team Eddie. No matter what she did, he remained King of the Enablers—they consistently brought out the worst in each other, and their being together was one huge amber light. On the other hand, Dr. Bernie Prince, Coop’s replacement, was an intriguing counterbalance. The fact that he was played by Tony Shalhoub made it even better. I so wish the showrunners had introduced his character at least a season ago–he and Jackie would have made a great team, whether in the working or romantic sense, or both.
What made “Nurse Jackie” unique was its unapologetic portrait of a female anti-hero (and kudos to Edie Falco for having the guts to portray her). Jackie could be insensitive and irresponsible, but at some level she was never uncaring. And she excelled at her profession, though her addiction was making it more likely that this would eventually—and conclusively—be lost to her. Another major plus of the show was that none of the characters ever turned into a cartoon. They sometimes exasperated you, and several times you may have wanted to smack Coop upside the head, particularly in his early days, but most of the time they behaved in a realistic manner. Zoe grew, and to her credit outgrew Jackie. And so, in her oddball way, did Dr. Roman. Coop finally matured and moved on. And Dr. Prince, with his massive brain tumor, ended up in Death’s waiting room. Only those with addictions—Jackie to her pills, Eddie to his love for Jackie—remained stuck in their repetitive, destructive behavior.
Such is life.
Even after finishing Kate Atkinson’s “A God in Ruins” a month ago, I’m still thinking about it. This is her “companion volume,” not a sequel, to her wonderful “Life After Life,” which featured the many possibilities of the life of Ursula Todd during England’s twentieth century. While the two novels feature many of the same characters, the tone is quite different. And the conclusion is somewhat maddening.
“A God in Ruins” is a biography of Teddy Todd, Ursula’s adored younger brother. In “Life After Life” he’s a golden boy—the model for Augustus, his aunt’s scamp of a literary creation, his mother’s favorite and ultimately the heroic RAF pilot seemingly lost during World War II. “A God in Ruins” presents a more detailed portrait of Teddy. He’s still a caring young man, though it’s clear his father, not his mother, is his favored parent; his affection for sisters Pamela and Ursula remains the same. He’s somewhat at loose ends when the war begins. Teddy’s two attempts at a career have failed—his year in France as a would-be poet ends when he concludes his work is trite, and a stint at a banking job is utterly soul-killing. In actuality this gentle young man’s best talent is killing as he pilots a Halifax bomber in countless runs over Germany.
Unlike “Life After Life” with its magical changes in Ursula’s path, “A God in Ruins” shows us a protagonist who, after flying so high, becomes utterly grounded. His post-war life seems to be one grind after another, both in career and in his personal life. He no longer shines except perhaps later in life when as a grandfather he provides love and shelter to his grandchildren when their own mother is unwilling to do so.
At times you may feel Kate Atkinson deliberately set out to contradict what she created in “Life After Life.” In the earlier novel the romance of Teddy and Nancy Shawcross seems to be deep and eternal; in “A God in Ruins,” we learn that while Teddy’s love is present, there’s little passion. Although the revision may be closer to reality since they grew up as neighbors with little left to reveal, you don’t want that version. You want the magic. And while the nature of Teddy’s end is easy to foresee, Ursula’s final word at the conclusion of “A God in Ruins” may make you want to demand a refund.
But what makes “A God in Ruins” so engrossing is Atkinson’s account of Teddy’s war: the close calls, the camaraderie with his crew, his miraculous surviveability, his being the “old man” of his squadron at the age of 23. I don’t think I’ve seen a novel drive home what was actually at stake during that time so completely, epitomized by the Morse coded dit-dit-dit-dah (V for Victory) transmitted to Teddy’s plane from a Dutch civilian (“It was a message of both faith and comfort that they saw frequently”), capped by “You could sometimes forget that there were entire nations for whom you were the last hope.” Atkinson does well by these young men who undertook what was in essence a last stand.
“A God in Ruins” is a novel well worth reading due to Atkinson’s artistry. If you haven’t read “Life After Life” yet, I suggest you read the later novel first just so you can move from reality to fantasy rather than the other way around. It’s so much more fun that way.