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Flatbush Flashback

Jewish Stars of Baseball

"Jews and Baseball: An American Love Story" trailer from Willow Pond Films on Vimeo.

"Cleveland Indians third baseman Al Rosen, the second in a very short line of 'Hebrew Hammers' (and the best Jewish slugger since the original Hebrew Hammer, Hank Greenberg), was leading the A.L. with 18 home runs, 4 more than Mickey Mantle of the Yankees." —from Bobby in Naziland

Peter Miller's Egg Cream, a documentary about the chocolate beverage that contains neither egg nor cream, led me to another Miller film, Jews and Baseball: An American Love Story, from 2010, which also coincides with a theme I touched on in Bobby in Naziland.

 

Bobby references three Jewish major league ballplayers: Brooklyn-born Sandy Koufax, pitcher for the Brooklyn and L.A. Dodgers; Detroit Tigers first-baseman and outfielder Hank Greenberg; and Cleveland Indians third-baseman Al Rosen.

 

In the book, I talk about how Koufax, on his way to the Hall of Fame, learned to throw his unhittable curve ball on the "sacred, scruffy sandlots" of Brooklyn's Parade Grounds and was crowned King of the Jews when he sat out a World Series game on Yom Kipper.

 

I also mention how Greenberg, in 1938, blasted 58 home runs, the closest anybody came to breaking Babe Ruth's record before Roger Maris did it, in 1961. Though he missed three prime years to serve in the army during World War II and was subjected to rabid anti-Semitism from fans and opposing players, over the course of his 13-year career Greenberg hit 331 homers with a .313 lifetime batting average—amazing statistics for a player of any religion.

 

But I didn't know till I saw Jews and Baseball that Greenberg, too, was celebrated for refusing to play a World Series game on Yom Kipper.

 

In this impressively comprehensive documentary, Miller, an Emmy- and Peabody-award–winning director, doesn't cover all 160 Jews who played the game going back to the dawn of professional baseball. But he covers a lot of them, lavishing most of his attention on Koufax and Greenberg, the game's two greatest Jewish stars, but also giving Rosen—somewhat obscure because he played only seven full seasons, outside a major media market—his due.

 

I've been following baseball since I was old enough to understand what baseball was. And I was brought up in a household where any Jew who'd ever achieved anything of significance was brought to my attention. Yet I didn't discover Rosen until I was about nine and started reading books like Who's Who in Baseball. I was amazed that I'd never heard of a player who'd hit so many homers—43 in 1953 alone, when he was the American League MVP—and who shared my last name.

 

He wasn't the only Rosen who played professional baseball. Also mentioned in the film is Goody Rosen, a Brooklyn Dodger and New York Giant center fielder who, in his best season, 1945, hit .325 with a dozen home runs. I remember people in my father's candy store talking about him long after he'd retired—probably because, like Y.A. Tittle, they liked saying his name.

 

Narrated by Dustin Hoffman, Jews and Baseball features extensive archival footage, interviews with fans like Larry King and Ron Howard and, of course, interviews with Koufax, Greenberg, and Al Rosen.

 

Though the film will obviously hold the strongest appeal to Jewish baseball fans (and those old enough to remember the Brooklyn Dodgers), I'd recommend Jews and Baseball to all fans, regardless of religion, race, or country of national origin. It's streaming on Amazon.

________

My latest book, Bobby in Naziland, is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore.

 

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Egg? Cream?

EGG CREAM Trailer from Icarus Films on Vimeo.

"The most valuable skill I learned at the candy store was how to mix the perfect egg cream. It was kind of like drawing a perfect pint of Guinness: You had to use just the right amounts of chocolate syrup and milk, and you had to squirt the seltzer against the side of the glass at just the right angle and with just the right force, so the head was neither too foamy nor not foamy enough. (A master egg-cream maker, like my father, could divert the seltzer with a spoon into a second and third glass and still achieve a perfect head.)" —from Bobby in Naziland

The egg cream is a subject that comes up time and again in Bobby in Naziland. It was one of the most popular items my father sold in his Brooklyn candy store, and the above excerpt, in part, explains why.

 

So I was surprised when a critic complained that I didn't explain where the name "egg cream" comes from, as the drink contains neither egg nor cream. He also suggested that perhaps I should have included a bit of the iconic beverage's history.

 

I didn't include this information because, in my approximately six years (ages 7–12) of making egg creams professionally, nobody ever asked me about such things. A customer would come into the store, order an egg cream, lay a dime on the counter, and drink it. If he or she said anything, it was usually something along the lines of "Delicious!"

 

That was it, and this was the experience I described in the book: the making, serving, and imbibing of the glorious egg cream.

 

I was even more surprised to receive an email from a reader expressing outrage that my father didn't use Fox's U-Bet to make his egg creams. Rather, he used chocolate syrup that came in unlabeled gallon jugs (or maybe it was five-gallon jugs).

 

I didn't realize that there are egg-cream aficionados out there who have an almost religious devotion to Fox's U-Bet. And I didn't expect to find myself defending my father, 54 years after he sold the candy store, for not using Fox's.

 

I bring this up now because, for those of you who need to know the complete history of the egg cream (it's biblical!) or can handle the truth about Fox's U-Bet (it's Mafia!), there's a 15-minute film, Egg Cream, by Nora Claire Miller, Peter Miller, and Amy Linton, that will tell you everything, including things you might have been afraid to ask.

 

You can rent Egg Cream here for $1.99, which is a penny less than the price of an authentic New York City egg cream, which I'd urge you to try if you've never had one. It pairs well with the movie.

________

My latest book, Bobby in Naziland, is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

I invite you to join me on Facebook or follow me on Twitter or my eternally embryonic Instagram.

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The Impending Resurrection of the Killarney Rose

 

I walked by the Killarney Rose, on Beaver Street, the other morning. The windows were boarded up and the menu holders affixed to the outside were empty. By all appearances, the bar was permanently closed, another victim of Covid. It must have just happened, I thought, feeling a wave of sadness. I'd passed by Christmas Day and the lights were still on. Before breaking out the black crepe, I wrote to the Killarney Rose, not really expecting an answer. But I got one: The Killarney Rose will reopen as soon as the city lets them.

 

Why all this feeling for a dive bar on an out-of-the-way street in a neighborhood I rarely spend time in? A bit of background:

 

I stumbled upon the Killarney Rose about a dozen years ago, when I was wandering through the Wall Street area, thinking how I needed a catchier title than "A History of Modern Pornography" for the book I was working on. I looked up and saw I was on the corner of Beaver and Broad. It was like a sign from on high—a literal one. That's it, I thought. That's the title: Beaver Street.

 

Though it would be years before the book was published, I knew then I had to have the launch party on Beaver Street. I walked the length of the street, from Broadway to the intersection of Wall and Pearl streets. The Killarney Rose was the only possible venue. I walked in. The bar had two floors, and the upstairs room had the look and feel of a private club. It was perfect.

 

The owner agreed to let me to use the room free of charge, as long as I could bring in enough paying customers to make it worth his while.

 

"Not a problem," I said.

MC Byron Nilsson delivers the opening monologue at "Bloomsday on Beaver Street," June 16, 2012.

 

On the night of June 16, 2012, Bloomsday—the day that James Joyce's Ulysses takes place—I launched Beaver Street at the Killarney Rose. Hosted by the indomitable Byron Nilsson, "Bloomsday on Beaver Street" was a celebration of literature that had been branded pornography. Before a packed house of hungry and thirsty supporters, musicians (including my wife, Mary Lyn Maiscott) played rock 'n' roll, actors read from Ulysses—Laralu Smith's reading of the Molly Bloom passage was a highlight—and I read from Beaver Street. The presence of "Subway Vigilante" Bernie Goetz, who had an abiding interest in the subject matter, added a surreal touch to the evening's festivities.

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Lexi Love reads at "Bloomsday on Beaver Street II," June 16, 2013. Photo © Michael Paul.

 

The celebrations continued, in 2013, with "Bloomsday on Beaver Street II," another night of music, theatre, and literature. One memorable moment was adult actress Lexi Love's highly emotional reading from her favorite book, Walking Through Clear Water in a Pool Painted Black, by Cookie Mueller.

 

Then, on December 14, 2019, the Killarney Rose was the scene of "Bobby on Beaver Street," the launch event for my latest book, Bobby in Naziland, featuring myself and six actors, many of whom you may have seen on stage, TV, and/or in the movies, reading choice passages from the book.

 Susan Barrett, at "Bobby on Beaver Street," December 14, 2019, reads about her brother, a character in Bobby in Naziland.

 

Finally, on January 25, 2020, Mary Lyn Maiscott celebrated her birthday and the release of her song "Middle Child" at the Killarney Rose.

 

Less than two months later, life as we knew it ended. But the Killarney Rose, despite all outward signs, did not. All we can do in this still-new year is wait for its resurrection. It can't come soon enough.

________

My latest book, Bobby in Naziland, is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it.

 

I invite you to join me on Facebook or follow me on Twitter or my eternally embryonic Instagram.

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John Lennon, James Patterson, and the Hired Elves

John Lennon, James Patterson, and the Hired Elves.

Ad that ran on the back page of The New York Times Book Review.

 

I come here to neither bury nor praise James Patterson. I've not read his latest book, The Last Days of John Lennon, nor do I intend to. I don't read books written by elves who toil in Patterson's word factory, no matter how closely he oversees their work. Patterson is more brand name than author, and the elves in this case are named Casey Sherman and Dave Wedge. I assume they researched and wrote the book based on Patterson's outline and guidance.

 

My only interest in Patterson's (for simplicity's sake I'll refer to the three authors by their brand name) heavily promoted "true-crime story," as he calls The Last Days, is that my book Nowhere Man: The Final Days of John Lennon is cited in the notes. Naturally I was curious to see what scrap of information Patterson gleaned from my book.

 

The note section of Patterson's book is extensive. Virtually every fragment of information throughout The Last Days is attributed to a source. The Nowhere Man note is from Chapter 43. It says:

 

Playboy magazine: Robert Rosen, Nowhere Man: The Final Days of John Lennon (New York, Soft Skull Press, 2000), 180.

 

This isn't quite correct. Playboy magazine is mentioned on page 180 of the Quick American Archives edition, not the Soft Skull Press edition—a sloppy, though hardly tragic, mistake.

 

But sloppy research may also be apparent in the full-page back-cover ad for the book that recently appeared in The New York Times Book Review. In the ad, Patterson writes that the day after Lennon's murder, "I was in the huge, sad crowd gathered in Central Park." He seems to be referring to the vigil that took place December 14, six days after the murder.

 

I'm not usually a nitpicker when it comes to this kind of thing. And having made my share of factual mistakes in my own books, each one invariably pointed out by concerned readers, I understand just how easy (and human) it is to err. But considering that the two things I looked at—an endnote and a prominent newspaper ad—contained factual mistakes, I think it's an indication that the sloppy research is widespread, and that Patterson needs to hire a few more elves to do his fact checking.

 

The scrap of information he gleaned from Nowhere Man is straightforward: Lennon's assassin, Mark David Chapman, bought, at the Sheraton Center Hotel on Seventh Avenue, a copy of Playboy featuring an interview with John Lennon.

 

The scene is more or less mirrored in Chapter 43 of The Last Days, describing how Chapman gets into a cab, goes to the Sheraton Center, and buys Playboy and a copy of The Catcher in the Rye at a bookstore near the hotel.

 

Curiously, Patterson adds a fictional B-movie element to the scene: He has the cabdriver say to Chapman, "Get in, bud."

 

The book begins on December 6, 1980, with Chapman flying to New York from Hawaii. Patterson also adds some fictional elements to this scene. He has Chapman sitting in a cloud of cigarette smoke looking at his handgun permit.

 

I assume such fictional elements are pervasive, and I'll leave it to others to decide if Patterson achieved his goal of telling "a story that's almost impossible to stop reading," as he says in the ad. I was able to put the book down where I found it in the bookstore. I know the story well—too well. It's been told in about 400 other Lennon biographies, many of which I read when I was writing Nowhere Man. I feel no need to hear it again, as told by hired elves.

________

My latest book, Bobby in Naziland, is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

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It Was 40 Years Ago Today

 

John Lennon left us 40 years ago, on December 8. We're fast approaching the day, sometime in February 2021, when he'll have been gone longer than he was with us. As time continues to pass at an ever-accelerating pace, I find myself looking back, as I often do at this time of year, on the night when the unthinkable happened.
 

Like John, I was a compulsive diary keeper. Below are two excerpts from my diary from the days immediately after John's murder. Both excerpts appear in Nowhere Man: The Final Days of John Lennon. The "Fred" I refer to is Fred Seaman, John's personal assistant. The book I mention would, 18 years later, become Nowhere Man.

 

I post these excerpts now to share with you a sense of what it was like at a time when the world changed and my own life would never be the same.

 

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12/9/80 John Lennon was killed last night. At around 7:00 I'd smoked the last bit of dope Fred had given me, my "Lennon Dope." I looked at those crumbs in the bag and said, "What the fuck am I saving this for, sentimental reasons? This stuff is for getting stoned." It was Jim Morrison's birthday and I was listening to a Doors special on WPLJ. When news of the murder came over the radio, all I felt was a chill. Around 2 A.M. I went down to the Dakota. I felt it was important to observe the scene. I shed a few tears, I couldn't help it. God help you, John Lennon. Thank you for touching my life. At 5 A.M, when I got home, I tried to call Fred at the Dakota. I got the accountant. He said Fred wasn't available. I said, "Tell him I called and that I'm sorry." There was nothing to say then and there's nothing to say now. There is only sickness in a sick world.

 

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Yet as I absorbed the unfolding events, I couldn't help but consider my own role in them.

 

12/10/80 I'm an eyewitness to history. I would not be human if I were not fascinated by Lennon's death. My perfectly human desire is to want to be part of the scene, to be part of history. There is a possibility Fred will ask me to begin work on the book. He called this morning to say he's quitting his job at the end of the week to begin writing it. "It's what John wants," he said. "John knew he was going to die and he poured his heart out to me. He knew I was working on a book." I'm not going to ask to participate in this project. If I'm not part of it, my life will go on as it has. But if Fred does ask me, there's no way I can say no. I believe I can execute such a project in a spirit true to John Lennon's memory.

 

I hope that Nowhere Man is sufficient proof that the last sentence is correct.

________

My latest book, Bobby in Naziland, is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it.

 

I invite you to join me on Facebook or follow me on Twitter or my eternally embryonic Instagram.

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My Pandemic Reading List

My Pandemic Reading List

In the midst of this never-ending pandemic, despite overdosing on news, I've found time to read for pleasure—usually books that have been sitting on my shelves for years that suddenly catch my eye, or more recent books that somehow have landed on my coffee table. It's all pretty random. In any case, here are capsule critiques of the last three books I enjoyed.

 

Miami Noir: The Classics, edited by Les Standiford, Akashic Books

I'm not a big fan of detective stories or pulp fiction, but this volume, the latest in Akashic's series of "noir" stories set in cities, from Addis Ababa to Zagreb, caught my interest. I've always found Miami—from the Art Deco and beautiful-body trendiness of South Beach to the funky Cuban vibe of Little Havana's Calle Ocho—to be an intriguing place. It was also the last city I visited before the onset of the pandemic confined me to New York.

 

Aside from Damon Runyon and Elmore Leonard, I was unfamiliar with the contributors, though their stories, covering 1925 to 2006, are generally entertaining and many do convey Miami's distinct atmosphere. Like most anthologies, the book varies in quality, ranging from literary, like Preston L. Allen's "Superheroes" (2006), about a boy taking well-deserved revenge on his stepfather, to genre pulp, like Carolina Garcia-Aguilera's "Washington Avenue" (2001), about a serial killer who's murdering gay men, which kept me turning the pages but was ultimately dissatisfying.

 

Two of the stories that stayed with me for reasons good and bad are Brett Halliday's "A Taste for Cognac" (1944), a genuine hard-boiled detective classic, and Charles Willeford's "Saturday Night Special" (1988). The latter starts out as a realistic tale about four gainfully employed, middle-class guys in their early 30s, living in a swinging singles apartment complex in Dade County. Then the story goes off the rails as they react in a way that makes no sense given the situation they find themselves in. SPOILER ALERT: An underage girl one of the men picked up at a drive-in movie dies from an apparent drug overdose in the parking lot of a fast food restaurant. Instead of calling an ambulance, they take the body back to their apartment complex. Then they kidnap the guy who gave her the drugs, murder him by accident, and dump both bodies in a canal. There are no repercussions, either psychological or legal. The implication is they live happily ever after. Even by the standards of "Florida Man," this is insane.

 

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Why Do Birds, by Rob Hoerburger, 71 Songs

I paid no attention to Karen Carpenter when she was alive. Her songs, especially "Close to You," I thought were sappy, the antithesis of cool, the exact kind of thing I did not want to listen to. Why Do Birds, a book that found its way into my hands because my wife knows the author, is about Karen Carpenter (though she's never named) and the effect she and her music have on the lives of the other characters. Set in Manhattan and Queens in the early 1980s, Hoerburger's novel made me care about a young music-loving woman, her gay brother, an undercover cop, and, of course, Carpenter. In addition to giving me a deeper understanding of anorexia, the disease that killed Carpenter at the age of 32, the book motivated me to give her songs another listen. I still think "Close to You" is sappy, but "Superstar," written by Leon Russell, is beautiful. The girl had a voice.

 

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Lives of the Poets, by E.L. Doctorow, Avon

E.L. Doctorow, who died in 2015, does not need my criticism to secure his reputation. But having not read any of his books since Ragtime, when it came out in 1975, I found myself plucking off the shelf an old paperback edition of Lives of the Poets. Suffice it to say this collection of six short stories and the title novella is excellent. The mordantly funny "Lives of the Poets," presumably autobiographical, is set in my Soho neighborhood and can be taken as a cautionary tale about the dark side of literary success.

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My latest book, Bobby in Naziland, is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

I invite you to join me on Facebook or follow me on Twitter or my eternally embryonic Instagram.

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Today and Yesterday

Today and Yesterday

 

Since the Covid-19 pandemic cut short my Bobby in Naziland promotional tour, all has been quiet on the media front. But today and yesterday, things came to life.

 

This morning, my John Lennon bio, Nowhere Man, was referenced in The Wall Street Journal in an article about the sale, for $36 million, of El Solano, the mansion in Palm Beach that John Lennon and Yoko Ono bought in 1980. El Solano is where John, after five years of musical silence, reconnected with his muse several months before his murder, on December 8, 1980. You can read all about it in Nowhere Man.

Then yesterday, my appearance on Sharifah Hardie's Round Table Talk Show with four other inspiring guests was not only fun but gave me the opportunity to talk about all my books, including Beaver Street. So thank you, Sharifah!

 

I will now return to my regularly scheduled day of writing another book and enjoying the walls closing in on Donald Trump.

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

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Bobby (and I) in St. Louis

 

Guest Post by Mary Lyn Maiscott

My husband, Robert Rosen, and I were supposed to be in St. Louis this month. We'd gone in October last year so that Bob could do a reading from his memoir, Bobby in Naziland: A Tale of Flatbush, at Subterranean Books, an indie store on a popular strip called the Loop, near Washington University. Bob had a great turnout, including relatives and friends of ours—I grew up in the area, and my two siblings, Cecilia and John, and my nephew Sean live in the city.

 

After the event, the bookstore manager told Bob they'd love for him to come back, and so a date was set—October 9, 2020, John Lennon's 80th birthday; Bob was going to read from his 2000 cult classic, Nowhere Man: The Final Days of John Lennon. With that settled, a group of us walked across Delmar Boulevard to celebrate at a Thai restaurant and, later, the club Blueberry Hill (famous for the numerous performances in its Duck Room by favorite son Chuck Berry).

 

Of course, the October 2020 Lennon reading evaporated in the wake of the coronavirus. But the event that transpired last year remains a wonderful memory, and Bob and I are both grateful to Subterranean and all of those who came out that night—a spirited Q&A followed the reading—as well as those who attended another reading, at the spacious, art-filled home of Bob's childhood friend Ernie Abramson, who had, coincidentally, moved to St. Louis long ago to study dentistry. 

 

Soon after we got back to New York, we found out that Bobby in Naziland had made a bestseller list in the St. Louis Post-Dispatch! And now Subterranean has set a date for next spring for the Nowhere Man event. 

 

In the meantime, Bob is working on a book about the 1970s, and I have a single coming out inspired by feelings of missing people, especially my family, during this time: "I Can't Touch You (Supermoon)." It's a true quarantine production, and I'll be writing more about it before its release November 20!

 

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A Message From the Author

 

I'm sure some of you were expecting to find my weekly blog post here. You might have even been looking forward to it. Since early 2019, I've been keeping readers apprised of all phases in Bobby in Naziland's life cycle: proofreading, fact checking, printing, a lost shipment of books(!), launch events, reviews, an appearance on the St. Louis Post Dispatch bestseller list, and, sadly, the "characters" who've died since the book was published.

 

Then the world as we knew it came to a standstill; my planned one-year promotional tour was cut short (I didn't get to the West Coast or Europe); and "Flatbush Flashback," became an illustrated addendum to the book itself.

 

There's no question that the pandemic had a shattering effect on small publishers and authors with new books. Bobby in Naziland was no exception. I prefer not to dwell on all that's happened since mid-March, not just to book publishing but to the life I used to know (and hope to know again).

 

I'm happy to say that a substantial number of "Flatbush Flashback" readers have bought Bobby in Naziland. Many of you bought multiple copies to share with your friends and family. Some of you posted reviews and wrote newspaper articles. A few of you organized readings. Many of you came to my events (and it was a trip to see people I hadn't seen since high school). A half dozen of the professional actors among you participated in the New York launch at the Killarney Rose, on Beaver Street, and later recorded videos reading from the book. Many heartfelt thanks for your support!

 

This post marks the beginning of an interlude, not the end of Bobby in Naziland's life cycle. I'll continue to update "Flatbush Flashback." I'm just not going to do it every week. Blogging is time consuming, and at the moment I need to focus more energy on the book I'm currently writing

 

I should add that September 23 would have been my father's 97 birthday. He's one of the main characters in Bobby in Naziland. That's Irwin Rosen on the left.

 

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Should this pandemic ever end, Mary Lyn Maiscott and I plan to celebrate with a combination concert (her) and reading (me). For now, if anybody (or a group of people) would like to discuss Bobby in Naziland or any of my other books, e-mail me. We'll set something up, perhaps a Facebook Live event.

 

I'll leave you with a simple request: If you read Bobby in Naziland and enjoyed it, please spread the word, especially to former and current Flatbushians. And if you haven't read the book, I hope you will!

 

Stay well and be safe.

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

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In the Promised Land

 

"This and more the Czech girl carried with her, quietly for the most part. And it carried us through the Promised Land, from the Golan Heights to the Gulf of Aqaba, where we sat one morning after breakfast, 14 miles from the Saudi Arabian border, on the beach in Eilat, looking out at the Red Sea. I knew then that I was finally far from Flapbush." —from Bobby in Naziland

 

In Bobby in Naziland's epilogue, "Far From Flapbush," I tell the story of meeting up with my girlfriend—I call her "Naomi"—in Israel in the summer of 1972. She was the daughter of a man who, along with his mother, fled Czechoslovakia as the Nazis overran the country. The rest of her father's family was wiped out in the Holocaust.

 

Naomi spoke fluent Yiddish, which she'd learned to communicate with her grandmother, who spoke only Yiddish. In the book, she serves as a living symbol of the Holocaust's inescapable shadow. Though a generation removed, she was obligated to carry its memory, and it was a heavy burden. But she was also a guitar-strumming hippie, a young American woman determined to enjoy her life as she balanced the horrors of the past with the pleasures of the present.

 

For me, that trip, my first time abroad, was an extraordinary odyssey through Europe and Israel. I flew and hitchhiked more than 6,000 miles to rendezvous with Naomi. But my camera broke before I got there, and I had no photos of my time in Israel.

 

Several months ago, in what turned out to be one of my last social engagements before the onset of the pandemic, I had dinner with an old friend whom I'd first met that summer in Israel. He gave me the above photo, which he'd taken in early August, soon after I turned 20. That's me on the left.

 

That day, I was on a glass-bottom boat in the Red Sea with Naomi and a group of people she was touring the country with. (They'd let me join them on their tour bus.) The fellow standing next to me is one of the tour leaders, Avnir, an Israeli. (My friend the artist Daniel Jay said we look like Peter Frampton and Elvis Costello.) That's "Naomi" on my right, her face outside the frame.

 

So now I have one photo to remind me of my time in Israel—and how amazing it was to be young, to feel immortal, to look (a little) like Peter Frampton, and to always remember the reason that that country, the land of survivors, exists.

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

I invite you to join me on Facebook or follow me on Twitter or my eternally embryonic Instagram.

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A Brand-New Way to Exterminate the Human Race

 

"I was 97 days old when a one-footed Jewish refugee from Nazi Germany, Edward Teller, the real Dr. Strangelove, more commonly known as "the father of the H-bomb," introduced Planet Earth to this brand-new way to exterminate the human race." —from Bobby in Naziland

 

In 1975, I briefly worked in the Pentagon as a speechwriter for the secretary of the air force. Gerald Ford was president; the Vietnam War had just ended—the first war the United States had lost since 1812—and though there was a so-called moment of "détente" between the U.S. and the Soviet Union, the Cold War and the arms race were ongoing.

 

Justifying the need for more money to build more nuclear weapons was the central theme of many of the speeches I wrote. The secretary, John McLucas, would put forth two arguments: You need the right-size weapon for the job at hand. You can't stomp ants with elephants. And, more importantly: Nuclear weapons are not for killing people. They're to deter killing. The more nuclear weapons there are, the more deterrence there is.

 

This is known as "Mutual Assured Destruction" or MAD, and it's a strategy that's been in effect since the Russians developed their own nuclear weapon, in 1949. In its insane way MAD has (thus far) prevented a nuclear war.

 

The failure of MAD is the plot device at the heart of Dr. Strangelove: a lunatic general orders a nuclear strike. I first saw the film when I was 11 and have seen it about 25 times since then. It left a deep impression, whetting my taste for black humor and instilling in me a fascination with the power of the hydrogen bomb. So I was amazed to find myself, all those years ago, toiling in the Pentagon—the ultimate Strangelovian setting.

 

I mentioned the Pentagon only in passing in the afterword of Bobby in Naziland. But what I witnessed there was very much on my mind as I examined the threat of nuclear annihilation that hung over my childhood.

 

While doing research for a chapter called "Speak, Memory," I learned that the first hydrogen bomb was detonated November 1, 1952, when I was 97 days old. I then wondered if it was possible for an adult to retain not an actual memory, but something memory-like from his infancy if an event occurred that "tore asunder the very fabric of reality," as did the hydrogen bomb. I described that memory-like sensation as "a tiny quivering in the recesses" of the brain.

 

That train of thought resulted in the sentence excerpted at the beginning of this post. It may also partially explain my attraction to dark topics and my tendency to find humor even in a one-footed Jewish refugee from Nazi Germany who developed a brand-new way to exterminate the human race.

 

Cracks me up every time.

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

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Space Nerd in the Land of the Free

 

"An astronaut, Navy Commander Alan B. Shepard, was sitting atop a Redstone rocket in his Mercury space capsule, Freedom 7, the announcer said, and was about to be the first American launched into outer space. No, he wasn't going to orbit the earth, at 17,500 miles per hour, as Russian cosmonaut Yuri Gagarin, the first man in space (a Communist!), had done less than a month earlier—thus asserting the technical superiority of our arch-enemy, the Soviet Union, and making an entire freedom-loving nation feel distinctly inferior, both intellectually and militarily. Shepard was going to ride this rocket a mere 115 miles into space, on a 15-minute, 300-mile sub-orbital flight, at 4,500 miles per hour." —from Bobby in Naziland

 

Two things obsessed me in the early 1960s: the New York Yankees and the space race, and it's hard to say which one I found more exciting. In any given year, I could have named all 25 Yankee players and cited most of their batting and pitching statistics. I also could have named all seven Project Mercury astronauts, given you a capsule (so to speak) biography of each one, and told you the names of their space capsules and exactly what each mission entailed. My favorite book was We Seven, "by The Astronauts themselves." I read it more times than I can remember and I still have it on my shelf.

 

The above excerpt is from a scene that takes place in Brooklyn's PS 249 gymnasium. Grades three through six were assembled there to listen to the launch of Freedom 7 on a big transistor radio set up in front of the gym. Like most of my classmates, I was wondering if the rocket was going to explode. That kind of thing happened a lot in those days, and it made for almost unbearable drama. People could hardly believe that America was finally sending a man into outer space.

 

Between the anti-Russian Cold War propaganda drummed into our heads in school (the Communists are godless, immoral warmongers who want to enslave you) and the "public service" TV commercials we watched on Saturday mornings ("We will bury you!" Khrushchev threatened), we took the space race to heart.

 

Alan Shepard's entire flight, from liftoff to splashdown, was a goose bump–raising patriotic rush. When frogmen recovered him and Freedom 7 safe and sound in the Atlantic Ocean, everybody in the gym let loose with an enormous cheer. Then the teachers marched us into the auditorium for Friday morning assembly, where we pledged allegiance to the flag and sang with feeling "The Star-Spangled Banner" and "This is my country, grandest on earth."

 

Because we were proud American kids in America, in 1961, who really did believe we lived in the greatest country in the world—a country where anything was possible, where there were no limits to what you could accomplish if you worked hard and played by the rules, and where anybody could grow up to be president.

 

Boy, did we have a lot to learn.

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

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I Was an Eight-Year-Old Soda Jerk

 

"If you read comic books, then you may remember that Pop Tate's Chock'lit Shoppe was the Riverdale institution where Archie, Betty, Veronica, and Jughead whiled away idyllic afternoons sipping malteds at the gleaming, chrome-trimmed counter. It occurred to me one not-so-bad Flatbush afternoon, as I was perusing the latest editions of Archie, Richie Rich, Sad Sack, Superman, The Flash, Fantastic Four, and Mad, which I'd spread out on top of the ice cream freezer in the back of the store, that if Pop Tate's were in Bizarro World, the cube-shaped planet from Superman where everything is the opposite of the way it is on Earth, then it might look something like the Goodrose Cigar Store." —from Bobby in Naziland

 

One night in Provincetown, in the summer of 1996, Mary Lyn Maiscott and I went to see the band Betty at a local club. Named after Betty Cooper in Archie comics, the group, known for tight harmonies, catchy melodies, and clever lyrics, still consists of Alyson Palmer, Amy Ziff, and Elizabeth Ziff. Midway through the show they asked the audience an Archie-related trivia question and offered a prize to the first person to answer it correctly.

 

The question was: "Who is the principal of Riverdale High?"

 

I was the only one who raised my hand, so they called on me.

 

"Mister Weatherbee," I answered.

 

"That's correct," one of them said and then asked me my name.

 

Not only did Betty give me some Betty CDs and a T-shirt, they sang my name in three-part harmony, which left such an impression on the audience that after the concert, as Mary Lyn and I wandered around Provincetown, some people, who'd obviously seen the show, called out, "Hey, Bob Rosen!"

 

It was my finest Archie moment, and it wouldn't have happened had I not spent all those hours reading comic books in my father's candy store.

 

The above cover of Pep (Archie Series), from January 1961, is typical of what I was reading in the prime of my comic-enthusiast days. And though I'm sure I understood the difference between fact and fiction, the idealized image of the candy-store proprietor, his employee, and his customer must have filled me with confusion and longing.

 

For one thing, portly Pop Tate, with his bowtie and lavender shirt, was a far cry from the candy-store owner I knew: my father, whom I describe in Bobby in Naziland as looking "dangerous, in that irresistible James Dean kind of way, all slicked-back hair, cool aviator shades, and ever-present cigarette dangling from his lips."

 

And I, the employee, was an eight-year-old soda jerk who could barely imagine what it would be like to serve somebody as pretty as Veronica (or Betty) an egg cream, not to mention make out with her between sips (though I could never understand what either of them saw in Archie).

 

Most confusing of all was the contrast between the cramped, dingy candy store, where every surface "appeared to be coated with a half-century of accumulated dust and grime," and brightly lit, sparkling clean, mirrored, expansive Tate's, with its chrome-trimmed seats at the counter. (SRO for the candy store's cigarette-smoking and dirty-book-reading clientele.)

 

Why couldn't my father's candy store be more like Pop Tate's? I wondered, as if the fictions of Riverdale could somehow be made real in Flatbush's grubby commercial grottos. In Provincetown, 35 years later, had Betty, the band, followed up their Mister Weatherbee question with this more existential inquiry, I'd still have been stumped.

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

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Brighton Express Memoirs

 

I'm a New Yorker and I've been riding the subway pretty much from the day I was born. That's why I have no memory of my first subway ride. It happened when I was too young to form long-term memories. That's one difference between native New Yorkers and people who move here as adults: new arrivals always remember their first ride.

 

In the 1970s, when the subways were in decrepit condition, muggings were routine, and the fare kept rising, from 20 cents to 30 cents to 35 cents, I was living in Brooklyn and going to school in uptown Manhattan. My commute took well over an hour each way, not counting the walks to and from the stations. In my freshman year at City College, before I found a quicker route that involved fewer trains and more walking, I took the F train from Fort Hamilton Parkway to Jay Street/Borough Hall; then the A train to 59th Street/Columbus Circle; and finally the No. 1 train to 137th Street/City College—and I somehow made it to an eight o'clock History of Architecture class on time.

 

I spent so much time on the subway, it felt like my second home, though not as much of a second home as it was for a guy sitting next to me on the A train one morning, on his way to school. He had a portable typewriter in his lap and was tapping out a term paper due that day, as he told me when I asked.

 

Because of the pandemic, I stopped taking the subway for more than four months, from late February into early July, even for trips to distant neighborhoods. Despite what I'd read about the relative safety of New York's mass transit system, and the fact that ridership had declined by as much as 80 percent, the subway still seemed like a place worth avoiding. I walked everywhere.

 

Then, on two brutally hot July days, I broke down and took the subway. It was an exercise in underground anxiety. Too many people on the platform weren't wearing masks, and though there were never more than a dozen people in the car, there was always at least one maskless rider.

 

I again stopped taking the subway.

 

My lack of subway riding had me thinking about the long-ago days when riding the subway was an adventure, and on Saturdays my mother would take me to Manhattan, on the Brighton Express from Church Avenue, usually to visit a museum.

 

I described those trips in Bobby in Naziland, and so clear was my vision of late-1950s and early-1960s subway cars, some of which remained in service until 1970, it never occurred to me to check the accuracy of my memory against a photograph. Then the other day, I came across the above photo and was pleased to discover that everything I wrote about the subway cars of my childhood is accurate.

 

The car in the photo appears to be from an exhibit at the New York Transit Museum. You can see the padded wicker seats, the white enamel poles and handgrips, the exposed ceiling fans, the bare light bulbs, and the period advertisements. Though Lux soap and Heinz mayonnaise are well represented, there are no ads for cigarettes, nor are there any Miss Subways posters.

 

My nostalgic subway reverie has since ceased, and I again find myself longing for pandemic-free days when taking the A train uptown to Harlem is routine, and a pleasure trip to Brooklyn, across the Manhattan Bridge via what used to be called the Brighton Express, doesn't seem like a reckless act of life-risking insanity.

 

Maybe someday.

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

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Maris in the Fall

 

In "Maris in the Fall," a chapter in Bobby in Naziland about Roger Maris's quest, in 1961, to break Babe Ruth's "unbreakable" home run record, I referenced four parody poems that ran in the April 8, 1962, edition of the New York Times Magazine. The poems were part of a feature, "Maris in the Spring, Tra-la, Tra-la," comprised of 19 poems by Milton Bracker, the Times Rome bureau chief.

 

The poems, published to coincide with opening day of the baseball season, are a classic example of doggerel. But when I read them at age nine, I thought they were fantastic—even the footnotes rhymed! They were better than any poem Edgar Allan Poe ever wrote, and I used to think nothing could beat "The Raven."

 

I memorized most of Bracker's poems, recited them to anybody willing to listen, and hoped that someday I, too, would be able to write such extraordinary poetry.

 

I wanted to quote some of the poems at length in Bobby in Naziland, but when I contacted the Times to get the rights to approximately 50 words, the non-negotiable price they stated was outrageous. You'd think they were selling me an original handwritten manuscript by Shakespeare.

 

So I did what I've often done in similar situations: sliced and diced a total of 16 words—enough to communicate the poems' flavor while staying well within the bounds of "fair use."

 

Since this Website is both "educational" and not for profit, in celebration of this weird season of pandemic baseball (and the normalcy of seasons past), I will now quote the four poems in full (and still remain within the bounds of fair use).

 

I Love Maris

I love Maris in the springtime,

I love Maris in the fall;

I love Maris

Nearly-as-much-as-I-love-Paris,

If he just h-i-t-s that ball.

 

The Electronic Age

Transistor Sets

Why do so many people go

To ball games with a radio

That tells each hapless nearby being

Exactly what his eyes are seeing?

(But since, at short, he was a whiz

  With every drive and bouncer,

No wonder Phil Rizzuto is

  My favorite announcer.)

 

Historic Utterance

Near Coogan's Bluff

(Oct. 3, 1951—Giants win playoff on sensational home run in 9th, 5–4)

Bobby Thomson took a bat,

Knocked the Brooklyn Dodgers flat,

Said, aware he was much richer,

"Glad I wasn't born a pitcher*."

___

  *Pity, indeed, Ralph Branca's plight:

Pitched that day. Tossed all night.

 

The Last Time I Saw Maris

The first time I saw Maris,

His bat was coming round;

I loved the way it smote the ball,

I loved the shot-like sound.

 

The next time I saw Maris,

He loped from base to base;

He didn't have to run at all,

He set a hero's pace.

 

The last time I saw Maris,

He wore a handsome tux;

He wasn't making runs at all—

But he was making bucks!

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

I invite you to join me on Facebook or follow me on Twitter or my eternally embryonic Instagram.

 

 

 

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Living on Flatbush Time

 

There are only two pictures of my father's candy store that I'm aware of. One was taken the afternoon of October 15, 1964, when President Lyndon Johnson and Robert Kennedy, who was running for the U.S. Senate, rode down Church Avenue, in Flatbush, in an open limousine. As the car passed the candy store, a photographer snapped a photo of thousands of ecstatic Brooklynites surrounding the limo. If you look closely at the background, you'll see my father, Irwin Rosen, leaning out the candy store window, another face in the crowd. I'd been scrutinizing the photo for a year before I noticed him.

 

The other photo is the one above, taken around 1940, eight years before my father bought the store. This stretch of Church Avenue, between East 17th and East 18th Streets, is one of the main settings of Bobby in Naziland. This is how it looked in the decade that Flatbush Standard Time came to a standstill and construction began on a psychic wall that would surround the neighborhood and hold a changing world at bay for the better part of 23 years.

 

Then two events—the assassination of President John F. Kennedy and the arrival of the Beatles—crashed through the wall, and the 1960s came flooding in, changing black-and-white 1940s Flatbush to the full-color spectacle on display in the LBJ-RFK photo.

 

Frozen-in-time Flatbush of the 1950s and early 60s—a neighborhood where World War II "lingered like a mass hallucination"—is the subject of Bobby in Naziland. Though the Municipal Archives photo was taken more than a dozen years before I was born, it's more in sync with my earliest memories of the block than the color photo of those famous politicians rolling down Church Avenue, making for a day so vivid, it's seared into the memory of every Flatbushian alive at the time.

 

Let's deconstruct the photo, beginning with my father's arch-competitor, the hated corner candy store, on the right—the place that made inferior egg creams with chocolate syrup I described in the book as "cheap slop." Though some local denizens will tell you that the corner store actually served superior egg creams, in my household it was a matter of religious faith that my father's egg creams were the best on the avenue if not in all of Brooklyn. I never set foot in the corner store and never tried one of their egg creams, so I can't settle this ancient argument. If anybody reading this can offer an objective opinion, please post a comment below.

 

The store that my father would buy, in 1948, is to the left of the entrance to the Church Avenue subway station. The photo isn't sharp enough to make out the lettering on the sign or any other details. But it does capture the ramshackle dinginess of the place. In 1965, two monopolistically inclined brothers bought my father's store and then bought the corner candy store, too, thereby establishing themselves as the undisputed egg cream kings of Church Avenue.

 

But the Metropolitan Transit Authority held the leases to both stores and, in the late 1970s, chose not to renew them. Instead, they tore down the two candy stores and expanded and modernized the subway station. Click here to see how it looks now. The tile wall between Feel Beauty (formerly Lamston's) and the entrance to the station is where my father's store used to be.

 

October 31, 1956, was the last time the Church Avenue Trolley—one of the last trolleys to run in New York—passed over the trolley tracks that span the length of the photo. I'm old enough to remember both riding on that trolley and the Brooklyn Dodgers, named for trolley-dodging Brooklynites.

 

Note the M.H. Lamston sign on the side of the building above my father's store. There's also a sign in front of Lamston's that says "5 and 10," which, I assume, is what most things in the store cost in 1940. That sign was long gone by the 1960s, but everybody continued to call the store "the five and ten," though there was almost nothing for sale that cost so little as that. On February 10, 1964, I'd buy Meet the Beatles there for three dollars.

 

To the left of Lamston's is Wallhide Hardware, which I don't remember, and to the left of Wallhide's is N.E. Tell's bakery. (You can see both signs more clearly in this Municipal Archives shot.)

 

One of the key scenes, from which I drew the title Bobby in Naziland, takes place in N.E. Tell's, in 1956, the year the trolley stopped running. I've always imagined it as a scene from a black-and-white movie, a film noir in which a young child sees a number tattooed on the forearm of a woman who works in the bakery. He asks his mother what the tattoo is and she tells him—but she doesn't have to say much. The child watches TV, and images of extermination camps are already embedded in his mind. He understands too well what the tattoo means.

 

That's just the way it was when you were living on Flatbush Standard Time, and the past often seemed more real than the present.

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

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Death of a Salesman

 

In the summer of 1967, when I was 15, my "Uncle Paul," as I call him in Bobby in Naziland, took me on the road to make a few sales calls with him—an adventure I'd been looking forward to since school ended. He worked for Highlander, a women's suede and leather coat manufacturer. His territory was upstate New York.

 

One afternoon we were in a women's clothing store in Utica (or maybe Rome), in the buyer's office, sitting opposite his desk. Paul introduced me as his nephew and launched into his sales pitch, about fall's hot new suede fashions, which, if stained, could be easily cleaned with an ordinary pencil eraser—that was, supposedly, a big selling point.

 

The buyer—pudgy, middle-aged, and with a receding hairline—was resistant. There was too much inventory, he said. Other Highlander coats weren't selling as expected.

 

Had I been in my uncle's chic Italian size-nine loafers, I'd have given up then. I thought there was no chance the buyer was going to buy. I was ready to leave.

 

But my uncle kept pressing him, charming him with jokes about Cary Grant, stories about women and deep-sea fishing, wearing him down, veritably seducing him. By the time he was through, the buyer had agreed to buy 10,000 dollars' worth of suede coats, and my uncle had earned a 15 percent commission.

 

The buyer then looked at me and asked, "Do you know that your uncle's the greatest salesman in the world?"

 

"Yes," I said, swelling with pride, amazed at the turnaround I'd just witnessed. I thought that I, too, might want to be a salesman.

 

You won't find the above story in Bobby in Naziland. It occurred outside the book's time frame. But you will find other stories about my uncle. Some are not flattering, but all are true. What I wrote in the book about "Uncle Paul" was my way of coming to terms with a difficult relationship with an uncle who was like my older brother when I was a kid. I worshipped him because he was living proof that it was possible to escape from the kind of life I felt trapped in. With his salesmanship skills and "winning personality," he'd escaped from a similar life. My uncle represented everything a lower-middle-class kid might dream about: money, success, expensive cars, and exotic travel.

 

When I was 19, and in the throes of rebelling against everything, my illusions about my uncle fell away. I saw him for who he was—the deeply flawed man I'd write about in Bobby in Naziland. I was so angry at him, for reasons I won't go into here, I stopped talking to him; I cut him out of my life.

 

As I matured and became more accepting of people and their flaws, we reconciled to a degree. We talked and spent time together.

 

I'm writing this now because on July 20, my uncle, 81, died from Covid-19 in a Florida nursing home. I'd last spoken to him several months ago. He was unhappy with where life had ultimately taken him, and I'd gotten the feeling that he didn't want to talk, that there was nothing more to say.

 

Due to the pandemic, there was no funeral. So I sit here, in New York, sorting out a spectrum of emotions and memories accumulated over a lifetime. I prefer to dwell on the positive.

 

My earliest memories of my uncle are from 1956. He was a starting offensive guard on Brooklyn's James Madison High School football team, and my parents took me to games to watch him play, though I could never seem to pick him out on the field. His football career ended when he tore up his knee. I can picture him in an autograph-covered cast, recuperating on a green couch in my grandmother's living room.

 

When I was older, he sometimes took me deep-sea fishing, for blues, fluke, flounder, and porgies, on the charter boats at Sheepshead Bay. "Let's cut a slice of life," he'd say, as we set sail. Fishing was another thing he excelled at, and he was passionate about it. There were days, especially when we went for blues, when he was the only one on the boat who caught a fish. He once took me to Montauk to go cod fishing. It was my best fishing day ever. You dropped your line in the water and out came a fish. We caught hundreds of pounds of cod between us, which we gave away, except for a couple of fish we took home for our mothers to cook.

 

Also when I was 15, he took me on my first airplane ride, to Cleveland. He had to go there to pick up his car, a silver Cadillac, which he'd left in a parking lot when he had to fly back to New York for an emergency. He wanted me to keep him company on the drive home. Riding on a jet plane and spending an entire day with my uncle, traveling 465 miles in his Cadillac, was the most thrilling thing I'd done at that point in my life.

 

He took me to Ranger hockey games at Madison Square Garden and Titan football games at the Polo Grounds. We spent afternoons cruising around in his other car, an MG convertible, which was almost as exciting as flying in a jet. And he turned me on to the Beatles "White Album," though I don't think he ever got past side one.

 

My uncle might have been a salesman, but he was no Willy Loman. If anything he was more akin to an honorary member of the Rat Pack.

 

I hope what I've written will provide some comfort to those who knew him by his real name.

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

I invite you to join me on Facebook or follow me on Twitter or my eternally embryonic Instagram.

 

 

 

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Name That Year: July 27 Edition

 

July 27 is my birthday and it'll be here before you know it. It's also fellow Brooklynite Bugs Bunny's birthday, though he's considerably older. (He was born in a rabbit warren under Ebbets Field.)

 

I'm not going to say how old I'll be because that will make me feel older than I am (and older than I feel). But the information's out there. You can look it up.

 

Or you can read the list, below, of nine newsworthy events, which I've compiled from a chapter in Bobby in Naziland. Everything on the list took place in a 12-hour period, from 8:30 p.m., July 26, to 8:30 a.m., July 27. See if you can guess the year. The answer is in the UFO video at the end of the post.

 

  · Eva Perón—"Evita"—the first lady of Argentina, died, at age 33.

 

  · Objects unknown—UFOs—traveling at speeds between 100 and 7,000 miles per hour, buzzed Washington, D.C.

 

  · The stock market reached a 22-year high.

 

  · King Farouk of Egypt was deposed in a bloodless coup.

 

  · A woman flying Pan American airlines, from Rio de Janeiro to Rome, was sucked out of the plane off the coast of Brazil when the emergency door popped open.

 

  · U.S. B-29s bombed North Korea's electrical power grid.

 

  · At the Summer Olympic Games, in Helsinki, Bob Mathias broke his own world record for the decathlon.

 

  · The New York Yankees were in first place in the American League, and the Brooklyn Dodgers were in first place in the National League.

 

  · Cleveland Indians third baseman Al Rosen was leading the American League with 18 home runs, 4 more than Mickey Mantle of the Yankees.

 

 

Bugs Bunny's July 27, 1940, debut. If you're of a certain age, you've seen it many times.

 

One of the multitude of UFO sightings that occurred during the month of July, many years ago. Find the answer to the "quiz" in this video.

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

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How Hot Was It?

 

"She always began with the heat wave that baked New York City that July. 'It was 95 degrees every day,' she'd say. 'Some days it hit a hundred. And we didn't even have an air conditioner. Do you have any idea how uncomfortable it was to be nine months pregnant in that miserable little apartment?'" —from Bobby in Naziland

 

The heat wave of 1952 began on June 26, when the temperature in New York City hit 100 degrees. It continued throughout July. The "she" in the above excerpt is my mother, and her meteorological memories of the days surrounding my birth, amidst a frenzy of UFO sightings, are accurate.

 

  · July 14–23, 1952, was the hottest 10-day stretch in New York's recorded weather history, dating back to 1871.

 

  · July 1952 was the hottest calendar month the city had ever endured.

 

The first four summers of my life, 1952–55, were the hottest four consecutive summers on record in New York; the temperature went above 95 degrees on 41 different days. And I was in Brooklyn for all of them.

 

Somehow, we got through those heat waves without air conditioning. I didn't know anybody who had an air conditioner, in part because a 5,500 BTU machine, in the mid-1950s, cost about $350, the equivalent of $3,386 today. But money was beside the point. The building I lived in and most of the other buildings in the neighborhood, constructed in the 1920s and 30s, weren't wired for air conditioning. Flatbushians could only dream of air-conditioned apartments.

 

I can picture myself, age six or seven, lying in bed, coated in sweat and trying to fall asleep on a sweltering night. On the floor next to the bed is a little spluttering fan tilted upward, its breeze wafting over my body and doing almost no good at all. How I longed for a moment of coolness.

 

In those ancient days, if you couldn't afford to escape to the Catskills for the summer, you cooled off at the beach, at a public swimming pool, or in an air-conditioned movie theatre, probably on Flatbush Avenue.

 

These days, I'm fortunate to be sitting in a large room cooled by a 12,000 BTU Frigidaire AC. And that's a good thing—because, out of an excess of caution, I wouldn't consider going to a beach or pool, and New York movie theatres remain closed.

 

So I'm staying right where I've been for the past four months. It's safe here, and there are books to be written and books to be read. Summer, after all, is a good time to catch up on your reading. And if you're reading this blog, you might also want to pick up Bobby in Naziland, if you haven't done so already. It may be just the cure for the summertime blues, despite what Eddie Cochran sang in the long, hot summer of 1958.

 

________

Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you really should buy it.

 

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No Asterisk for Maury Wills

 

"With the transistor radio pressed to my ear, I can feel the electricity of 25,000 people in Dodger Stadium and a million more who are tuned in coast-to-coast. I can feel it pouring into Maury Wills, surging through his body. The Dodger infielder, having drawn yet another walk against the Chicago Cubs, takes a huge lead off first base, and the frenzied L.A. crowd, knowing he's feeding off their energy, is on its feet, chanting 'Go, Maury, go!' willing him to fly, to again steal second, now only 80 feet away." —from Bobby in Naziland

 

In the summer of 1962, I listened to a lot of baseball on a transistor radio my parents had given me for my birthday. Mostly I tuned in to the Yankees, the reigning World Series champs. Since the Brooklyn Dodgers had split for L.A., in 1957, I'd become a Bronx Bomber fan. There was no choice, really. I never understood how anybody could root for the Mets, the "lovable losers" created out of thin air, in 1962, to replace the irreplaceable Dodgers.

 

When the Yankees had a day off, I'd listen to a Dodger game if I could find one. Of course it bothered me that "dem bums" had moved 2,500 miles away, but fellow Brooklyn Jew Sandy Koufax was still a Dodger, so I felt a connection to "dem," though Koufax had been injured in July and was out for the rest of the season.

 

Even without Koufax, the Dodgers were a thrilling team—thanks to Maury Wills, a player I could relate to, despite his lack of Jewishness. Unlike my Yankee idols, Mickey Mantle and Roger Maris, who blasted baseballs into the bleachers, Wills, a 5-foot-10-inch, 160-pound infielder, who never hit more than six home runs in a season, got by on pure speed. I, too, was a fast runner and I devoted a significant portion of my childhood to trying to figure out how to apply my speed to baseball, even though my hitting abilities were akin to those of Gus Bell, the Mets right fielder, who finished the '62 season batting a hefty .149. If I could just find a way to get on base, I thought that I could be like Maury Wills.

 

With Wills providing the spark, the Dodgers were locked in a life-and-death struggle for the National League pennant with those other New York deserters, the San Francisco Giants, with the winner gaining the right to lose the World Series to the invincible Yankees.

 

Hanging out in front of my house or wandering around the neighborhood, I'd listen to Dodger games, the voice of Vin Scully transporting me to distant ballparks where I'd become one with the crowd, urging Wills to get on base and make something happen—and just about every time he came to bat, something did happen.

 

Though hitting an unspectacular .299, Wills's blazing speed forced errors, turned routine ground balls into singles, and turned walks into triples. His on-base percentage was .347, and every time he got on base, everybody watching or listening to the game knew he was going to try to steal—second, third, and sometimes home. There was little anybody could do to stop him. In 117 attempts, he was thrown out stealing only 13 times—8 of those times on hit-and-run plays when the batter didn't hit the ball. No team's entire roster had more steals than Maury Wills alone. The Washington Senators came closest, with 99.

 

Wills stole his 96th and 97th bases, tying and breaking Ty Cobb's record of 96 steals, which had stood for 47 years, in the 156th game of the season, on September 23, 1962, in a 12–2 loss to the St. Louis Cardinals. (No asterisk for Maury!)

 

The Dodgers and Giants both won 100 games, finishing tied for first place and forcing a three-game playoff series. On October 3, in the seventh inning of game three, Wills stole his final base of the season—number 104.

 

But the Giants pulled the game out—1951 déjà vu all over again!!!—and went on to lose the World Series to the Yankees.

 

I watched game seven on TV, a 1–0 nail-biter at Candlestick Park. The game ended as Willie McCovey lined out hard to second baseman Bobby Richardson, with the tying and winning runs on second and third base.

 

Somewhere Maury Wills, the National League MVP—Willie Mays of the Giants, batting .304, with 49 home runs and 141 RBIs, finished second in the balloting—was watching, too.

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40 Sacred, Scruffy Acres

 

"Once I was allowed to cross Caton Avenue on my own, I could play baseball anytime I wanted, though not terribly well, on the sacred, scruffy sandlots of the Parade Grounds." —from Bobby in Naziland

 

The official name has always been Parade Ground, but nobody called it that. Today, these 40 acres of ball fields, unrecognizable to my eye, are partitioned with fences and covered with artificial turf. A sign over one of the entrances confirms the official name, so maybe modern-day Flatbushians call it Parade Ground.

 

Fifty-five years ago, when I lived a half block away, on East 17th Street, everybody called it the Parade Grounds, plural, and there were no signs indicating otherwise. To say "Parade Ground" doesn't sound right to me and never will.

 

It was a wide-open space and there was no artificial turf, either. Astroturf, as it was first called, didn't exist. The Parade Grounds were, as the above excerpt says, a collection of dusty, scruffy, unmanicured baseball fields. Blades of grass were few and far between. When you played ball there, especially in the summer, you'd return home covered in gritty red clay.

 

Come autumn, combination football goalposts and soccer goals appeared, and gridirons were marked off. Though somebody must have played soccer there, I never saw anyone do it and I didn't know anyone who did. The Parade Grounds were for baseball and football because that was the American Way.

 

And the grounds were sacred, especially if you were Jewish and loved baseball, as most of us were and did. The Parade Grounds were where Jewish, Brooklyn-born Hall of Famer Sandy Koufax, of Lafayette High School, learned to throw his unhittable curve ball before joining the Brooklyn (soon-to-be LA) Dodgers.

 

In the above photo, taken in 1928 from a rooftop near Coney Island Avenue, the Parade Grounds look similar to the way they were in the 1950s and 1960s. The corner of Caton Avenue and Stratford Road is behind the trees on the upper right, and Parade Place, which turned into East 17th Street when you crossed Caton Avenue, is at the upper left.

 

The number of times I crossed Caton Avenue with either a baseball mitt or football tucked under my arm is incalculable.

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Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you should (and probably can) buy it again.

 

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Church Avenue Stories

 

"Then [my father] had to return to those grueling 12-hour shifts, the ones that began in the predawn Church Avenue gloom, when the drunks came staggering out of Byrne's 'gin mill' across the street and made their way to the candy store's front window to croak, 'Bromo Seltzer.' And my father would serve it to them, one foaming glassful of stomach-settling swill after another, 12 cents a pop, thereby earning his first dollar of the day." —from Bobby in Naziland

 

The awning in the above photo is the entrance to Byrne's bar or "gin mill," if you prefer that term. It's one of the places from which the intoxicated multitudes emerged around four in the morning when the bars closed. They then stumbled across the street to order a Bromo Seltzer from my father's candy store. The glasses he used to serve the Bromo were the same glasses he'd use later in the day to serve his famous egg creams, which were the same price, 12 cents, and were said to taste like chocolate ambrosia.

 

I didn't remember the name of the bar until I came across the photo. I rarely walked on that side of Church Avenue—I wasn't allowed to cross the street by myself until I was eight. Byrne's didn't hold the same fascination for me as the Maple Court Tavern, on my side of the avenue. Even after it had gone to seed, the Maple Court seemed like a more interesting place, and I'd always stop to look inside as I walked past on warm days, when they'd leave the door open. Byrne's just seemed dark and unappealing—the diviest of the local dive bars.

 

The character I call Aileen Murphy—the girl who prowled Church Avenue with a vicious dog after she was released from reform school—lived above Byrne's. Even after I was allowed to cross the street, I usually kept to my own side to avoid running into her and her provocatively named mutt. (See Bobby in Naziland, Chapter 1.)

 

Three stores to the left of Byrne's was the Savoy. Though I didn't write about it in Bobby in Naziland, this greasy spoon was a place my father often sent me to retrieve a cup of coffee when he was working in the candy store. Sometimes my family ate dinner there; I always ordered the hot open roast beef sandwich and, when permitted, the marshmallow sundae for dessert. (Neighborhood denizens will recall Matty the waiter.)

 

One afternoon when I was in the third grade, I walked into the Savoy and saw a bunch of teachers from my school, PS 249, sitting at a table in the back, eating lunch. They were so out of context I didn't know how to process this vision. I'd never seen any of them, including my own teacher, Mrs. Fletcher, outside the confines of the school. Mrs. Fletcher waved to me. I stood there dumbfounded, before finally deciding that I should wave back. But I was afraid I'd done something wrong and would be in trouble the next time I showed up for class. In those days I lived in a perpetual state of thinking I'd done something wrong.

 

Which isn't all that different from how I feel today.

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Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you'll hopefully be able to buy it again someday soon.

 

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The Emotional Resonance of Common Household Objects

 

The Kelvinator in the above photo is identical to the refrigerator we had for the 12 years we lived on East 17th Street. The landlord must have given my parents a slightly used model when they moved in, in 1953, because the refrigerator always looked little dilapidated, with ice building up in the freezer until there was barely enough room for an ice cube tray. Defrosting it was a tri-monthly ordeal. My mother first had to remove everything in the refrigerator, then chip away with an ice pick until there was enough room in the freezer to fit a pot of boiling water, and then another and another, until enormous chunks of ice began crashing to the floor. Then she'd mop the floor since it was already wet. My mother despised that refrigerator and longed for the day she could have a new one, preferably frost free, with a separate freezer compartment.

 

Like the Lewyt vacuum cleaner I wrote about in April, the Kelvinator is one of the numerous household objects I searched for on the Internet to jog my memory as I was writing Bobby in Naziland. It always surprised me how much emotional resonance certain common objects held, and how many memories they evoked, especially if I hadn't seen them in more than a half century, and especially if in the ensuing years they'd taken on the appearance of antiques. Looking at such objects underscored how much time had passed since I'd last seen them for real.

 

Memory itself is one of the subjects I explore in the book, and I noted in a chapter called "Speak, Memory" that if you grew up anytime after the late 1940s, it's possible to piece together the lost world of your childhood from fragments found on the Internet. It's all there: the antique photos of the street where you lived; the videos of the decades-ago-canceled TV shows you watched; the advertisements for the toys you once owned or coveted; the vacuum cleaners your mother used, and the refrigerators she defrosted.

 

After spending several years seeking out and finding such things, it occurred to me that organic memory and digital archives can become so intertwined, sometimes you can't tell where one ends and the other begins, though these days it hardly seems to matter.

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Flatbush Is My Dublin

 

Next Tuesday, June 16, is Bloomsday, the day that Ulysses, by James Joyce, takes place—in Dublin, in 1904. Joyce picked that day to commemorate his first date with his wife-to-be, Nora Barnacle. During their outing, while walking along the banks of the River Liffey, Barnacle put her hand into Joyce's trousers and masturbated him. It left an impression.

 

Ulysses is one of those novels that everybody knows about but few people have read. Its fame rests on the book's frank portrayals of sexuality. In one scene, the main character, Leopold Bloom (hence "Bloomsday") masturbates in public—probably the most poetic description of public masturbation in literature. Published in Paris in 1922, Ulysses was banned in the USA.

 

Despite its sex scenes, the book—an experimental stream-of-consciousness narrative, full of puns, parodies, and obscure allusions—is, to say the least, a challenging read.

 

I read Ulysses in 1977—simultaneously with a dictionary. On some pages I had to look up, literally, every other word, some of which were not in the dictionary. It's the kind of book that requires a sherpa to guide you through. But I stuck with it because it's considered one of the greatest novels in the English language, and in those early years of my career, I thought Ulysses was a book every writer should read.

 

I can't say I enjoyed it or understood all of it, but I did admire what Joyce accomplished. Writing in self-imposed exile in Trieste, Paris, and Zurich, he brought to life, in granular detail, the streets, alleys, pubs, bedrooms, and people of his native Dublin. Joyce transformed an ordinary day in the life of an ordinary man into a universal story. Dublin was the world.

 

Though Bobby in Naziland is neither stream-of-consciousness nor experimental and does not require a dictionary or sherpa to understand, I did try to do with Flatbush what Joyce did with Dublin: bring to life in gritty, visceral detail its streets, alleys, ball fields, bedrooms, candy stores, and people, and make it a universal story told through the consciousness of an ordinary boy. Flatbush was the world.

 

Though sheltering in place and curfews have at times made my life in Manhattan seem like one of exile, it's not. But when I started writing Bobby in Naziland, I probably hadn't set foot in Flatbush in more than a decade, and I only went back to explore my old haunts after I'd finished a first draft.

 

So yes, Flatbush is my Dublin, and I'd suggest a good way to celebrate Bloomsday next week (since it's not a great idea to hit the Irish bars yet, in the traditional, Guinness-fueled manner of celebration) is to pick up a book that you will read and that tells a universal tale of the place I left behind 55 years ago. It just might be a place that you left behind, too, even if you lived in Dublin.

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The Street Where I Lived

 

The above stretch of East 17th Street, between Church and Caton Avenues, is one of Bobby in Naziland's main settings. I lived in Brighton Hall, the building in the middle, from 1953 to 1965. The expanse of sidewalk in front is where I hung out, had almost daily fistfights, played Chinese handball, and knew every crack in the cement. It's a street I thought I'd never leave, and in a manner of speaking, I never did. I've carried East 17th Street with me all these years. The street never left me.

 

East 17th Street looks a lot different today than it did 55 years ago, but in the municipal archives photo, taken in 1939 or 1940, it's very much as I remember it. The first-floor triple-window, to the right of the entrance, is the apartment of the character I call Alan Feldman. It was below that window that "Feldman" flung me to the ground and sat on me one afternoon, in front of his jeering friends, when I told him, incorrectly, "You're too fat to take me." (Lesson learned.)

 

Two details in the photo indicate that the squalor I describe in the book—the result of a quarter-century of landlord neglect—had not yet descended on East 17th Street. Generic lighting fixtures replaced the two stylish globes on either side of the entrance, and the canopy leading to the entranceway of the marginally more upscale building next door, at the right edge of the photo, was gone by the 1950s. (Click here for a better shot of the canopy.)

 

The character I call Jeffrey Abromovitz lived in that house. Though I hadn't seen him since high school, we remained friends into our mid-teens.

 

Several weeks ago, his sister, Susan Barrett, called to deliver the shocking news that "Jeffrey" had died suddenly. A professional actress, Susan had participated in the New York launch of Bobby in Naziland, reading one of the sections about her brother. "Jeffrey's" obituary paints a very different picture from the disreputable child I describe in the book.

 

His death and my serendipitous reconnection with Susan have rekindled a number of emotions that I thought I'd laid to rest when I was writing Bobby in Naziland. It's also made East 17th Street more poignant in a way I hadn't anticipated.

 

Ironic how death can make the past come alive.

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The Glory of the Loew’s Kings

 

"Or if I had 50 cents on me, I might go see a good horror film, like House of Usher—Edgar Allan Poe's premature-burial story...—at one of the rococo, multi-tiered Flatbush Avenue movie palaces, like the Albemarle, the Astor, the Rialto, or the Loew's (pronounced Lowie's) Kings. It was at the Kings, one afternoon in 1962, after sitting through a showing of The Three Stooges in Orbit, that I saw the Jewish Stooges themselves run down the aisles and take to the stage as every kid in the packed house simultaneously let loose with an ear-shattering shriek." —from Bobby in Naziland 

 

The above photo was taken the night of June 4, 2019, in the lobby of the Loew's Kings Theatre, on Flatbush Avenue. My wife and I had gone there to see Bikini Kill, the reunited 90s "riot grrrl" punk band.

 

We sat in the balcony, as we did the first time I took her to the Kings, in May 2015. That night we'd joined some of my old Erasmus classmates (the school is two block away) to hear Crosby, Stills & Nash. Walking down Flatbush Avenue and seeing the name of that iconic trio on the Kings marquee, rather than, say, The Three Stooges in Orbit, was surreal.

 

Opened in 1929, the Kings was a lavish 3,676-seat theater, one of five "Loew's Wonder Theatres," featuring both movies and live stage shows, usually of the vaudeville variety, but they soon switched to movies only. As I recounted in Bobby in Naziland, it was a place where, for 50 cents, I could escape into the worlds of Poe, Godzilla, vampires, and James Bond.

 

The Kings closed in 1977 and for more than three decades stood empty, deteriorating into a state of near-collapse. Finally, in 2010, the New York City Economic Development Corporation stepped in. Along with the Brooklyn Borough President's office, they oversaw a renovation that took four years to complete and ultimately restored the movie palace to its 1929 magnificence, which is evoked in the wall panel and window behind me in the photo. (You can see more photos here.)

 

Like much of the rest of the world, the Kings Theatre is on coronavirus hiatus. Which reminds me that John Prine (who probably appreciated the Three Stooges) was one of the 100,000 casualties. He played the Kings on April 13, 2019. We should have seen him when we had the chance.

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Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you'll hopefully be able to buy it again someday soon.

 

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“I am not Josef Mengele!”

 

In May 1960, news of Nazi war criminal Adolf Eichmann's capture was flashed around the world. According to the official story, Mossad agents had snatched the Gestapo colonel off a street in Buenos Aires, where he was living under an assumed name, and spirited him back to Israel. There, Eichmann was charged with crimes against humanity, tried, found guilty, and hanged.

 

The most surprising thing I learned while doing background research for Bobby in Naziland was that the official story, which had endured for 40 years, had left out one crucial detail: how, exactly, the Mossad—the Jewish CIA—found Eichmann, the logistics expert responsible for organizing the "Final Solution."

 

That detail came to light in 2000, when the Israeli government quietly declassified the Eichmann file, which contained the story of Lothar Hermann and his teenage daughter, Sylvia.

 

Lothar, a half-Jewish former Dachau inmate, had fled to Argentina in the aftermath of Kristallnacht. There, Sylvia, who was raised Catholic and was unaware of her father's history, began dating Eichmann's son Klaus, who used his real last name, bragged to the Hermanns about his father's being a high-ranking Gestapo officer, and told them that the only mistake the Nazis made was that they'd failed to exterminate all the Jews.

 

Lothar tipped off the German authorities, who relayed the information to the Mossad. Sylvia, acting as a spy for the Mossad, gave them detailed information on Eichmann's whereabouts.

 

Until 2000, the story of Lothar and Sylvia Hermann remained unknown, even to their relatives who lived in Argentina. The 2018 release of Operation Finale, a film about Eichmann's capture, starring Ben Kingsley as Eichmann, brought some attention to the father and daughter, as did a traveling museum exhibition of the same name, co-produced by the Mossad.

 

But neither the film nor the exhibition touched on another disturbing aspect of the story, which I detail in Bobby in Naziland. According to a contemporaneous account in the March 24, 1961 issue of the Argentine newspaper El Imparcial, a year after Eichmann's capture, the Mossad accused Lothar Hermann of being Nazi doctor Josef Mengele, arrested him, held him for 15 days, tortured him, and then released him when an analysis of his fingerprints showed he wasn't Mengele.

 

"No Soy Jose Mengele", nos declaro enfaticamente Lothar Hermann, the El Imparcial banner headline says ("I am not Josef Mengele," Lothar Hermann told us emphatically).

 

A more recent article, in one of the main Argentine newspapers, Clarin, published on November 27, 2011, also says that the Mossad arrested Hermann, accused him of being Mengele, and tortured him.

 

When I was in Buenos Aries, in 2017, I asked Argentine journalist Rolando Gallego if he knew about Lothar Hermann, and if it was true that the Mossad had arrested and tortured him. It was "common knowledge," he said.

 

I also asked former Mossad agent Avner Avraham, who curated the Operation Finale exhibition and was a consultant on the film, about Lothar Hermann's arrest and torture. He denied that it happened. "Why would the Mossad do that?" he said. "It makes no sense."

 

The Mossad would do that, apparently, because they mistook him for Mengele. Therefore, I included the story of Lothar Hermann's arrest and torture in Bobby in Naziland, attributing it to the contemporaneous account in El Imparcial.

 

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Summer of ’61

 

Let's return to the Maple Court Cafe, or "Tavern" as I called it in Bobby in Naziland—because that's what everybody called it, except for those who, like my father, called it a "gin mill," which is a pretty good synonym for "dive bar."

 

I blogged about the Maple Court's interior this past August, when I found a postcard from its glory days. Back then it was a quasi-classy joint, with potted plants and palm trees painted on the walls—the kind of establishment that gave away souvenir postcards.

 

The Maple Court was one of the places where Stingo, the narrator of William Styron's Sophie's Choice, hung out with Sophie, in 1947, when he lived in a rooming house in Flatbush. It was also the first bar I ever walked into. A shot from New York City's Municipal Archives, taken from the corner of East 16th Street, shows what the block looked like back in Stingo's day. You can see the Maple Court behind the "Furs" sign.

 

The above photo, courtesy of the Brooklyn Historical Society, was taken in June 1961, when I was eight and one of the set pieces in Bobby in Naziland was taking place: Roger Maris was in the midst of his record-breaking home run streak, hitting number 13 on June 2 and number 27 on June 22. This is how I remember the Maple Court. (The taller buildings on the right are the backs of apartment houses that faced East 17th Street.)

 

The Maple Court sign indicates "dining" and "entertainment" were on tap, but by the summer of 1961, no food was served there and the only entertainment was watching the locals get hammered. The Maple Court was dim, dingy, and uninviting, and it's long gone, the building torn down, replaced by Bobby's Dept. Store. In 1961, I might have found that more intriguing than a dive bar.

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The Sawdust-Strewn Aisles of the A&P

 

In the 1950s and 60s, The Great Atlantic and Pacific Tea Company, better known as the A&P, was a chain of grocery stores that were ubiquitous in New York City. There was one in Flatbush, on Church Avenue between East 18th Street and St. Paul's Place. My mother did most of her food shopping there before Waldbaum's opened a block closer to our house.

 

In Bobby in Naziland, I discuss two books about Nazis that influenced my own writing. One was The Rise and Fall of the Third Reich, by William Shirer. The other was Sophie's Choice, by William Styron, which was set in postwar Flatbush, with many of the book's locations only a block or two from where I lived.

 

This blog, in part, is a photographic addendum to Bobby in Naziland. My intention has been to add greater detail about any number of people, places, and things that I touched on in the book. In this Season of the Plague, I've found that losing myself in mid-20th-century Flatbush, despite some of the darkness of that time, has been especially pleasurable.

 

This week, I return to the "sawdust-strewn aisles of the A&P," which Styron and I both wrote about. And I wonder if any stores, at least in New York City, still strew sawdust on the floor to absorb moisture. At a time when the very notion of walking into a supermarket can be terrifying, the idea of floors covered in sawdust seems so, to say the least, unsanitary.

 

The above photograph of the A&P on Church Avenue, taken in 1940, is from the New York City Municipal Archives. You can see the other half of the storefront here. (The same car appears in both shots.) Though The Great Atlantic and Pacific Tea Company ceased to exist after filing for bankruptcy, in 2015, the current Google maps shot shows the store that was once the A&P remains a supermarket, though its aisles, I'd imagine, are sawdust free.

 

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Do It With Lewyt

 

I found this ad, circa 1950, several years ago when I was looking for memory-jogging photos of things I was writing about in Bobby in Naziland.

 

I didn't remember the vacuum's brand name. So I Googled "1950s vacuum cleaners" and scrolled through several hundred images of Hoovers, Electroluxes, and GEs. Finally, there it was, unmistakable, though I hadn't laid eyes on it in more than 55 years: my mother's Lewyt (pronounced loo-it) vacuum cleaner.

 

They had a catchy slogan, too, "Do it with Lewyt," and the model shown in the ad was the best-selling vacuum of its time. But the name didn't ring a bell. Alexander Lewyt, the founder, who's now remembered for predicting that nuclear-powered vacuum cleaners would be a reality by 1965, sold the company to the Budd corporation in 1959, and they changed the name to Budd vacuums, which still exists.

 

Despite its Good Housekeeping seal of approval, the above ad is deceptive. What I remember about the vacuum is the horrible noise it made, especially when my mother used the even noisier attachment shown in the photo. Every time she took her Lewyt out of the closet, which she did at least once a week, I ran to my room to hide from the noise. The Lewyt was the first machine I learned to hate and fear. Yet when I saw it in the ad, I was overcome with a rush of nostalgia.

 

That unsuspecting kid in the photo could have been me.

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Bobby in Naziland is available on Amazon and all other online booksellers, as well as at your local brick-and-mortar bookstore, where you'll hopefully be able to buy it again someday soon.

 

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