THE CHARACTERS: Like many novels of the 1960s this is a densely packed episodic exploration of character. Though named for the teenage leader of would-be Executioners (as they all dub themselves) the real protagonist is 27 year-old teacher Tim Nielsen. He is the replacement art teacher at Betsy Ross Junior High and this is his first job teaching young people. We get to know the staff through his eyes and on occasion through the more skewed perceptions of Angel and his band of terrorizing teens. Tim is trying to balance his new career with a burgeoning romantic relationship with Margie, his artist girlfriend who works at a gallery in downtown Los Angeles. But he is sensing something not quite right with his new group of students, especially the oddly quiet, antagonistic vibe he gets from Angel Martine. It doesn't help that his youthful idealism clashes with the senior faculty at the school, many of them several decades older than he and all of them grown jaded with teaching, utterly indifferent towards their students' lives and outside interests.
As the reader watches Angel recruit his Executioners, spies and armorers in preparation for Zero Hour one can't help feel that some of these adults deserve at least a good punch in the face if not the gruesome death Angel has planned for them. The principal William Conrad, nicknamed "ConRat" by the kids, is an overweight lecher always ready to put the moves on the typists in his administrative offices. Roger Post is a lout who insults the women, picks fights with the men, tells horrible off color jokes and is in general an asshole for much of the book. The few scenes of him at home also reveal him to be a misogynistic husband who treats his wife as nothing more than a sexual plaything. Elderly Cleaire Devereux doesn't earn much sympathy either. As the most senior teacher in the school she has little interest in anything other than lunchtime when she gets to gossip with her female friends about life outside of the school.
INNOVATIONS: Angel Loves Nobody seems to be the first of its kind in depicting high school violence as a sort of horror novel. Although the blurbs on the rear cover of the Dell paperback compare it to the juvenile delinquent nightmares depicted in The Blackboard Jungle and Up the Down Staircase Richard Miles' second novel takes teen angst and juvenile rebellion to the extreme in the planning of a high school massacre. I know of only one other infamous book that dealt with such a real life horror before we all suffered the 21st century plague of nightmare gun violence. In 1977 Stephen King, under his Richard Bachman pseudonym, wrote Rage about a boy who kills two teachers and holds a schoolroom of students hostage. Several teens used it as inspiration to commit violent acts in schools throughout the 1980s, but after a 1997 shooting in Paducah, KY King withdrew it from publication. He has never allowed it to be reprinted since.
While King's novel tells the story of a single violent youth, Angel Loves Nobody is concerned with a kind of mass hysteria conjured up by one very angry young man and the skill with which he manages to coerce and manipulate his army of angry and hateful kids. While it does ends in violence, altogether much differently than Angel ever planned, the telling of the story is controlled and never sensationalized. The book can be likened to a suspense novel, notably in the very tense and nerve-wracking final two chapters, but it really belongs to mainstream pop fiction. Miles is interested in a lot of what isn't noticed about the outcasts and loners among teens as well as the misfits of the adult world. There are insightful parallels drawn between the personalities of the students compared with those of the teachers that most "school in trouble" fiction of this sort never addresses.
In this second novel Miles also shows a more mature side to his writing rather than the often vulgar and melodramatic excesses of That Cold Day in the Park, his debut as a novelist. There are frequent vignettes with powerful evocative images, many of them capturing perfectly the struggles of the teens to reconcile their conflicted feelings about Angel's plans with their secret desires and dreams. One of the more unusual uses is a scene where Maria Estragon, one of the first students to regret her involvement in the plot, is leaning up against a wall and as she feels the surface of the bricks she imagines them to be small houses in a valley and she pretends "that each valley had its small houses filled with small people and children and dogs." She continues to imagine a blissful Utopia that includes beautiful blue eyed and brown eyed people and Mr. Nielsen smiling at her. Then she is brought back to reality when her body warms the bricks and a drop of sweat trickles down her back. "She tried to turn the drop into a tear from one of the blue eyes, but the tear was too big, and the eyes were too small, and the whole dream just ruined."
They went past the drugstore window, Angel stopping briefly to inspect some war games that were simulating a battlefield across a strip of phony cellophane grass. Between the signs TOOTH-PASTE REGULAR 69¢ TODAY ONLY 59¢ and GOOD FOOD, there was an impressive display of submachine guns, toy soldiers, and doctor kits next to a display sized bazooka. PLAY VIETNAM, said a hand-lettered sign.
Angel: "We gonna kill 'em each one in a special, poetic, proper, diff'rent way like they deserve. It wouldn’t’ be fair to kill 'em all the same way. Charley, would it? […] Some people deserve to die, don't they, Charley, if they don't fight back? Or if they fight so good but not quite good enough?"
"You force [people] to be uncultured. Everything they see is their culture. You take advantage of a child's natural selfishness, his natural cruelty, and prolong it by pandering to it until he becomes a cruel, selfish adult, proud of his cruelty and selfishness because it conforms to the national ideal."
Tim: "Television is practically everywhere. In a few more years there won't be a house anywhere that doesn't have a set. ...[W]hen the kids are home from school, till the time they're supposed to be in bed, you have nothing on any of the channels except things that are educational, but well done."
Marge: "That's ridiculous. [...] You're talking about nationalizing. You're talking about 1984"
THINGS I LEARNED: Miles had a prophetic vision for quality children's programming on national television broadcasting. The section (partially quoted above) where Tim talks to Marge about the power of TV and how it can be a force of good in helping to shape young minds beneficially was amazingly on target. Only two years after this book was published Fred Rogers of "Mister Rogers' Neighborhood" spoke before a Senate Committee on Communications in order to preserve multi-million funding for children's programming on public TV. After an impassioned argument he quoted the lyrics from one of his songs that reminds a child that he or she is always control of his emotions, that he can pause in a moment of anger and do something better, something constructive. When Rogers was done Senator John Pastore said, "I think it's wonderful. Looks like you just earned the 20 million dollars." You can view Fred Rogers' testimony on YouTube here.
|Richard Miles, age 22, seen in|
"The Betty Hutton Show"
THE AUTHOR: There is a brief biographical sketch about Richard Miles and his previous life as a child actor in movies and TV on the page for my review of his first, less controlled, more histrionic novel That Cold Day in the Park. I'll only elaborate here on the unusual way that Angel Loves Nobody came to be published. Miles won the Samuel Goldwyn Award in 1966. It was apparently first written as a script because the Samuel Goldwyn awards are for a screenwriting competition for TV and movie writers. Miles received extensive critique on the story and suggestions for its improvement. Apparently he decided to convert it into a novel and later earned a contract with Prentice-Hall for its publication.
EASY TO FIND? Miles' novel was published in both the US and UK. It was also reprinted in paperback in both countries. Despite the fact that there were four separate editions in two countries it seems to be rather scarce. I found only 15 copies for sale online, a mix of all four editions, in prices ranging from a $3.97 paperback to $35 for a copy of the US first in fine condition. You may want to check your local library. I found the book utterly fascinating, eerily prescient and, sadly, extremely topical and still relevant in our violence ridden world. It's very much recommended.
Oh no, John - SO not for me. But I still read your review with interest. I wouldn't have thought you'd like this sort of thing, but see? I would be wrong. P.S. I've begun THE ARROW POINTS TO MURDER and so far I am really liking it. (Thanks again, kiddo.)ReplyDelete
My tastes are eclectic, Yvette, you should know that. And I certainly don't shy away from the violent and dark stuff. I'm going through a pile of books I ordered that address relevant "hot topics" in current events. The next one is about a man who seeks revenge for the lynching of his wife. That's most definitely not for you either! ;^) Glad De Laguna's book is right up your alley.Delete
I got tense just reading your review, John, I don't think I would read this book. I did learn a lot from your evaluation of it, and I did not know about King's book.ReplyDelete
If I can read the Lionel Shriver than I can read this one! Only ever seen the movie of THAT COLD DAY IN THE PARK (though in my head, because of Sandy Dennis, I am right now mixing it up with UP THE DOWN STAIRCASE)ReplyDelete