Sunnyside by Glen David Gold

The Barnes & Noble Review

Authorial ambition can be a two-pronged sword. Too little reach can collapse a novel into itself, substance never surfacing from the shallows of limited vision. Too much sweep can act upon the narrative like a herd of restive broncos breaking free from the corral, never to be united again.

Glen David Gold obviously has no problem embracing the big picture. His meaty historical fiction Sunnyside takes in World War I and the concurrent rise of commercial Hollywood, the interlocking strands of capitalism and communism, entrepreneurship both legal and illegal, and the illusory nature of romance as seen through the episodic travails of a slew of protagonists, including (as if small thinking was banished altogether from the novel's panorama) Charlie Chaplin -- whose 1919 short film Sunnyside lends the novel its title. But aiming big and actually achieving the big payoff isn't an assured equation.

As in his lauded debut, Carter Beats the Devil, Gold draws inspiration from the early decades of the 20th century, a period of seemingly inexhaustible riches for, yes, an ambitious author. And like Carter, Sunnyside has few qualms about incorporating actual personages, both famous and obscure, while playing loose with hard-and-fast facts. Not that the true saga of Leland Duncan is such a part of our national identity that the division between reality and fiction comes deeply into play. Duncan, the man who found and trained Rin Tin Tin, the greatest of all Hollywood animal stars, is but one of many characters in this novel who are drawn to the call of the silver screen. Although their paths may or may not cross, Duncan joins a host of others -- the pioneering film theorist Hugo Munsterberg, actors Douglas Fairbanks and Mary Pickford, Secretary of the Treasury William McAdoo, and Field Marshal William Edmund Ironside (to name just a few of the bona fide historical figures) -- who are caught up in the inexorable pull of twin engulfing presences: the movies and the war.

Five hundred and fifty pages allow Gold plenty of room to thicken his expansive plots and wrap his lustrous prose over a narrative vista that keeps unspooling like endless footage from a phantom film projector. Public riots, Wild West shows, jewelry heists, Byzantine business transactions, blundering military campaigns, illicit romances, join domineering mothers, whores, moronic soldiers, and visionary filmmakers, not to mention puppies and children, in a consistently entertaining, and often moving, series of tales that unfortunately feels naggingly just like that: a series of independent and self-contained vignettes rather than a monumental, unified novel. You can bask in Gold's fine-tuned words:

If in July 1914, you asked the average Berliner which was coming first, rain or war, he might look to the slate-colored sky and note that at least no rain was expected today. With countries lining up to defend each other from blows no one had yet inflicted, all the countries of Europe were like children at the dinner table, waiting for Father to get the belt.

But time and again, after successfully luring us in with the engrossing situation of one of his major characters, Gold scoots us off to look in on another of his lesser cast members.

Ironically, what ultimately trips Gold up is his masterful ability to bring certain characters to life and to evoke their circumstances and milieu with urgency and tangible flavor. Which brings us to Charlie Chaplin. A gift to any author, be he a historian or a novelist, Chaplin was so much larger than life that, from a present-day perspective, he appears more mythical than factual. And Gold adroitly captures the uneasy mix of genius, guilt, unerring certainty, crippling insecurity, intellectual pretension, grass-roots instinct, lust, and tenderness that made up the conflicted personality of this titan of film art.

Gold also catches the celebrity scene of the late 1910s with affection -- a strange, Gatsby-esque party is handled with marvelous assurance ("The food, courtesy of Goldwyn, looked magnificent, and players dressed as preening French chefs were in line to serve minuscule portions while intoning to each customer exactly how thankful he or she should be to receive them…. No one was eager to be first, but perhaps fifty were willing to be second"), as is a public fundraising event in San Francisco that pits Chaplin against Mary Pickford; the world of the studio underlings also feels freshly imagined. Chaplin's interaction with fellow star Douglas Fairbanks, his box office rival Pickford, and his brother and manager Syd, reveals Gold's depth of feeling for his characters and his obvious love of movie culture.

In skillfully transforming these iconic figures into fascinating flesh and blood, though, Gold inadvertently shortchanges other characters. The lesser mortals -- both fictional and historical -- just don't cut it, remaining uneasily in the shadow of the screen giants. We crave more of the Hollywood story. Because, as Gold so eloquently posits, film has kept the world in a magical enchantment from the beginning:

The Iris of the camera blazed outward, and then drew in, a tightening circle on the happily-ever-after kiss, a goodbye kiss the brought tears in a tiny church in Russia, in New York City, in the Dutch East Indies, and as far away as the cradle of civilization itself, where young, amazed nomads in tents watched and wiped tears from their eyes, there in the desert sands of Mesopotamia.

Likewise the vagaries of war, in this case the misguided military campaign that found an international force, including American troops, invading Russia in an attempt to suppress the Bolshevik uprising. This little-remembered event, a sideshow of the First World War, is, in Gold's hands, cast as an obvious historical parallel to the current conflict in Iraq.

"When are we leaving?"
"When the Russians can defend themselves"
"Against Whom?"

Ironside, the commander in charge, emerges as another fascinatingly large-scale figure that the author never forgets to infuse with humanity. He's a superb character, the situation he finds himself in is grimly gripping, and again, we crave more.

It's frustrating. There's both a satisfying Hollywood novel and a substantial war novel residing in the consistently engaging but diffuse Sunnyside. Grabbing for more, Gold doesn't seem to acknowledge the riches he already has before him. --Steve Futterman

Steve Futterman writes the "Jazz and Standards" listings for the New Yorker magazine.

From the Publisher

Glen David Gold, author of the best seller Carter Beats the Devil, now gives us a grand entertainment with the brilliantly realized figure of Charlie Chaplin at its center: a novel at once cinematic and intimate, heartrending and darkly comic, that captures the moment when American capitalism, a world at war, and the emerging mecca of Hollywood intersect to spawn an enduring culture of celebrity.

Sunnyside opens on a winter day in 1916 during which Charlie Chaplin is spotted in more than eight hundred places simultaneously, an extraordinary delusion that forever binds the overlapping fortunes of three men: Leland Wheeler, son of the world’s last (and worst) Wild West star, as he finds unexpected love on the battlefields of France; Hugo Black, drafted to fight under the towering General Edmund Ironside in America’s doomed expedition against the Bolsheviks; and Chaplin himself, as he faces a tightening vise of complications—studio moguls, questions about his patriotism, his unchecked heart, and, most menacing of all, his mother.

The narrative is as rich and expansive as the ground it covers, and it is cast with a dazzling roster of both real and fictional characters: Mary Pickford, Douglas Fairbanks, Adolph Zukor, Chaplin’s (first) child bride, a thieving Girl Scout, the secretary of the treasury, a lovesick film theorist, three Russian princesses (gracious, nervous, and nihilist), a crew of fly-by-the-seat-of-their-pants moviemakers, legions of starstruck fans, and Rin Tin Tin.

By turns lighthearted and profound, Sunnyside is an altogether spellbinding novel about dreams, ambition, and the dawn of themodern age.

From the Hardcover edition.

The New York Times - John Vernon

Gold's Chaplin will fascinate readers for any number of reasons: his charm, his intelligence, his insecurity, his fitful lurching back and forth between generosity and selfishness. Most of all, though, his appeal to our celebrity-obsessed culture stems from his presence at its inception. If there's any center to this sprawling novel, it's the drama of Chaplin negotiating a sense of self that is engineered by public expectations and dismantled by its own carping doubts…[Gold's] greatest strength lies in his ability to strain his story through a merciless interior monologue that springs from something deeper and more incriminating than sympathy, and bares every turn of his characters' thoughts and feelings. He accomplishes this with protean, smart and appropriately Chaplinesque writing.

The Washington Post - Ron Charles

As discombobulating as the book is as a whole, its parts are magnificent, and Sunnyside is flooded with funny, horrible and downright bizarre details of early 20th-century life. Gold's dexterous voice can swing from the exuberant melodrama of silent film to the terror of doomed soldiers to the quiet despair of the world's most beloved man…Gold manages to convey how the reproduction and distribution of moving images enflames our imaginations and alters our nature like nothing else since the dawn of religion. For all its heavy demands, Sunnyside offers a wealth of wit and pathos and insight, and who better to guide us through this transformational moment in history than the Little Tramp?

Publishers Weekly

From the bestselling author of Carter Beats the Devil comes an elegant blend of reality and fiction, war drama and Hollywood glamour. Gold sets into motion his cameo-heavy, multipronged plot with a bizarre incident in winter 1916, when Charlie Chaplin is spotted simultaneously in 800 places across the country, causing mass hysteria and panic. The primary story line follows Chaplin's struggles with women, creativity, film budgets and his opposition to the war. In a second, intersecting world, Leland Wheeler moves from the hinterlands to San Francisco with dreams of being a film star. He rechristens himself Leland Duncan, and though he gets shipped to the battlefields of France, the two ailing puppies he finds over there later provide his entrée to the movie biz. Finally, Hugo Black is a Detroit gentleman who volunteers for the infantry in an uncharacteristic whim and finds himself fighting in America's secret invasion of Russia. The result is a dramatic narrative of chance and coincidence, and also a serious reconstruction of an evolving social landscape. It is wholly exhausting and entirely satisfying: to borrow an idea from Chaplin's great personal-artistic quest in the book, it's a work as good as Gold. (May)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

David Keymer - Library Journal

Charlie Chaplin has just been sighted: he's afloat on a skiff off the Northern California shore, without oars or sail and drifting onto the rocks. Before rescue arrives, his boat sinks. A battered black derby floats, alone, on top of turbulent waters. But at the exact same time, he's seen all across America in hundreds of places. Thus begins a three-year roller-coaster ride through an America coming to grips with a war many wished we'd never gotten into and the attraction of a new and revolutionary phenomenon: the movies with Mary Pickford, Douglas Fairbanks, and...Charlie Chaplin, whose efforts to realize his destiny are the center of this fantastic farrago of a novel, which weaves from character to character and always returns to Chaplin. He's unfaithful, lecherous, and a bad son, but he has a genius for visual comedy that cries out to be realized. Gold (Carter Beats the Devil) has written another joyous comic novel that blends fact and fiction to the point where you won't really care what's true and what's not. [See Prepub Alert, LJ1/09.]

Kirkus Reviews

A big, splashy novel about a little, splashy subject: Charlie Chaplin, the original movie star. Gold (Carter Beats the Devil, 2001) takes on much more than the Little Tramp, however. His narrative is set against the broad canvas of the First World War era, with appropriately attendant surrealist moments, as when the German Kaiser marvels at a Wild West show staged by one Duncan Cody, then worries that he will one day have to be fighting these savage Americans, only to be consoled, "Er ist nicht Buffalo Bill." Chaplin, for his part, enjoys the occasional quiet getaway, which nearly earns him a drowning off the wild coast of Northern California but instead results in the acquaintanceship of some fine but never ordinary folk, all of whose stories intertwine with his and wander even farther afield-among other destinations, to northern Russia, where an American expeditionary force landed after the Bolsheviks came to power, ostensibly to secure American materiel but in fact to fight the Reds on their home turf. ("Why am I here?" ponders one soldier, a movie buff. "Where am I? And why do we have overcoats? I am depressed.") Gold hits a promising scenario with that adventurist debacle, but he doesn't quite work it for all it's worth, since his story requires travel elsewhere while Chaplin attempts to make a doomed film called, yes, Sunnyside-doomed because, then as always, the suits got in the way. ("The kingpins of the industry, having taken the measure of the situation, finally brought their plans to fruition, with the result of stopping Charlie Chaplin dead in his tracks.") Gold's tale strains from overreach now and again, but that is the price one pays for such ambition-and this is anambitious, very well-written book full of memorable moments, not least of them starring Rin Tin Tin. Historical but not didactic, in the manner of the master of the genre, E.L. Doctorow, and more completely realized than Gold's debut. First printing of 100,000. Author tour to Los Angeles, New York, Portland, Ore., San Francisco, Seattle. Agent: Susan Golomb/Susan Golomb Agency

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At its northernmost limit, the California coastline suffered a winter of brutal winds pitched against iron- clad fog, and roiling seas whose whiplash could scar a man’s cheek as quickly as a cat- o’- nine- tails. Since the Gold Rush, mariners had run aground, and those who survived the splintering impact were often pulped when the tides tore them across the terrible strata of the volcanic landscape. For protection, the State had erected ascore of lighthouses staffed with teams of three or four families who rotated duties that lasted into the day and into the night. The changing of the guard, as it were, was especially treacherous in some locations, such as Crescent City, accessible only by a tombolo that was flooded in high tide, or Point Bonita, whose wooden walkway, even after the mildest storm, tended to faint dead away from the loose soil of its mountaintop and tumble into the sea.

Until the advent of navigational radio, communication with the mainland was spotty. God help the man who broke his leg on the Farallon Islands between the weekly supply- ship visits. But the peril of the European War had meant Crosley crystal- receiver radio sets and quenched spark systems with an eight- hundred- mile range for all who lived and worked on the coastlines, and so, on Sunday, November 12, 1916, just below the Oregon border, at the St. George Reef Lighthouse, eight miles off the California coast, there began an explosion of radio, telephone, and telegraph operations unprecedented in American history.

At high tide, roughly five o’clock in the morning, it was over an hour before dawn. The sweeping eighty- thousand- candlepower light from the third- order lenscast the frothing sea from shore to horizon into the high contrast of white against black for some moments, then back into full pitch- darkness. Two strong men in caps and slickers rowed the station boat toward the crown of stone upon which the lighthouse stood. Their passenger, her corpulent form bundled beneath a treated canvas sail, her arms crossed around her morning pitcher of coffee, was the Second Assistant Keeper, Emily Wheeler. As the light rotated, there was a stroboscopic effect which illuminated her progress cutting across the sea foam that lay like frosting above the crags and crevasses of the ancient reef. Emily Wheeler, in the third generation of a family of California lighthouse keepers, was a difficult woman, but, as with all difficult women who could demand such isolated work, her desire was immediately granted. Of course, send her to a rock miles off the coastline, go with the governor’s blessings.

But, unlike other such women, she had thought to make her own uniform. She wore it under the sail and her layers of slickers and inflatable vests. It was navy wool, with simple gold braid at the throat, and there was a smart, matching cap under which she tucked the foundry- steel braid of her hair. After considerable thought about stripes—she didn’t want to seem conceited, yet she also wanted to acknowledge her duties—she had
given herself the rank of sergeant.

Her lighthouse was the world’s most expensive, nine years in the making, a cylindrical housing hewn from living granite, a 115- foot caisson tower as sturdy as a medieval fortress, its imposing skin interrupted only by the balistrariac slits of loophole windows. And at the very top, capped with iron painted a brilliant red, was its lantern room, in which rotated the Fresnel lens, as faceted as a sultana’s engagement diamond, and which, like the eye of Argus, was chambered myriad ways, as close to omniscience as technology could dare. There was no better light in America.

To be the sergeant sharing charge of such a great beast was an honor and a responsibility to which Emily Wheeler was equal, and to be a woman superior to men was a life she made no secret of enjoying. In fact, to gain their confidence, she was known to pander to their prejudices, in effect putting her own gender up for sale. (“Gentlemen,” she said on her first day, “I do not give the orders. The sea gives the orders, and we are at the mercy of her unpredictable ways.”)

She was clearheaded in a crisis, and had organized the rescue of many a wayward sailor. However, it was her habit in the boring hours to engineer small crises herself. A twitching filament on the reserve lantern was occasion for much shouting; cleaning the fog signal’s air compressor meant at least three separate fits of panic. It was thus the curse of her men to wish on every shift for an actual disaster. Since no one could live comfortably at the station for more than a week, the four keeper families passed much of their lives in cottage- style duplexes on the coast, on the dunes justabove the shoreline. Husbands and wives and children were eternally, twice a day, with the waxing and waning tides, handing off hot meals and kissing each other goodbye.

Eight miles from shore, the station boat now settled into place on the leeward side of the lighthouse, which made a wedge- shaped windscreen, a small pool of calm. The men in the boat flashed their tiny lantern, and in response there was a groan from the crane housing overhead, and a winch dropped down a cargo net, into which Sergeant Wheeler stepped. Another exchange of lights, and then the crane withdrew, bringing her aloft. It was during the long moments when she swung in the wind, and the spray of the sea managed to slap at her face and neck, that she most enjoyed her job at the very edge of the map. “I am the westernmost woman in the country”— an idea she extinguished when the cargo net placed her on granite. Trouble.

Leland, her assistant, helped her unbuckle the harness and step out of the cargo net. “We have a problem, Mom.”

Leland was always on duty at the same time she was, less a personal choice than a request of the other families. He was twenty- four years old, talk at the lighthouse had deemed him “unfairly handsome,” and he had wrecked two surreys on the dunes near the cottages while impressing girls. Further, he had a propensity for mail- ordering sheet music from San Francisco, jazz rags, which he insisted on playing on the clarinet most afternoons, and he was known to visit the picture show three consecutive days to memorize the details of photoplays rather than stay at home and help his grandmother, who had the vapors. It was hoped Sergeant Wheeler would provide discipline.

“What’s wrong?”

“Craft adrift. About a mile west- northwest.”

“Anyone on it?”

Leland hesitated. He was generally quick with a quip, which melted Emily’s heart too much and prevented any actual discipline from occurring. So now she looked at him not just as a sergeant, but as a worried mother. Finally, he said, “You should come see.” They passed through the portico into the engine room and took the elevator to the cramped observation chamber just below the lantern room. It shared common glass with the lightbox one story above. There were two men already present, a father and a son of the Field family, pushing each other away from their only telescope worth a damn, the Alvan Clark with a two- inch lens. While Emily removed her slicker, and polished the wet from her glasses, two more assistants came into the room, having heard excitement was brewing.

“Where’s the craft?” Emily asked.

“It’s ten o’clock, a mile out,” answered the elder Field.

“And it’s manned?”

Field looked to his son, who looked to Leland, who nodded.

“Is it the invasion?” For this had been a topic of discussion, at first hypothetically and of late a grim certainty.

“No, it’s just one man. Alone.”

Frowning, Emily pulled the phone from the wall and called to the lantern room, asking them to fix the lens so that it shone at ten o’clock, and to send up the code flags, prepare for a series of two- flag signals, and notify all surrounding vessels via radio telephony that a rescue was in progress. The engine ground down with the easing of a clock spring, and the white light went steady upon the churning seas. The fog, which most days was a woolen overcoat, this morning was but a beaded mist easily torn through, and even without the telescope, Emily could see a small boat bobbing in the swells.

“Lord! It’s just a skiff, an open skiff,” she whispered. She made fluttering gestures to push back the group around the Alvan Clark, and they exchanged glances of anticipation. This was either a real crisis or one about to be shouted into existence. Emily applied her eye to the eyepiece, blinked, and ran her fingers along the reeded focus knob, making a blur, and then, in a perfectly circular iris, she saw, with a clarity that made her gasp, Charlie Chaplin.

She jolted a step backward, looking to the window without the aid of magnification, as if the telescope might have somehow fabricated this vision. She could see the boat, now rocking on the crests of ever- increasing waves as it came closer, and there was indeed a solitary figure aboard. He was dressed in baggy black trousers, a tight morning coat. He had a mustache. A cane. A derby.

“Is that . . .” She swallowed.

“We were thinking it looks like Charlie Chaplin,” Leland said, with the shame of a boy caught believing in fairies.

Emily gulped coffee, searching for it to kick like gin, and then she looked again through the telescope. The lighthouse provided a brilliant spotlight that swept away all color in the flood of illumination, casting its view into glowing white or penumbral mystery; there was no missing the open skiff, its single sail patched and sagging, its occupant shuffling from stem to stern, toes out, gingerly leaping over each oarlock’s thwart. He was rubbing his chin, and waggling his mustache as if itched by a puzzling thought, and in the several seconds Emily watched speechlessly, a gust of wind swung the ruined sail so that it hit him in his rear end, causing him to jump in place. He realized what had hit him, he tipped his hat as if he and the sail were engaged in polite social discourse, and he returned to his bowlegged pacing.

“We have to rescue him,” Leland finally said.

“Yes,” Emily whispered.

“Could it be someone dressed as Charlie Chaplin?” asked the elder Field, who always saw the blank physics of a situation, but even his voice had doubts. Each assistant took turns looking at the little fellow in the skiff, and each had to agree, one could certainly dress like Chaplin, and even act like Chaplin—there were contests and so on—but in the view of their telescope’s eye, there were no hesitations, no awkward attempts to remain graceful. This man was not pretending or attempting to convince them of his identity. Further, they were battling against logic with their desire to believe it was true. In the end, what was right before their eyes won.

“Well,” Leland said, helplessly showing off what he knew from the magazines, “that is definitely Charles Spencer Chaplin.” Then he whispered, “Son of a gun. There’s a hole in the hull.”

He knew this because Chaplin was now using a tin cup to bail out water. As the boat drifted closer to the rocks, waves dumped over the bowl, so the bailing was useless and frantic. Chaplin removed his hat to use it as a ladle, and now both his arms became pistons flinging water away as the sea drew his boat closer and closer to its doom.

Emily’s hand went to her mouth. “There’s a hole in his derby, too!”

“Perhaps he’s making a movie here,” suggested Field.

“I’m going,” Leland said. Before his mother had a chance to object, he had shot to the exit, and his boots made the authoritative peal of cathedral bells as he sprinted down the circular metal staircase.

“Leland, come back,” she cried, as mothers have always called to their children who in turn were called to the brutal seas, but in truth she hardly wanted to stop him. To stop him smacked of that phantom discipline she could not muster. Moreover, he was going to aid a helpless sailor, an act that throbbed with responsibility.

For his own part, Leland could not have been dissuaded, because the chance to rescue Charlie Chaplin would never come again. On the porch where the launch boats hung, he slipped into his flotation vest and jumped into the rowboat behind Johnson, who always wore a cameo of the Blessed Virgin on the outside of his protective clothing. With Johnson in first position, Leland took second position in the oarlocks, and signaled to the crane house to drop them to the sea.

For long minutes, two pairs of youthful arms rowed in splendid unison, threading the boat between spires and jags until it faced the open sea. Leland spotted the skiff ahead; it was drifting toward la pared de la muerte. Many points along the coast were known as the Wall of Death; this one had reasons for the name so convincing that the antediluvian Tolowa fishermen had described it thusly, and centuries later the Russian otter- hunters had agreed—stayna greebel, of course—for, no matter the tide, a wicked current drew anything in its grip magnetically shoreward, with unexpected speed. When you were still in the swells a quarter mile away from the obvious rocks, in the sickening drop of a trough, the half- submerged wall would be thrown erect before you, and there was a vortex into which all boats would be sucked down, then spat up against it, dashing what remained into bits.

Sergeant Emily Wheeler watched with pride and fear as her boy’s rescue boat rose and fell with the ocean, oars moving it foot by foot toward Chaplin’s skiff. She was anticipating the outcome—the shoreline, sunrise, seagulls chasing the spindrift, Chaplin on a driftwood log with a blanket
draped over his shoulders, sipping coffee laced with brandy, and shaking from the fear and pleasure of having been rescued.

At the same time, arms fatigued and cold, Leland was staring through his partner, Johnson, considering the shape that the gratitude of Mr. Charlie Chaplin might take. He imagined lecturing Chaplin; he had read Motion Picture Weekly, and he knew the difference between pretending to be on a dinghy in the movies, and testing your luck on such spirited seas as those near St. George Reef. “But you know, Mr. Chaplin,” he would say, “this does make quite a scenario, don’t you think?” And how else could Charlie respond but to stand from his log, place one arm up on Wheeler’s solid shoulder, pump his hand, and say, “I hadn’t considered it, Leland Wheeler, but you’re right,” and “Leland Wheeler is a splendid kind of name. Come to the studio—we need strong arms and strong jawlines,” and Leland constructed and reconstructed these statements with different kinds of English accents, from Ascot- races lordly to cockney chauffeur, since he wasn’t quite sure what Chaplin sounded like, eventually settling on the accent he’d heard a slapstick comedian use at the Redding Music Hall, British with a Jewish or Gypsy tint, he didn’t really know the specifics; but such speculation swirled in its own vortices, and he concluded first that this rescue might be his own salvation, then: might there be a filmed re- enactment, but this time with bathing beauties?

It is the nature of wishes and their potential fulfillment to travel faster than anything shackled to earth, especially a rowboat straining against a current that all but groaned in its desire to blow into la pared de la muerte. So Leland Wheeler’s mind could travel from sea to shore to the road leading seven hundred miles south to the bare ankles of the engaging backlot sirens who fluttered and yawned at the Mutual Studios of Los Angeles, in the approximate time it took Chaplin’s boat to be sucked into the whirlpool and begin an awful, irresistible spin.

Leland was calling out to Johnson, who called back; Leland could hear just the harder consonants of a prayer. Chaplin noticed them—he visibly perked up, stood, and leaned forward until the boat tipped, and he was forced, hands on hat, to lean back. He smiled, recognizing not the danger but the rescue, and he again tipped his hat, face breaking into the smile of one about to be saved. But his boat was already turning, turning slowly, turning almost gently, in obedience to Coriolis, and the men in the rowboat were shouting themselves hoarse, and Chaplin, in order to keep them in sight, began to march in place, counterclockwise. He was in effect stationary, even as the boat was beginning to spin under his feet. Leland shouted, “No!”

Chaplin cocked his ear as if trying to listen, holding to his temple his useless tin cup as if it were an ear trumpet, and, with the boat’s rotation increasing, he stepped up his own counterrotations until he was all but a blur.

The swells drew back. The boat stopped, Chaplin continuing to spin until he toppled over. With acrobatic momentum, the tumble carried him upright, and he stood, arms in fists at his sides, looking as if he had just triumphed over the sea. He did not see what loomed behind. With the weight of a mudslide, a wave crashed down upon the boat, and Charlie Chaplin was blown below the surface.

Pressure mounting against it like the thumb and forefinger of Uranus, the hull of the skiff rocketed out of the depths, sailed six feet over the waves, and crashed into shards like a wine bottle against the Wall of Death.

The sun was beginning to rise; there wasn’t yet its actual glow or warmth, but instead the gray promise of daylight. The lighthouse beam was thus fading in comparison with natural light, and the many colors of the sea were being restored: the olive bulbs of kelp atop the rich obsidian rocks, the emerald nightmare that was the sea, the lapis of the dawn skies. Leland and his companion rowed in place. They had lost their spirit. How terrible it was that God had created in humans the urge for compassion, a sensation that nature itself withheld.

The simplest pairs of code flags rode up the station’s monkey pole, the blue- and- white “A” and yellow “Q,” then the powder flag and St. George’s Cross: boat lost, man overboard. An emotionless message, all was lost, all was lost. The St. George Reef telegraph operator, weeping, began to tap out a note to the naval station to the south, and to all the ships at sea, a spotty and impressionistic account whose clarity was far outweighed by its emotional devastation. And yet, at the same time, he was receiving something that was not a response, that made no sense, a message of dots and dashes from the east.

From la pared de la muerte there was a quick bubbling, and Leland pointed, just as his mother, eyes red and wet with tears, swung the telescope to see what he witnessed: surfacing, dome up, the battered blackderby, with a single strand of seaweed, like a rose upon a coffin. Then rained down the next wave, and the hat was lost forever.

From the Hardcover edition.

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Sunnyside

---

By Glen David Gold

Knopf

Copyright © 2009 Glen David Gold
All right reserved.
ISBN: 9780307270689

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At its northernmost limit, the California coastline suffered a winter of brutal winds pitched against iron- clad fog, and roiling seas whose whiplash could scar a man’s cheek as quickly as a cat- o’- nine- tails. Since the Gold Rush, mariners had run aground, and those who survived the splintering impact were often pulped when the tides tore them across the terrible strata of the volcanic landscape. For protection, the State had erected ascore of lighthouses staffed with teams of three or four families who rotated duties that lasted into the day and into the night. The changing of the guard, as it were, was especially treacherous in some locations, such as Crescent City, accessible only by a tombolo that was flooded in high tide, or Point Bonita, whose wooden walkway, even after the mildest storm, tended to faint dead away from the loose soil of its mountaintop and tumble into the sea.

Until the advent of navigational radio, communication with the mainland was spotty. God help the man who broke his leg on the Farallon Islands between the weekly supply- ship visits. But the peril of the European War had meant Crosley crystal- receiver radio sets and quenched spark systems with an eight- hundred- mile range for all who lived and worked on the coastlines, and so, on Sunday, November 12, 1916, just below the Oregon border, at the St.George Reef Lighthouse, eight miles off the California coast, there began an explosion of radio, telephone, and telegraph operations unprecedented in American history.

At high tide, roughly five o’clock in the morning, it was over an hour before dawn. The sweeping eighty- thousand- candlepower light from the third- order lens cast the frothing sea from shore to horizon into the high contrast of white against black for some moments, then back into full pitch- darkness. Two strong men in caps and slickers rowed the station boat toward the crown of stone upon which the lighthouse stood. Their passenger, her corpulent form bundled beneath a treated canvas sail, her arms crossed around her morning pitcher of coffee, was the Second Assistant Keeper, Emily Wheeler. As the light rotated, there was a stroboscopic effect which illuminated her progress cutting across the sea foam that lay like frosting above the crags and crevasses of the ancient reef. Emily Wheeler, in the third generation of a family of California lighthouse keepers, was a difficult woman, but, as with all difficult women who could demand such isolated work, her desire was immediately granted. Of course, send her to a rock miles off the coastline, go with the governor’s blessings.

But, unlike other such women, she had thought to make her own uniform. She wore it under the sail and her layers of slickers and inflatable vests. It was navy wool, with simple gold braid at the throat, and there was a smart, matching cap under which she tucked the foundry- steel braid of her hair. After considerable thought about stripes—she didn’t want to seem conceited, yet she also wanted to acknowledge her duties—she had
given herself the rank of sergeant.

Her lighthouse was the world’s most expensive, nine years in the making, a cylindrical housing hewn from living granite, a 115- foot caisson tower as sturdy as a medieval fortress, its imposing skin interrupted only by the balistrariac slits of loophole windows. And at the very top, capped with iron painted a brilliant red, was its lantern room, in which rotated the Fresnel lens, as faceted as a sultana’s engagement diamond, and which, like the eye of Argus, was chambered myriad ways, as close to omniscience as technology could dare. There was no better light in America.

To be the sergeant sharing charge of such a great beast was an honor and a responsibility to which Emily Wheeler was equal, and to be a woman superior to men was a life she made no secret of enjoying. In fact, to gain their confidence, she was known to pander to their prejudices, in effect putting her own gender up for sale. (“Gentlemen,” she said on her first day, “I do not give the orders. The sea gives the orders, and we are at the mercy of her unpredictable ways.”)

She was clearheaded in a crisis, and had organized the rescue of many a wayward sailor. However, it was her habit in the boring hours to engineer small crises herself. A twitching filament on the reserve lantern was occasion for much shouting; cleaning the fog signal’s air compressor meant at least three separate fits of panic. It was thus the curse of her men to wish on every shift for an actual disaster. Since no one could live comfortably at the station for more than a week, the four keeper families passed much of their lives in cottage- style duplexes on the coast, on the dunes justabove the shoreline. Husbands and wives and children were eternally, twice a day, with the waxing and waning tides, handing off hot meals and kissing each other goodbye.

Eight miles from shore, the station boat now settled into place on the leeward side of the lighthouse, which made a wedge- shaped windscreen, a small pool of calm. The men in the boat flashed their tiny lantern, and in response there was a groan from the crane housing overhead, and a winch dropped down a cargo net, into which Sergeant Wheeler stepped. Another exchange of lights, and then the crane withdrew, bringing her aloft. It was during the long moments when she swung in the wind, and the spray of the sea managed to slap at her face and neck, that she most enjoyed her job at the very edge of the map. “I am the westernmost woman in the country”— an idea she extinguished when the cargo net placed her on granite. Trouble.

Leland, her assistant, helped her unbuckle the harness and step out of the cargo net. “We have a problem, Mom.”

Leland was always on duty at the same time she was, less a personal choice than a request of the other families. He was twenty- four years old, talk at the lighthouse had deemed him “unfairly handsome,” and he had wrecked two surreys on the dunes near the cottages while impressing girls. Further, he had a propensity for mail- ordering sheet music from San Francisco, jazz rags, which he insisted on playing on the clarinet most afternoons, and he was known to visit the picture show three consecutive days to memorize the details of photoplays rather than stay at home and help his grandmother, who had the vapors. It was hoped Sergeant Wheeler would provide discipline.

“What’s wrong?”

“Craft adrift. About a mile west- northwest.”

“Anyone on it?”

Leland hesitated. He was generally quick with a quip, which melted Emily’s heart too much and prevented any actual discipline from occurring. So now she looked at him not just as a sergeant, but as a worried mother. Finally, he said, “You should come see.” They passed through the portico into the engine room and took the elevator to the cramped observation chamber just below the lantern room. It shared common glass with the lightbox one story above. There were two men already present, a father and a son of the Field family, pushing each other away from their only telescope worth a damn, the Alvan Clark with a two- inch lens. While Emily removed her slicker, and polished the wet from her glasses, two more assistants came into the room, having heard excitement was brewing.

“Where’s the craft?” Emily asked.

“It’s ten o’clock, a mile out,” answered the elder Field.

“And it’s manned?”

Field looked to his son, who looked to Leland, who nodded.

“Is it the invasion?” For this had been a topic of discussion, at first hypothetically and of late a grim certainty.

“No, it’s just one man. Alone.”

Frowning, Emily pulled the phone from the wall and called to the lantern room, asking them to fix the lens so that it shone at ten o’clock, and to send up the code flags, prepare for a series of two- flag signals, and notify all surrounding vessels via radio telephony that a rescue was in progress. The engine ground down with the easing of a clock spring, and the white light went steady upon the churning seas. The fog, which most days was a woolen overcoat, this morning was but a beaded mist easily torn through, and even without the telescope, Emily could see a small boat bobbing in the swells.

“Lord! It’s just a skiff, an open skiff,” she whispered. She made fluttering gestures to push back the group around the Alvan Clark, and they exchanged glances of anticipation. This was either a real crisis or one about to be shouted into existence. Emily applied her eye to the eyepiece, blinked, and ran her fingers along the reeded focus knob, making a blur, and then, in a perfectly circular iris, she saw, with a clarity that made her gasp, Charlie Chaplin.

She jolted a step backward, looking to the window without the aid of magnification, as if the telescope might have somehow fabricated this vision. She could see the boat, now rocking on the crests of ever- increasing waves as it came closer, and there was indeed a solitary figure aboard. He was dressed in baggy black trousers, a tight morning coat. He had a mustache. A cane. A derby.

“Is that . . .” She swallowed.

“We were thinking it looks like Charlie Chaplin,” Leland said, with the shame of a boy caught believing in fairies.

Emily gulped coffee, searching for it to kick like gin, and then she looked again through the telescope. The lighthouse provided a brilliant spotlight that swept away all color in the flood of illumination, casting its view into glowing white or penumbral mystery; there was no missing the open skiff, its single sail patched and sagging, its occupant shuffling from stem to stern, toes out, gingerly leaping over each oarlock’s thwart. He was rubbing his chin, and waggling his mustache as if itched by a puzzling thought, and in the several seconds Emily watched speechlessly, a gust of wind swung the ruined sail so that it hit him in his rear end, causing him to jump in place. He realized what had hit him, he tipped his hat as if he and the sail were engaged in polite social discourse, and he returned to his bowlegged pacing.

“We have to rescue him,” Leland finally said.

“Yes,” Emily whispered.

“Could it be someone dressed as Charlie Chaplin?” asked the elder Field, who always saw the blank physics of a situation, but even his voice had doubts. Each assistant took turns looking at the little fellow in the skiff, and each had to agree, one could certainly dress like Chaplin, and even act like Chaplin—there were contests and so on—but in the view of their telescope’s eye, there were no hesitations, no awkward attempts to remain graceful. This man was not pretending or attempting to convince them of his identity. Further, they were battling against logic with their desire to believe it was true. In the end, what was right before their eyes won.

“Well,” Leland said, helplessly showing off what he knew from the magazines, “that is definitely Charles Spencer Chaplin.” Then he whispered, “Son of a gun. There’s a hole in the hull.”

He knew this because Chaplin was now using a tin cup to bail out water. As the boat drifted closer to the rocks, waves dumped over the bowl, so the bailing was useless and frantic. Chaplin removed his hat to use it as a ladle, and now both his arms became pistons flinging water away as the sea drew his boat closer and closer to its doom.

Emily’s hand went to her mouth. “There’s a hole in his derby, too!”

“Perhaps he’s making a movie here,” suggested Field.

“I’m going,” Leland said. Before his mother had a chance to object, he had shot to the exit, and his boots made the authoritative peal of cathedral bells as he sprinted down the circular metal staircase.

“Leland, come back,” she cried, as mothers have always called to their children who in turn were called to the brutal seas, but in truth she hardly wanted to stop him. To stop him smacked of that phantom discipline she could not muster. Moreover, he was going to aid a helpless sailor, an act that throbbed with responsibility.

For his own part, Leland could not have been dissuaded, because the chance to rescue Charlie Chaplin would never come again. On the porch where the launch boats hung, he slipped into his flotation vest and jumped into the rowboat behind Johnson, who always wore a cameo of the Blessed Virgin on the outside of his protective clothing. With Johnson in first position, Leland took second position in the oarlocks, and signaled to the crane house to drop them to the sea.

For long minutes, two pairs of youthful arms rowed in splendid unison, threading the boat between spires and jags until it faced the open sea. Leland spotted the skiff ahead; it was drifting toward la pared de la muerte. Many points along the coast were known as the Wall of Death; this one had reasons for the name so convincing that the antediluvian Tolowa fishermen had described it thusly, and centuries later the Russian otter- hunters had agreed—stayna greebel, of course—for, no matter the tide, a wicked current drew anything in its grip magnetically shoreward, with unexpected speed. When you were still in the swells a quarter mile away from the obvious rocks, in the sickening drop of a trough, the half- submerged wall would be thrown erect before you, and there was a vortex into which all boats would be sucked down, then spat up against it, dashing what remained into bits.

Sergeant Emily Wheeler watched with pride and fear as her boy’s rescue boat rose and fell with the ocean, oars moving it foot by foot toward Chaplin’s skiff. She was anticipating the outcome—the shoreline, sunrise, seagulls chasing the spindrift, Chaplin on a driftwood log with a blanket
draped over his shoulders, sipping coffee laced with brandy, and shaking from the fear and pleasure of having been rescued.

At the same time, arms fatigued and cold, Leland was staring through his partner, Johnson, considering the shape that the gratitude of Mr. Charlie Chaplin might take. He imagined lecturing Chaplin; he had read Motion Picture Weekly, and he knew the difference between pretending to be on a dinghy in the movies, and testing your luck on such spirited seas as those near St. George Reef. “But you know, Mr. Chaplin,” he would say, “this does make quite a scenario, don’t you think?” And how else could Charlie respond but to stand from his log, place one arm up on Wheeler’s solid shoulder, pump his hand, and say, “I hadn’t considered it, Leland Wheeler, but you’re right,” and “Leland Wheeler is a splendid kind of name. Come to the studio—we need strong arms and strong jawlines,” and Leland constructed and reconstructed these statements with different kinds of English accents, from Ascot- races lordly to cockney chauffeur, since he wasn’t quite sure what Chaplin sounded like, eventually settling on the accent he’d heard a slapstick comedian use at the Redding Music Hall, British with a Jewish or Gypsy tint, he didn’t really know the specifics; but such speculation swirled in its own vortices, and he concluded first that this rescue might be his own salvation, then: might there be a filmed re- enactment, but this time with bathing beauties?

It is the nature of wishes and their potential fulfillment to travel faster than anything shackled to earth, especially a rowboat straining against a current that all but groaned in its desire to blow into la pared de la muerte. So Leland Wheeler’s mind could travel from sea to shore to the road leading seven hundred miles south to the bare ankles of the engaging backlot sirens who fluttered and yawned at the Mutual Studios of Los Angeles, in the approximate time it took Chaplin’s boat to be sucked into the whirlpool and begin an awful, irresistible spin.

Leland was calling out to Johnson, who called back; Leland could hear just the harder consonants of a prayer. Chaplin noticed them—he visibly perked up, stood, and leaned forward until the boat tipped, and he was forced, hands on hat, to lean back. He smiled, recognizing not the danger but the rescue, and he again tipped his hat, face breaking into the smile of one about to be saved. But his boat was already turning, turning slowly, turning almost gently, in obedience to Coriolis, and the men in the rowboat were shouting themselves hoarse, and Chaplin, in order to keep them in sight, began to march in place, counterclockwise. He was in effect stationary, even as the boat was beginning to spin under his feet. Leland shouted, “No!”

Chaplin cocked his ear as if trying to listen, holding to his temple his useless tin cup as if it were an ear trumpet, and, with the boat’s rotation increasing, he stepped up his own counterrotations until he was all but a blur.

The swells drew back. The boat stopped, Chaplin continuing to spin until he toppled over. With acrobatic momentum, the tumble carried him upright, and he stood, arms in fists at his sides, looking as if he had just triumphed over the sea. He did not see what loomed behind. With the weight of a mudslide, a wave crashed down upon the boat, and Charlie Chaplin was blown below the surface.

Pressure mounting against it like the thumb and forefinger of Uranus, the hull of the skiff rocketed out of the depths, sailed six feet over the waves, and crashed into shards like a wine bottle against the Wall of Death.

The sun was beginning to rise; there wasn’t yet its actual glow or warmth, but instead the gray promise of daylight. The lighthouse beam was thus fading in comparison with natural light, and the many colors of the sea were being restored: the olive bulbs of kelp atop the rich obsidian rocks, the emerald nightmare that was the sea, the lapis of the dawn skies. Leland and his companion rowed in place. They had lost their spirit. How terrible it was that God had created in humans the urge for compassion, a sensation that nature itself withheld.

The simplest pairs of code flags rode up the station’s monkey pole, the blue- and- white “A” and yellow “Q,” then the powder flag and St. George’s Cross: boat lost, man overboard. An emotionless message, all was lost, all was lost. The St. George Reef telegraph operator, weeping, began to tap out a note to the naval station to the south, and to all the ships at sea, a spotty and impressionistic account whose clarity was far outweighed by its emotional devastation. And yet, at the same time, he was receiving something that was not a response, that made no sense, a message of dots and dashes from the east.

From la pared de la muerte there was a quick bubbling, and Leland pointed, just as his mother, eyes red and wet with tears, swung the telescope to see what he witnessed: surfacing, dome up, the battered blackderby, with a single strand of seaweed, like a rose upon a coffin. Then rained down the next wave, and the hat was lost forever.

Continues...

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Excerpted from Sunnyside by Glen David Gold Copyright © 2009 by Glen David Gold. Excerpted by permission.
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