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Too noble | page 1, 2, 3

Gibson is one of those rare birds whose humanism is a result of his innate curiosity about people. He's not interested in demonizing anyone, and he readily admits how people confound his expectations. To his great credit, despite his grief, Gibson writes about everyone he meets as an irreducibly complex human being. Nowhere is this more evident than toward the end of the book when he and his wife, Annie, meet C.W. and Lin Lin Lo. Both families are in horribly awkward situations. The Los want to convey their sorrow to the Gibsons but haven't contacted them because, understandably, they aren't sure their overtures would be welcome. The Gibsons want to meet the Los, but don't want them to think they hold them responsible for their son's actions. The encounter is not without its difficulties or moments of anger. But more characteristic is the scene where Mrs. Lo asks if she and her husband can visit Galen's grave to pay their respects, and you have the sense of people big enough to reach beyond their private grief. It's a lovely moment.



In Eddie's Name: One Family's Triumph over Tragedy

By Bryn Freedman and William Knoedelseder

Faber and Faber, 256 pages
Nonfiction

Buy In Eddie's Name: One Family's Triumph over Tragedy by Bryn Freedman and William Knoedelseder


Goneboy: A Walkabout

By Gregory Gibson

Kodansha Books, 273 pages
Nonfiction

Buy Goneboy: A Walkabout by Gregory Gibson


Yet with Gibson's humanism comes his hesitation to assign responsibility for Galen's murder. He jokingly compares himself to Lee Marvin in "Point Blank," a man on a solitary mission of revenge. Actually, a bit more resemblance to Marvin would have helped. Gibson is well aware of how the craving for revenge could become all consuming and lead him to a state where he would never be at peace with either his son's death or with his wife and his other kids. (He briefly indulges in plans to stake out the house of a kid suspected of aiding Wayne Lo, nose around for dirty laundry on the kid, and then confront him.) But Gibson also extends his understanding to people who simply don't deserve it. As a result he loses the urgency to make the guilty pay.

In a long scene in which Gibson meets with the president of Bard College, "Goneboy" goes off the rails and never quite recovers. (Simon's Rock is a "wholly owned subsidiary" of Bard.) Gibson intends to ask one blunt question: Why does Bernie Rodgers still have a job? It's a good question, an appropriate one, one that cuts right through the crap. What Gibson doesn't anticipate is how much crap president Leon Botstein presents to be cut through:

Condensation cannot do justice to the business of speaking with a man like Leon Botstein. The sequence I am reporting was just the armature on which were hung bewildering thickets of examples, allusions, cross-references, and inspired inclusions that had nothing to do with the matter at hand but which somehow fit. We traveled from the Whitney Museum to nuclear physics to Beethoven's Vienna. His discourse honored the subtlety and complexity of reality by attempting to replicate it. It was necessarily a highly sophisticated, highly intelligent discourse. It also bordered on the incomprehensible.

Which is a nice way of saying that when it comes to spin, academics produce a fancier form of bullshit. Because, of course, Bard, in the person of Botstein, was doing exactly what the city of Philadelphia had done in stonewalling the Polecs: defending itself against a potential lawsuit. When Botstein goes on to suggest that Gibson's grief had blinded him to the bigger picture, to the possibility that Bernie Rodgers had acted out of concern for the life of Simon's Rock College, he's simply spouting a high-toned version of "It became necessary to destroy the village in order to save it." The college has become divorced from the students it allegedly exists to teach. Its survival as an institution is paramount.

Gibson doesn't buy it, and he tells Botstein as much. But he's simply too good a humanist not to consider the possibility that he is bent on destroying Bernie Rodgers' career. A few weeks later, he tells us, he concluded, "Botstein had been right. There was no redemption in revenge, no peace." Revenge is an ugly word, and here it's the wrong one. Gibson was intent on punishing Rodgers, which is an entirely different thing. There's a tendency among good, humane people to shrink from the very idea of punishment as if, by definition, it were reactionary and stone-hearted. Gibson does what most people who have been wronged do not do: He attempts to understand the motives and failings of the people who wronged him. But he comes close to confusing explanation with exculpation.

There were doubtless all sorts of good, perfectly understandable human reasons why Rodgers failed to take action to stop Lo. That doesn't make him innocent of criminal negligence. When people are charged with the welfare of others and screw up in ways that plainly could have been avoided, there's nothing reactionary about insisting that they bear the consequences of their actions. That it falls on people who are already suffering to ensure that this happens is horribly unfair. It means getting involved in fights they never wanted to join. But it is also an opportunity to achieve a fitting memorial to the dead and to safeguard the living. You read these books wishing that all victims of crime could find the grace and dignity that seems to be second nature to the Polecs and the Gibsons. They took the high road. In a better world, they wouldn't have to get down in the muck to right the wrongs of their sons' murders.
salon.com | Oct. 12, 1999

 

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Charles Taylor is a Salon contributing writer.

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