Letters

And so we sat through the rites and trappings of a typical C-minus U.S. restaurant — stupid puzzles on the place mats, mindless jokes on the napkins, sugar in paper packets depicting ill-coloured birds of America, little sealed containers of “non-dairy creamer,” dime-store candles in painted glass, plastic roses, butter in paper pats, tired salad from a tiresome self-service salad bar, crackers in cellophane, store-bought rolls, the inevitable menu of tinned soups and vegetables, thawed appetizers and entrees, everything (except the boring, inevitable beefsteak) breaded and deep-fried, baked to death, steam-tabled to a mush, or otherwise overcooked as well as overpriced and overdescribed, no fresh fruit to be found or fresh vegetables or fresh anything (How did we English get our reputation as the world’s worst cooks?) — saving one item which saved the meal: a pencilled-in Friday-night special of broiled fresh rockfish from the Bay, which Ambrose identified as striped bass in its local denomination. He ordered it solo unhesitatingly for the two of us, insisting our plates not be defiled with stale French fries, bulk packaged cole slaw, white potatoes baked in Reynolds Wrap, and the rest; just fresh fish, fresh lemon wedges, and tomatoes filched fresh from the salad bar, please. And mirabile (but this is not yet our Second Miracle), we had only to send back the first burnt offering on its cold platter to achieve on second try a quite lightly broiled filet of that admirable beast the Chesapeake rockfish, which we washed down with draft beer in default of pale ale, not to mention white wine — and spoke of the film in progress.

The 1812 War, the sack of Washington and bombardment of Fort McHenry in Baltimore Harbour, the pirate Jean Lafitte’s assistance of Andrew Jackson in the Battle of New Orleans and his subsequent involvement in one of the several harebrained schemes to spirit Napoleon from St Helena to America — none of these “splendid ideas” of A. B. Cook’s, I understand from Ambrose, is to be found in your fiction. Yet the single set Reg Prinz is causing to be constructed for his film is “Barataria”: a suggestion (Ambrose’s inference, from Prinz’s hums and tisks) rather than a replication of Lafitte’s pirate village in the Mississippi delta, itself named for Sancho Panza’s make-believe island in Don Quixote. Prinz’s point, Ambrose imagines, is not only that the fictional original inspired or called forth its factual counterpart (itself become legendary), but that even in Quixote Sancho’s island is a fiction precipitated out of fable and realised as deception, a kind of stage set elaborated by the Manchegan lords and ladies to make sport of Sancho Panza. In other words (ours, not Prinz’s, for what we take to be Prinz’s principle, not ours), the relation between fact and fiction, life and art, is not imitation of either by the other, but a sort of reciprocity, an ongoing collaboration or reverberation. Did this imply that you would now include the Baratarians in some future fiction, as the apostles say Jesus performed certain miracles in order that the prophecies might be fulfilled which held that the Messiah would do thus-and-so? We were uncertain. You have in any case considerable latitude, as Prinz’s “Barataria” is to be a general-purpose set (indeed, no more than a lane of clapboard shanty-fronts on or near Bloodsworth Island, if he can secure permission from the U.S. Navy, who use the place for gunnery practice) for scenes of domestic early-19th-century destruction: the burning of Washington, Buffalo, York, Newark, St Davids — even Barataria — some or all whereof may be included in the film!

Emblems, emblems all, said Ambrose (no dessert cheese on the menu, no brandy for our coffee, no espresso; Charon’s ferry will have better fare); for what Prinz truly wants to record the destruction of is not any historical city, but the venerable metropolis of letters. If he has hit upon the 1812 War to evoke his foggy “Second Revolution,” it may be for no better reason than that it affords him the reenactment of “our” burning of “your” Library of Congress and National Archives, or Admiral Cockburn’s revenge upon the National Intelligencer (delivered regularly to his flotilla in the Chesapeake) for its unflattering accounts of him: having ordered his men to pi the paper’s type, Cockburn first had them pluck out and destroy all the uppercase C’s, to hamper the impugnment of his name in future. A destruction-of-the-capital within a destruction-of-the-capital, Ambrose puts it, and recounted to me further — what it would take too many words fully to rerecount here — Prinz’s “victory” over him earlier in the week (the first intimation I’d had that their connexion was become an open contest): the filming of an “unwritable scene.”