The Telephone Booth Indian

This collection of stories, written mostly in the late 30's for "The New Yorker," describes a motley group of a certain type, what Liebling calls (with his usual dry, inventive humor) "a capitalist...in a state of pre-primary acquisition." Call them what you will-- lowlifes, riff-raff, or con men--Liebling describes them with both humor and humanity. The "Telephone Booth Indian," for example is a man or woman so poor as to not have an office; so poor, in fact, as to not have a "nickel with which to make a telephone call, and so must wait in the booths until another fellow calls him."Among Leibling's most successful entrepreneurs are the two men who put on shows at Fairs and Exhibitions. They drop an intended religious display because, "Rogers says, without any intended disrespect, `the nuns would not play ball with us.'" Liebling is attuned to social forces at work in these late depression years; for example, the minority group boxing amateurs fighting for $15 watches, and still having an easier time making a living than the professionals. And, in great detail, Leibling describes the occupants of the composite "Jollity Building," including the telephone booth Indians (those without offices), heels (those who rent offices for $10 to $12.50 a month) and tenants (those who lease offices, but who often rotate back to "Indians" within a short time). "Heels are often, paradoxically, more affluent than the official lessees of larger offices" who often share desk time and name on the office door time, since the manager allows only one official lessee. They get around this by having their names painted and taped to the door during their scheduled time. "One two-desk office ... may serve as headquarters for four theatrical agents, a band leader, a music arranger, a manager of prize fighters, and a dealer in pawn tickets."Liebling provides a wonderfully rich lexicography here as well, such as the two show producers who explain that they do not provide "hokum" to the masses, but "gonk." "Gonk is hokum with raisins in it...gonk is what we do." Liebling writes with detail, vigor, and affection. This talent, along with his socioeconomic insight, gives dignity to these people and to Liebling's dry wit: These are people doing what they can do in difficult times. I was reminded a bit of Woody Allen's "Broadway Danny Rose" which similarly chronicles those on the fringe. At first, I pitied those people, but Allen, like Liebling, shows that they do not pity themselves (not that there isn't an underlying injustice and inequality portrayed here). Liebling's humorous book shows great insight into their struggles, and an appreciation of how they creatively (and, sometimes, illegally) negotiate their needs both because of, and, in spite of, the American entrepreneurial dream. Definitely worth looking for!