America 1929: John F. Kennedy, the Great Writer

The three went downstairs to a small conference room on the first floor of the newspaper office. Two people were already waiting there.

The first man, probably in his thirties, wearing glasses and a neat three-piece suit, stood up and shook hands with Hemingway.

Hemingway.

"Passos, it's been a long time."

Hemingway turned to Arthur: "This is John Dos Passos. Novelist, journalist, and writer of stories for workers and ordinary people."

John Dos Passos is not well-known to posterity, and Arthur's impression of the name comes from Hemingway's late-life memoir, "A Moveable Feast".

Hemingway implied that Dos Passos's enthusiasm for introducing him to wealthy men led to the breakdown of his first marriage.

However, at this point in 1929, the two were still good friends.

Passos and Arthur shake hands:

"I've read your article, Mr. Kennedy. You've captured a societal ailment. My 'Manhattan Transit Station' also attempts to express another pulse of this city."

The second man was about thirty-five or thirty-six years old, with a thin face and casual attire.

Hemingway introduced John Howard Lawson: "Playwright. His plays 'The Parade' and 'The Internationale' have been performed on Broadway; he is a master of political satire."

Lawson shook hands with Arthur and said politely, "Your conversation has a natural rhythm. That's what the stage needs."

Arthur thought to himself, "That's true, after all, it's adapted from the script of a classic TV series."

The four of them sat down around the conference table. Isabella brought over more coffee and then sat quietly next to Arthur.

Hemingway spoke first.

"I invited everyone here because Kennedy is doing something important. He's using his articles to expose the corruption in this city and criticize those lying politicians. But his articles have limited reach. They only circulate in the newspapers. We need to get more people to see and hear them."

Passos leaned forward, his tone fervent:

"Frankie, workers and immigrants may not buy the New York Herald, but they will go to the theater and listen to the radio. We need to get your voice to the places where it is most needed."

Lawson nodded and continued the conversation:

"He's right. The power of theater lies in its visual impact. When audiences see actors playing mayors and officials on stage, and witness those absurd dialogues being performed, they laugh and they think. This is an impact that newspaper articles can't achieve."

Hemingway picked up the thread: "That's exactly what I was discussing with Kennedy. Two options: a stage play and a radio drama."

Passos thought for a moment: "A radio drama is a good idea. But radio stations are controlled by commercial companies. They won't easily broadcast content that criticizes the government."

Lawson said, "We could try independent radio stations. Some smaller stations are willing to try new content to attract listeners. Or, we could produce our own recordings and play them at unions or community centers."

Passos added, "Stage plays also need theaters. But we can use informal venues. Union halls, school auditoriums, church basements. We don't need professional theaters like those on Broadway. Venue is not a problem."

"I'm in contact with some union organizers. They're willing to offer the hall as a rehearsal and performance venue. Actors can also be found among the workers and their families; they'll be performing their own stories, which will be even more powerful."

Arthur listened to their discussion and felt a strange sense of exhilaration.

He didn't know any of these people before, but now they were sitting here, earnestly discussing how to help him expand his influence. Not for money, not for fame, but simply because they agreed with what he was doing.

"What do I need to do?" Arthur asked.

Lawson looked at him and tapped his fingers lightly on the table, a playwright's habit of contemplating rhythm.

"First, you need to adapt the article into a script. The writing style of stage play scripts and radio drama scripts is different, but the core is to bring the characters and conflicts to life. I can teach you some basic structures and techniques."

Passos said:

"I can help contact radio stations and theaters. I have connections at NBC, and although they might not dare to broadcast sensitive content, they can at least offer some advice. I also have some connections with independent radio stations. I can coordinate union and community resources."

Hemingway concluded:

"So, let's split up. Lawson will help Kennedy adapt the script and provide professional guidance. Passos will contact unions and community resources, and use your connections to explore radio opportunities. I'll handle fundraising and building momentum."

"Where will the money come from?" Arthur asked.

"Some people are willing to fund this. Writers, artists, even some wealthy sympathizers. I know a few. If that's not enough, I can advance the royalties for my next book."

Isabella spoke softly:

"Financial matters are not a problem; my family's trust fund can invest in this type of business. We are also handling the legal aspects."

"However, if we really want to produce stage plays and radio dramas, we need a more formal organizational structure. Copyright, contracts, financial management... these all need to be handled by someone."

Hemingway slapped the table happily: "Alright, you take charge then, you know all about this."

Isabella looked at Arthur, and Arthur nodded.

Isabella nodded. "Okay. I'll handle the legal and financial matters."

Passos glanced at his watch.

"I've made an appointment with some friends from the union. Kennedy, if you have time next week, I can take you to their rally and let you get to know them. Their support will be a stronger shield than any newspaper editorial."

"I will definitely go," Arthur said solemnly.

Passos shook hands with him and turned to leave.

Lawson stayed behind and said to Arthur, "We can start discussing the script adaptation now. Do you have time?"

Arthur nodded, then looked at Isabella, and Hemingway continued, "You two go ahead. I'll discuss the funding with Miss Harrison."

Arthur and Lawson returned to their office on the third floor. Hemingway and Isabella remained in the conference room.

Hemingway said, "He was a good man. But too idealistic."

Isabella looked at him. "Aren't you?"

Hemingway smiled.

"Me too. But I learned about reality on the battlefield. Idealism needs the protection of realism, otherwise it won't last long."

"Are you really willing to help him?"

"Yes. I will write articles in support of him, speak for him in public, and introduce him to the people he should know. But I have one condition."

"What are the conditions?"

"You must protect him. He's not a soldier, he's a writer. His weapon is his pen, not a gun. But the enemy will use guns. You have to make sure he doesn't get hit by those bullets."

Isabella's expression turned serious.

"I will."

"Okay. I'm going to meet with a few publishers now. We'll have dinner together tonight. Invite Kennedy and Lawson too."