Anderson Phelps had graduated from Columbia in the halcyon years of student protest. Mark Rudd had led an insurrection, ousted the president of the university, and set the course for more insistent demands for social justice. The university remained shuttered for weeks, the New York police had to be called in, and Rudd was carted off in handcuffs as a conquering hero.
Graduation was uncertain because of the troubles - it took many weeks for the campus to quiet down and for classes to resume, but school administrators were simply glad to be rid of the miscreants who had ruined a perfectly good school year, and graduated everyone in a truncated, dour, and impatient ceremony.
1968 was not a year for a Columbia student to head to medical school. It was the revolution which beckoned, one which had political motivation as its origin - equal justice, civil rights, anti-war, and internationalism - but quickly became one of social reconfiguration. Communes, love-the-one-you're-with sexual freedom, unmatched idealism, and a youthful anti-establishmentarianism spread from east to west. The old Kinder, Kirche, Kuchen bourgeois life was dead and buried.
Andy Phelps had squatted in an East Village basement with five Columbia refugees, a happy cabal of dope, sex, and counterculture with no designs or no intentions. That was the purpose after all - to deny the ordinary and the bourgeois. Jobs were for the unreformed, the nine-to-five culture was soul-robbing and deadening, marriage and children were expressions of the vast wasteland not the newly-formed.
It was a heady time. The demographics were such that there were more under-25s than at any previous time in American history, and all of them shared the same bubbly optimism. We can do anything, they claimed, and while some remained fixed on social justice most headed off to the woods for a communal, uncomplicated life.
Andy went to the north woods of California, a rainy, chilly encampment far from the city, a remote outpost in the redwoods nuzzled by Pacific fog, surviving on oats, groats, and kitchen gardens, doing dishes in small towns to make money for dope and rice, making their own clothes, bringing up children, and living off the land and within the enclosure of nature.
By the mid-Seventies most of these asylees had returned to the fold, picking up where they left off, getting advanced degrees, applying for jobs on Wall Street, and settling down; but many like Anderson Phelps clung mightily to the ideals of an alternate lifestyle, one uncluttered and uninfected by American capitalism, one of higher values and principles.
He was not alone of course, and while the commune in the forest was abandoned, there were many others in more congenial places - sunnier, warmer places but still far from the contaminating influences of the city. By his late twenties, the lackadaisical life of the old hippy days - a stoned, drugged, sexually satiated existence without purpose - became untenable. While he had no intention of 'making something of himself', he needed an occupation, and turned to carpentry. He would make simple furniture to exacting standards - not to appeal to the market but to satisfy his own needs to take Nature's bounty and turn it into something beautiful in a different way.
He worked with simple tools and ample patience and satisfied his need for meaningful occupation and legitimate purpose. He never abandoned his sense of community and counter-culture, but only conformed to a new algorithm within it.
He kept his hair long, cropped in a pony tail; wore a long, Biblical beard, and dressed in homespun, handmade clothes. He wrote poetry and inspirational songs of freedom and natural wisdom, lived with a likeminded woman and with her had two children.
To his credit - not many men of advancing middle age were still following the ideals framed in their youth - he remained outside the grid well into his fifties; but then sick with a number of illnesses which were resistant to herbal medicine and spiritual cures, a pesky inhibiting arthritis, and an increasingly restive partner, he moved to town, rented a small apartment-cum-workshop and began to sell his tables, chairs, and cabinets at generous but fair prices.
No one in an urban environment can possibly avoid the influences of the media and their viral effects; and so it was that Anderson joined a number of activist groups. Activism had matured significantly since the Sixties and had diversified. There was not only civil rights and peace to be concerned about, but gender, the climate, political refugees, and the redistribution of wealth.
The progressive agenda rekindled his socialist passions and he became an ardent promoter of the canon. Although the new intensity and all-encompassing, obligatory fervor was far from the laid-back, let-it-be culture which he had embraced for so long, he endorsed it. While not the firebrand he was expected to be, he was nonetheless committed and eager.
There was, however, something unsettling about the progressive movement - a happy camaraderie that overshadowed real political purpose. Protests, unlike those against the war in Vietnam or segregation back in the day, were more like jamborees, funfairs, outings in the sun with frisbee and sack races. Protestors howled and grimaced, but had no agenda. It was the affair that counted, the friendships, the shared passion - not the political principle.
It might be surprising for those who did not really know Anderson Phelps that he kept his distance from these public fests. To them he was a communalist who valued shared lives more than individual ones, and while today's progressive community might be larger than what he had known in the California redwoods, it was based on the same fundamental principles.
But there was the error. Hippie communalism was all about individualism, doing your own thing, making choices without predetermined value, acting according to individual will and vision. All within a community to be sure, but a like-minded one, one as committed to individual freedom of expression as he was.
The enforced community of the progressive movement, its absolute, ex cathedra canon, its fierce censorship, and its complete intolerance for straying from the straight and narrow were distasteful at first and annoyingly ugly to the last. Phelps gradually, politely but decidedly left the movement, returned to his cabinet making, and rejoined his former life.
Living in a city - over the years New Brighton had grown considerably - he could not avoid what he saw were the excesses of the progressive canon. It was one thing, familiar to him from his foundational past, to promote gay and transgender rights and the civil rights of the black man; another thing to flaunt their identity. It was a cavalcade, a circus, a side show, a bedeviling caricature of original principle.
It was this preposterousness, this arrogant, self-assuredness, this posturing that turned him more and more away from liberal causes. While he abjured the excessive, reflexive patriotism of the Right, and its own nostrums of righteousness, the found its core - individualism, enterprise, and lack of sanctimony - heartening and appealing.
What was his life as a cabinet-maker about if it wasn't about enterprise, individual effort, principle and moral craftmanship? Wasn't his desire for perfection in the name of utility, comfort, and beauty aligned to conservative values of work and its rewards?
He became a burgher but in the best sense of the term - not the burgher of the hated bourgeoisie, but a citizen prospering and enabling others to prosper within a community framework through individual enterprise.
He still lived a simple life. The furniture in his house was his and hand-tooled, the appointments were simple but not austere, more Shaker than stripped-bare modern. Yet for all this severity, it was a comfortable home - fireplace, bookshelves, a handy kitchen, and a flower garden.
If ever there was a man true to his principles, it was Anderson Phelps; and while it took him decades to figure out how to play them out with satisfaction and a modicum of peace, he ended up exactly where he wanted to be.




