Monday, March 24, 2014

The Other Choice Part I

HOW TO THINK OUTSIDE THE BOX

The media doesn’t give you the other choice. The unorthodox or unexpected solution. You have to find that yourself.

Example: There was much talk this past football (NFL) season about the best young quarterback. Who’s the best young quarterback?

Is it: Colin Kaepernick? Andrew Luck? Superbowl winner Russell Wilson? Robert Griffin III? Cam Newton, by chance?

The correct answer is none of them. The best young quarterback is Nick Foles of the Philadelphia Eagles.

Stats prove it. In the past season, despite not playing all the games, Nick Foles had a record of 27 touchdowns and only 2 interceptions. This is Tom Brady and Aaron Rodgers territory. As passers, none of the more highly touted other young quarterbacks comes close.

Stats alone don’t tell the story, of course. What struck me as much as the stats is a video of Nick Foles shooting an impromptu basket on the Dan Patrick Show:

http://bleacherreport.com/articles/1942698-eagles-quarterback-nick-foles-nails-long-3-pointer-on-the-dan-patrick-show

Note how far away he’s standing. To me, it’s a demonstration of remarkable hand-eye coordination. Which being a quarterback is about. The 27-2 ratio isn’t so surprising after all. But the media is so caught up with the other guys, it seems to have missed Nick Foles.

(To be continued.)

Sunday, March 23, 2014

All I Want Is the Truth

SONMETIMES I’m in the mood for a good rant. Especially when encountering nonstop lies from commentators on both the Left and the Right, each with their own axe to grind. There are few great rants in literature to find, mainly because they’re never wanted by an establishment, but a good rant expresses outrage and also a joy in language.

One of the best of them in the music world is this song by John Lennon, “Gimme Some Truth.”

The refrain is all I’ve ever wanted. I suspect many people feel the same.

Thursday, March 20, 2014

Rule Breaking

ADVENTURES IN CREATING NEW FICTION

What rules should be broken when creating the new short story?

The current literary story uses sparse dialogue.

The new story should use much dialogue.

The current story focuses on the personal.

The new story should emphasize the public.

The acceptable story uses much description.

The new story should give a minimum of it. (Less is more.)

The old story has minimal action.

The new story should embrace action when it makes the plot and theme exciting.

Plot? A lot of it.

Themes need to go deeper than the delicate points of lit stories.

Instead of a single viewpoint, the new story should give every viewpoint, and do so in a minimum of space.

Is all this impossible?

Not at all. It may, in fact, be ridiculously simple.

Friday, March 07, 2014

Outside MFA versus New York

THERE HAVE BEEN  a spate of articles online about the latest goofy n+1 idea, now available in book form, called “MFA versus New York.” This has to be the most ridiculous statement made by any group of writers, at least since 2008, when the n+1 crowd publicly predicted “the end of oil”— right before vast new pools of oil were discovered across the globe, and new technologies created for obtaining it.

Their latest discussion is ridiculous because it ignores exciting real change in the literary realm: the rise of self-published ebooks.

At least some literary commentators recognize that both worlds of MFA workshops and New York “Big Six” publishing are in collapse, such as this article by Sonia Saraiya, “The Bleak State of American Fiction.”

http://www.avclub.com/article/bleak-state-american-fiction-201745

But even Sonia Saraiya is wearing blinders. She ignores ebooks and the DIY world, and refuses to consider new options. Namely, creating fiction which can be pop and “literary” (significant) BOTH. The future won’t be bleak for those who discover a way out.

Anyway, there’s more intelligence presented in the Comments section to Saraiya’s article than in the entirety of the new n+1 book.

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(An aside: Doesn’t n+1’s very title scream “pseudo-intellectual”? You just know these are the same kind of people to be found blatantly reading Derrida or other unreadable tome at the local overpriced hipster coffeehouse or bar.)

Wednesday, March 05, 2014

About Style

Today's "literary" fiction is ostensibly all about style instead of substance-- but what kind of style? The mass of workshop fiction being produced gives us monostyle. It all looks and sounds the same-- due no doubt to the homogenizing nature of the workshop process, and the stale influence of the stodgy house New Yorker style. (This holds true, incidentally, to the approved reviewed writers in New York, most of whom came out of MFA programs.)

Absent are writers who take chances-- writers aren't allowed to take chances. And so, there's no melodrama, color, rants-- no over-the-top EMOTION that could energize the art. (The kind of work I tried to promote when I was running the Underground Literary Alliance.)

To use an analogy from the movie world, look at the flicks James Dean made with Elia Kazan and Nicholas Ray, "East of Eden" and "Rebel Without a Cause." They're hyperemotional, melodramatic, utterly stylized. Today the films and acting styles no doubt appear dated-- but at the time they were blows against conformity. They engaged the public and enlivened the art.

Are there young writers-- who should be hyperemotional, not robots!-- who can do the same for the literary art? It would mean breaking the rules. It wouldn't be allowed.

Sunday, March 02, 2014

The New Hybrid

I’m an experimental writer. Mine are a different kind of experiment. My goal is the true hybrid story, pop and literary both.

Read my fiction ebooks, Ten Pop Stories, Crime City USA, The Tower, and you’ll see a variety of attacks in this direction, from different angles. The pop story needs to be readable and exciting, with good pace. The trick is to make it innovative and intelligent from a literary standpoint, with deeper meaning. Not solely entertainment, but also art.

I have two new hybrid prototypes on the drawing board. A simpler one, and one more complex. Both will try new approaches to the short story; new ideas. The objective is to present a story unlike any before seen. Art which is aesthetically revolutionary. More, a new kind of fiction: literature which people want to read. Need to read.

No small task!

Sunday, February 23, 2014

More Evidence on Awl Article

FURTHER DE(CON)STRUCTION OF A FLAWED ESSAY

Two months ago I examined an hysterical essay by ULA foe Maria Bustillos, about the 2008 financial crisis, which was receiving much promotion from The Awl, as if the essay were the best thing they ever published. (Maybe it was.) In a post, I showed the shakiness of the Bustillos argument. See:

http://www.kingwenclas.blogspot.com/2013/12/bad-propaganda.html

Now, we have more evidence, in the form of the actual Federal Reserve transcripts from that critical year. Read about them in this Wall Street Journal piece by John Hilsenrath.

http://online.wsj.com/news/articles/SB10001424052702303775504579396803024281322?mg=reno64-wsj&url=http%3A%2F%2Fonline.wsj.com%2Farticle%2FSB10001424052702303775504579396803024281322.html 

The discussion makes clear that how the crisis developed depended upon the behavior of those in charge of the Fed at that time—their ability to spot the crisis and prevent it, then react to it. To blame the crisis on past Fed chairman Alan Greenspan—and then by extension on Ayn Rand!—is ludicrous. Only a literary propagandist would—not a serious journalist.

I urge Ms. Bustillos or the editors of The Awl to respond.

Thursday, February 20, 2014

Impossible

THE GENTEEL ART

It’s impossible to take the established literary world seriously. By “established,” I mean the critical/review/p.r. apparatus based in New York, bolstered by the academy, which decides what writings and writers are an approved subject for proper discussion by the proper crowd, and so, regarded as “literature.” It’s a tiny bubble world far removed from the hectic noise of America-at-large.

The Bubble Literary World has been marked by a fear of contention and conflict. No clash of ideas among this crowd. The goal has been to become as innocuous as possible.

In a recent New York Times Book Review article, (http://www.nytimes.com/2014/02/16/books/review/do-we-really-need-negative-book-reviews.html?_r=0), two Bubble writers take tentative steps toward questioning the prevailing norms. Their words, when put into context—literature’s non-standing among the greater populace—are comical.

Francine Prose, an unexciting author and uncreative thinker, affirms the right to disapprove in her reviews of “bad” writing. She doesn’t define “bad” writing, but it has something to do with how sentences are crafted. She gives the example of “His eyes were as black as night.” Not done! If Tolstoy or Shakespeare or Dickens ever used such a phrase, you’d have to dismiss their entire body of work. Ms. Prose is locked into a single standard of value for literary work: “the well-written sentence.” This is chief value for the MFA set. Characterization; plot; pace; ideas; dialogue; form—everything else which goes into the creation of a compelling work of fiction is of secondary value, if considered at all.

What does Francine Prose make of a Debra Webb from Alabama, who has written 100 novels, the last several of them best sellers? On the first page of one of Webb’s novels, Webb talks of a character’s “piercing blue eyes.” I winced myself when reading it, because it seems like cheating—making it too easy for the reader to see the character. The larger question, though, is: Does it work?

Debra Webb is doing something right in her novels. They have an avid readership. Far more than Francine Prose (or myself), Debra Webb is keeping the art of fiction alive in this country. People purchase her books and her ebooks. The task of a critic is to figure out what Debra Webb is doing well. What compels her audience to read her books? To understand this is to take a real step toward saving literature in America; moving toward the elusive hybrid novel which can be popular and significant BOTH.

I’m not saying Francine Prose or Zoe Heller shouldn’t attack such work. I’m saying they should be open to an equal amount of attacks on themselves. It’s the only way the art can improve.

The literary scene needs contention and controversy. By such contention in this loud age, literature will be noticed. Myself, I’m from a background where we would argue just to argue. I enjoy debating. Try to do this with stuffy literary folk and you’ve broken their rules. No conflict. No contention. No noise. Everyone please get along. (Turn out the lights when you go home.)

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(For a satirical look at Francine Prose and a few other writers, buy my ebook novel, THE MCSWEENEYS GANG, affordably available at Kindle or Nook.)

Friday, February 14, 2014

More About the Great Literary Change

FROM POPULISM TO ELITISM

Has the Eric Bennett article in Chronicle of Higher Education opened a debate about the nature of American literature? Don’t count on it. This is a debate which I’m sure even Bennett’s backers at n+1 would not want to have—because inevitably they’d be caught on the wrong side of it.

Here’s a post I made on another blog about the matter:

http://happyamericaliterature.blogspot.com/2008/12/great-reaction.html

And another post I made here:

http://kingwenclas.blogspot.com/2007/01/plimpton-background.html

There are many connect-the-dots leads to be followed, for those with the time or interest. This includes others in George Plimpton’s generation like William Phillips and Robert Silvers. It includes other publications, and important literary conferences of the 1950’s and 60’s whose intent was to direct the course of American literature into acceptable channels.

Keep in mind that American populism is a style of literature, probably best embodied in the Frank Norris novel The Octopus. The style can be characterized by large themes, characters caught up in sweeping historical currents and changes, and polemical speeches. It represented a large land and broad voice. Also with a trace of old-fashioned American romanticism. The viewpoint is usually against monopoly and/or centralized control. Organic, from the people, not tops-down. It’s a style which once defined American literature and its difference from the European variety. Sadly, that difference now is gone.

In his Chronicle essay, Eric Bennett posits Jonathan Franzen as a novelist of ideas. Maybe—but his recent anti-freedom novel Freedom is more anti-populist than populist. It has more in common with By Love Possessed than The Octopus.

Wednesday, February 12, 2014

Seven Years Late

I NOTE there are many articles out recently about how the CIA changed the direction of American literature, including via the rise of MFA programs. Here's one of the articles, by Brian Merchant:

http://motherboard.vice.com/blog/how-the-cia-turned-american-literature-into-a-content-farm

Hmm. Where was Brian Merchant, Eric Bennett, and these other folks when the Underground Literary Alliance was pursuing the story? Here's one of many of my own posts on the matter:

http://kingwenclas.blogspot.com/2007/02/trends.html

My posts were follow-ups to a ULA "Monday Report" on the matter by essayist Richard Cummings.

http://outyourbackdoor.com/ULA/mr-cummings-52305.html

Cummings made a lot of accusations in his essay. The ULA presented his essay for informational purposes, letting readers judge for themselves. The key point-- CIA involvement in the world of literature-- is what we stressed. This was seven years ago.

What happened? The ULA was attacked and ostracized by the established lit-world. Because of the flurry of pressure, five key members of the ULA resigned, virtually overnight. NOT ONE established or semi-established literary person defended us-- or even the idea that the matter needed looking into. This issue, more than anything else we did, turned the ULA and its members into pariahs.

Dare I say that the Underground Literary Alliance was right all along?

Tuesday, February 11, 2014

About Short Stories

THE ONE THING which can rescue literature as a cultural force is the revival of the short story. By revive, I don’t mean continuation of same. The pattern of the system “literary” story encouraged in hundreds of writing programs needs to be blown up. On every point, the new writer needs to do the opposite of what’s acclaimed today. Across-the-board rule breaking. The objective should be to present a short story which looks unlike any ever created. This is how to create excitement—the excitement of art.

Is it doable? Are there writers alive today who want to do it?

A handful, by my reckoning. If they pull it off, they’ll be artistic trailblazers. Creative revolutionaries.

Saturday, February 01, 2014

The Writer Stereotype

We see the writer stereotype in the movie, “Her,” with Joaquin Phoenix playing a character named Theodore Twombley. Wimpy, weepy, withdrawn, “walled-off,” crying at the drop of a hat. Reclusive. Soft. Dependent. To call him feminized would be an insult to women.

We’ve come a long way since the days of Ernest Hemingway and Jack London!

In the 1940’s and 1950’s, Hemingway was like a rock star. He had a greater cultural footprint, as a celebrity and personality, than any actor, singer, or sports figure. That’s when literature still mattered.

MARGINALIZED

Since those days, the position of writers in the culture has become marginalized. We had a recent example of this with the announcement of nominations for the NBCC awards. NBCC? What’s that?

Meanwhile, awards for the feckless and untalented, Golden Globes and Grammies, grab the TV space and headlines. Writers don’t try to compete. They’re, uh, withdrawn. They’re absorbed with the personal. Such careful, cautious, and withdrawn thinking is why literature in America is a declining cultural phenomenon and a dying art.

WELL-REGULATED

The writing game is well-regulated. If you try to make noise, the mandarins who control things can’t stand it. The entire system from top to bottom, MFA programs to editors and agents in New York, is designed to screen out dynamism and noise.

Philadelphia novelist Lawrence Richette didn’t fit the stereotype. He was, yes, egotistical and outspoken. He believed in himself. He didn’t make artistic decisions according to the whims of the Insider literary crowd. Book editors wanted nothing to do with him, despite his talent. Imagine if this philosophy were practiced in the worlds of movies, music, and sports!

REBELS

One of the objectives of the Underground Literary Alliance was to turn the writer stereotype on its head. That’s why I brought larger-than-life macho roots authors Jack Saunders and Wild Bill Blackolive into the outfit.

To me, to be any good, and not just a mass of solipsistic sensibilities, the writer needs to be MORE engaged with the world than the average person. Outgoing and out there; amid human society and the organized chaos of nature. A public figure. The lit game needs public figures, of greater personality and larger presence than Jonathan Franzen and Alice Munro!

FOOTBALL—OR BOOKS?

Sixty years ago, professional American football was a niche sport. On Superbowl Sunday tomorrow it will be the centerpiece of the nation—focal point of the economy. What happened?

It’s not that football is very intrinsically exciting. A few minutes of action punctuated by constant breaks. Football gained prominence through:

A.) New outlets; chiefly television.

B.) Unparalleled marketing.

C.) The creation of striking characters and storylines. Richard Sherman to Wes Welker to Peyton Manning. Quick: name one character from Jonathan Franzen’s Freedom.

But as I’ve said, the literary world doesn’t even try to compete.

Thursday, January 30, 2014

The Strange Case of Sheila Heti

It never ceases to amuse me that members of the literary establishment remain terrified of me and my ideas, as if I were the carrier of a communicable disease. (The disease of independent thinking.) This, despite the fact I remain the most powerless of writers, a pariah under quarantine. That, at least, is the way I feel, staying (temporarily?) in the desolate moonscape of Detroit.

Case in point: trendy writer Sheila Heti. Recently I set up a new twitter account, @literarycircus, whose intent is to promote, in a marginal way, my satirical blog, The Literary Circus
www.literarycircus.blogspot.com
 The idea is to follow the doings of today’s literary people, and on occasion comment on them, often satirically or tongue-in-cheek. Sense-of-humor assumed.

Follow a few literary sites and Twitter will then give you suggestions of people to follow. Leading literary tweeters. It’s how I began following Sheila Heti, who I know of in a vague way only as a variety of McSweeneyite writer. On January 19th I made a cogent, informed reply to one of her tweets. Shortly thereafter she began following me—something she likely does automatically with anyone who responds to her tweets. It’s a standard way of building outreach. Anyway, I saw the note in my list of emails: “Such-and-such is now following you on twitter.” Hmm: Who would’ve thought it? A broad-minded McSweeneyite person, I said to myself? Perhaps the literary world is finally changing.

I noticed a couple days later that Ms. Heti was no longer following me. Okay. This was more predictable. Someone may have told her who was doing the Literary Circus blog; that you’re not supposed to have dealings, direct or indirect, with that person. A week later, checking my vast list of followers (all of twenty), I saw that Ms. Heti was again following that twitter account of mine. Curious. I imagined there were Soviet-style debates taking place behind the scenes. What’s the acceptable line to take with this guy? Or, as George Orwell would put it, “Are we at war with Eurasia or Eastasia today?”

Then, with another day, Ms. Heti was again not following me, and what’s more, I wasn’t following her account. In other words, I’d been blocked.

I’d done a dozen-or-so tweets during the week in question, all fairly innocuous—not one directed at Sheila Heti, beyond that original reply of mine to a tweet of hers, which she must have approved of, because it got her inadvertently following my new twitter account in the first place! Usually (I almost said “Normally,” a word which is un-p.c.) a person is blocked for sending a series of harassing tweets. Or at least one. Not for merely existing. Ah, but the quarantine!

CONTRADICTIONS

I gather that Sheila Heti is an uber-feminist of some kind. Curious then that she’s made her way as a writer with an outfit run by the most ruthless literary patriarch of them all, though that patriarch presents himself as a benevolent dictator. Ironic as well that my former “gang,” the Underground Literary Alliance, got into trouble with the literary establishment beginning in the year 2000 by criticizing the so-called “New White Guys”—that well-hyped group of affluent and trendy postmodern male writers named Franzen, Moody, Antrim, Foster-Wallace, and Company. We called them “the Big Money Boys,” among other things. A few of these individuals were abusing the literary grants process; we pointed this out; the established literary community looked the other way. We’re back to George Orwell. All white guys are equal, but some are more equal than others.

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While the benevolent dictator who leads the McSweeneys Gang presents himself to the world as an anti-totalitarian, the truth is that the literary scene is totalitarian. No criticism of the major players and their ideas is to be found anyplace. If a contrarian such as myself dares knock or mock these people—the essence of free expression—the person is considered a madman, and consigned to the farthest reaches of the literary universe. Zorxon, or Zytron. Or at least Detroit. At the simple existence of such an individual, obedient literary people become terrified, and scurry away. “Danger, Will Robinson,” the robot screams. “Danger!”

Myself, if I see anyone treated by his fans and acolytes like a substitute god; or see any ideas or premises put beyond the reach of disagreement, I’m going to say something. That’s the task of a writer. As I said, I’m a contrarian.

(I have a suspicion there’s another answer to the mystery. The real story. Which is that the “stars” of the literary scene are more-or-less manufactured. They’re intellectually challenged. They can’t even write without the help of workshops screening their mistakes—Jennifer Egan and Vendela Vida have admitted this publicly—or without the help of editors and agents. They’re not even sure what to think. What’s the consensus on that question? Which way is the literary herd going? Throw into this mix a critic like myself who wants to question or debate them, who requires them to be honest or to think, and even the best of them run the other way. Ergo, all the protections and barriers. That’s my latest theory, anyway.)

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(Be sure to read my mad ebook novel, The McSweeneys Gang, still available at Nook or Kindle. If I were “playing the game” and trying to please people I’d take it down, but as Lee Marvin says at the end of the 1960’s movie version of “The Killers,” I just don’t have the time.)

Sunday, January 26, 2014

Superficiality

It’s hard to find any depth in the work of contemporary artists, filmmakers, musicians/composers, and especially writers. Today’s trendy crowd of highly-praised writers are notable only for their superficiality.

The reason may be that few of them have any kind of metaphysical relationship with God or the universe. Even atheist Ayn Rand had a metaphysical relationship with the universe. It was based on her own egomania—herself as the center of the universe—but still made for exciting reading.

Tuesday, January 21, 2014

The Novels of Lawrence Richette

Larry Richette was a novelist. That’s how he thought of himself and identified himself. All else meant nothing, was excess baggage. For Larry, his art always came first.

It was as if he knew he had a limited amount of years on this earth—more limited than most—to get his work done. When I met him for coffee on occasion, his work—and the art of the novel—was all he wanted to talk about. (His favorite novelists were Don De Lillo and Bret Easton Ellis.)

The novelist I compared Lawrence Richette to was John O’Hara. Novelistic competence—always readable, without too many bells and whistles but always with a point to make. Larry made it look easy.

One of his best novels, The Secret Family, is based on the history of his own family in Italy and America. The kind of thing Mario Puzo wrote when he was good, before he went for the flash and money.

Another novel, The Fault Line, of especial pertinence to Philadelphians, is Richette’s thinly-disguised take on the MOVE bombing, which Larry covered as a young reporter. It’s short, journalistic, concise and dramatic.

My favorite Lawrence Richette novel, however, is Private Screenings. Here’s a review I wrote of it when it came out. It’s an honest review. I’m never less than honest. I disappointed or angered more than one struggling author when I ran the ULA, by refusing to tell them their book was something it was not.

http://blitzreview.blogspot.com/2008/06/novel-of-year.html

When I first encountered Richette, as a matter of fact, and he told me he was a writer, I thought to myself, “Not another one!” (The Underground Literary Alliance was in its heyday and I’d achieved some notoriety. There are struggling writers everyplace.) Larry pawned a copy of his novel, Secret Family, on me. I took it home intending to glance at the first page or two and dismiss it. I ended up reading the novel most of the night. (The first couple pages in fact are a tad slow. His proper beginning comes with the description of a personality around page five.)

Larry Richette received some bad press—a mark of distinction in my eyes. The articles don’t say that he was a very generous guy. After the ULA collapsed, he was one of the few individuals who didn’t abandon me. When I was hurting financially (flat broke) after I moved back to Philly in 2009, Larry bought me dinner on more than one occasion. The last time I saw him, in fact, a couple years ago, I was walking down the street near Rittenhouse Square. A voice yelled from across the street, “Karl! Karl!” It was Larry Richette having lunch at an outdoor table at some trendy cafe. I joined him and he ordered lunch for me. I begged off out of pride but he ordered it anyway. We talked about—what else?—books and authors, and what he was currently writing. Larry was as intelligent on the subject of literature as anyone I’ve met.

Why was he never published by the big guys? You tell me. Read his books and give me an explanation. Lawrence Richette’s novels are intelligent and readable— the kind of thing intelligent readers once read by the truckload, but which today, from the current breed of designated authors, is very hard to find. Jonathan Franzen with a deeper understanding of the world and a better sense of pace.

The only reason I can see for agents and editors not touching Larry is that they perceived him to be a “difficult” personality. A pity that those delicate souls put manners and convenience above art. It’s not the way the game should be played.

Sunday, January 12, 2014

RIP Larry Richette

I just received tardy word of the death of Philadelphia novelist Lawrence Richette. Larry did a lot of self-publishing, and was an advocate of good writing and writers. I appeared at several readings with Larry in Philly, including a ULA (Underground Literary Alliance) event at a rock club aptly called the Underground in 2007.

Larry received fairly bad press from local media, but whenever I was in Philly I found him to be a good friend. We had many long conversations about literature at coffeeshops (Larry was on the wagon), sometimes with loud voices, which threw people, no doubt.

What Larry was above all was a terrific writer.

I’ll have more to say about his work when I can. Here’s his obit:

http://articles.philly.com/2013-12-31/news/45710415_1_book-lawrence-a-south-philadelphia

Hidden Gods?

THINKERS from LeBon to Jung to Lacan have believed mankind is swayed by hidden forces in the subconscious mind. The notion is in line with the pagan myths outlined in Robert Graves’ The White Goddess. The idea is that the pagan gods and mythic figures are unavoidable symbols, appearing in our culture and thoughts of themselves, against our will.

I think of this when assessing my own short novel, The McSweeneys Gang, which began as a cartoon-style pop satire but soon got away from me, new characters and situations materializing of their own volition. In particular, the character of “The Assassin,” appearing in the guise of a beautiful but troubled woman. Is this character a version of Graves’ “White Goddess”? Hmm. I’ll have to reread the ebook to find out. (Available via Kindle or Nook.)

Tuesday, January 07, 2014

Visions

I’ve been browsing through The White Goddess by Robert Graves, which someone sent me to read. I can’t say I like the arcane work—much of it’s nonsense—but it does stimulate thought. It gives a different way of viewing the world.

I’m intrigued by Graves’s poetic way of thinking. I’ve looking through objects to see the reality behind or beneath. Of his “seeing” words in the air before him. Though he doesn’t call it that, I call it having visions.

I’ve been trying to tune into ideas myself, new and old—though one doesn’t try to do it, but allows it to happen.

I’m living a fairly Spartan lifestyle right now in barren Detroit. A mundane job. Frigid temperatures. No TV. A dead phone. An el cheapo netbook which only sporadically hooks into a network. Minimizing the world’s electronic assault, on the 19th floor of an old building, I read. Especially late at night.

In the very early morning, when awaking, the brain is alive to thoughts and speculations.

My main speculation is this: That we’ve become not an athiestic post-Christian culture, but a pagan one. The evidence is everywhere around us, in the culture itself.

Robert Graves makes it plain that paganism never left Western civilization. It’s always been present, waiting under the surface to re-emerge.

Many of us remain Christian, despite the omnipresent culture. Others of us worship different gods. (Paganism allows, almost requires, a multiplicity of gods.)

I’ve identified three main alternate gods displacing the Judeo-Christian Jehovah (leaving Islamic Allah for the moment out of the discussion). The three gods exist subliminally in the minds of their adherents, in large part controlling them. The three gods are:

A.) The Machine.

B.) The Goddess.

C.) Satan.

The truth is that those who most believe themselves untouched by faith and religion are most immersed in it. I’ll explain this, likely in an ebook—which will conclude with a provocative speculation about “Dueling Goddesses.” Or am I merely having fun with Graves’s ideas?

What’s the future of America? Of our culture and ourselves?

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(In the meantime, read my ebook novel The Tower, which plays many of these themes.)

Friday, December 27, 2013

Bad Propaganda

MARIA BUSTILLOS VS AYN RAND

DURING THE HOLIDAYS the online literary journal The Awl tweeted out the link to an essay they’d republished on 12/23/2013, “When Alan Met Ayn,” by Maria Bustillos. It was originally published 4/12/2011. The Awl’s editors apparently believe the essay is one of the best things they’ve published, or they wouldn’t still be hyping it.

See http://www.theawl.com/2011/04/when-alan-met-ayn-atlas-shrugged-and-our-tanked-economy

The essay caught my interest for a couple of reasons.

First, because it’s by Ms. Bustillos. Maria Bustillos is a fan of Tom Bissell’s book of essays, Magic Hours. When the book came out she gave it a glowing review, and applauded in particular his hatchet man essay on the Underground Literary Alliance. She appreciated a cheap shot Bissell took in the essay at me and an underground writer. (More about that in another post.)

Second, I noted obvious intellectual dishonesty in the Bustillos essay. I’m not an Objectivist—then again, one never knows—and I disagree with the Ayn Rand philosophy on several points. At the same time it’s obvious to me that the established literary community has long tried to marginalize Rand and her writings—her achievements—as if they weren’t after all part of American literary history. As if they should preferably be banned from it; in the same way that same establishment has banned mention of the ULA. (In Rand’s case, it’s tough to ignore massive sales figures.) The Bustillos rant against Rand strikes me as yet another attempt to conform and homogenize American literature, to pare from it unacceptable styles and ideas.

What struck me in the essay as most misleading:

Where do I begin? Probably with Bustillos’ most fraudulent claim, that the Soviet dictator Joseph Stalin was an Objectivist. You’ll have to read the passages in her essay yourself to see if Bustillos means this tongue-in-cheek. Her reasoning seems to be that Stalin was an egotist; Ayn Rand lauded egotists; therefore Stalin subscribed to Rand’s philosophy. This is twisted logic, but I find it used often in mainstream essays. It’s like saying that because all Spartans are soldiers, all soldiers are Spartans. Such backward logic throws over the bounds of sense. It allows the commentator to say just about anything.

Her bringing Stalin into the conversation struck me, because it’s the same game that was played by Tom Bissell in his essay on the ULA. Characterize your opponent as the worst kind of historical person imaginable, using the flimsiest thread of sense to do so.

In Bissell’s case, he characterized the Do-It-Yourself working class writers of the ULA as Bolsheviks, though our philosophy was the polar opposite of what the Bolsheviks advocated and practiced. The comparison was made and gotten away with likely only because we were, in the main, working class.

The Rand/Stalin comparison Bustillos makes is more ludicrous. What Stalin was, indisputably, was a Marxist-Leninist. His commitment to the ideology was lifelong. His actions were justified by the ideology. As Bustillos indicates, Ayn Rand’s family was dispossessed by the Bolshevik revolutionaries. Bustillos passes over this lightly—yet it’s the best explanation available for the extremism of Rand’s own ideas. Her philosophy, in its every tenet or novelistic character, was a reaction to what she’d experienced.

Stalin and his buds eliminated not just the wealthy. Anarchists were among the first to be silenced. With studied Marxist-Leninist rigor, millions of Ukrainian Kulaks—modestly wealthy peasants—were wiped out. Through his entire life, following the proper ideological maxims, Stalin sacrificed his people again and again to the interest of the all-powerful state.

Stalin was no Ayn Rand-style individualist. He rose to power as a member of a collective. He operated through his career as member of a collective. Stalin did what he did, in his mind, for the good of the collective.

A case can be made that Stalin wasn’t even much of an egotist. Churchill’s memoirs and those of others; descriptions of Stalin at conferences like Teheran, Yalta, and Potsdam; show him to be in personality modest and self-effacing. Rather quiet. A good observer and listener.

We know he lived a modest, even Spartan lifestyle; usually in a small apartment or office in the Kremlin. His technique was that of power behind the scenes. A puppetmaster pulling strings. (As he did during the show trials; unobserved except as the red tip of a cigar behind an enormous screen.) For a long part of his tenure he allowed others to be front man head of state. Sure, he created a cult of personality about himself. He did this first with his mentor Lenin. In his shrewdness Stalin saw that the Russian people needed a god. Unlike Hitler, Stalin was not the kind of megalomaniacal dictator who required the adulation of his people. Famously, Stalin hid from the Russian people.

Stalin’s career stands almost as the triumph of a non-egotist. In person he was the most quiet and humble of the early Bolsheviks—which is why they trusted him and gave him power. His ascension over the vastly more dynamic, charismatic, and egotistical Trotsky was a victory of the quintessential bureaucrat. Of the Machine.

The man known as Joseph Stalin was skilled at handling individualistic egotists, as he showed at Yalta with his skillful negotiations with two men who had two of the largest egos in history, Winston Churchill and Franklin Delano Roosevelt.

Was FDR an Objectivist?

By Bustillos’ definition, everyone short of Gandhi and Mother Theresa can be classified as an Objectivist. Given their fame, we may as well lump those two into the category as well.

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What of the rest of the Maria Bustillos essay?

Look at it closely and you’ll see it’s filled with distortions. The argument against Alan Greenspan, and the connection between Greenspan and Ayn Rand, is jerry-rigged.

Yes, Greenspan was a core follower of Rand’s. But when he took the Fed job, after Ayn Rand’s death, Alan Greenspan, in Objectivist eyes, joined the camp of the enemy. Objectivists are a species of libertarian. Like all libertarians, they seek the elimination of the Federal Reserve System. A tops-down all-controlling central bank is anathema to them. They see it as a Communistic triumph—not least because the establishment of a central bank is plank#5 of Marx and Engels’ Communist Manifesto. Are not Maria Bustillos and the Awl editors aware of this? This alone discredits the essay’s argument.

One can see why Greenspan took the job—aside from abandoning, as others have done (see George Saunders) many of his youthful beliefs. He might’ve thought that by being inside the Beast, he could moderate its effects. There’s no doubt that if Ayn Rand were alive she would’ve banished him from the Objectivist community—and done it with style. Any economic collapse taking place during his watch would’ve been Greenspan’s just desserts, in her eyes.

But the collapse didn’t take place during his tenure. A financial panic did occur, but not the one in 2008. The stock market collapsed in 1987. Greenspan—and the Reagan administration—quickly limited the damage, and in short time put the Machine back on its feet; operating smoothly. It’s kind of unfair, don’t you think?, for Greenspan, having successfully battled the contradictions and inefficiencies of his own time, to be blamed for the failures of a later date.

Another problem with Bustillos’ argument is that she confuses monetary and fiscal policy. They are two different things. Greenspan may have wanted more deregulation—but he was in charge solely of monetary policy. He was answerable to Congress, and the President, for that. They weren’t answerable to him. Regulation is the domain of law and the enforcement of law. This is handled by Congress and the President. Not by the Fed chairman.

Bustillos uses several out-of-context quotes from Greenspan’s testimony before Congress, when he, like a lot of players, was called to answer for the 2008 fiasco. The fact remains that his only influence on the financial markets was as advisor and cheerleader. The U.S. Securities and Exchange Commission is responsible for regulating the markets. The SEC is a creation of Congress and is answerable to Congress—not to the Fed chairman. Much of what the Congress did with their hearings (as with most congressional hearings) was for show. To evade their own responsibility in the matter. Or: politics, providing fodder for advocate commentators like Maria Bustillos.

As for what caused the 2008 collapse, there’s likely enough blame to go around on all sides, in both parties. An, er, “objective” journalist would see this. The creation of financial and economic bubbles might be instrinsic to the mega-Capitalist system we live in. How you handle them is as important as avoiding them. In both respects, the guy you’d want involved, in at least part of it, would be someone as famously tight as Mr. Greenspan. He did keep the massive bloated machine operating for twenty years, with all its dysfunctions, contradictions, and inefficiencies. No mean feat.

I wonder if Maria Bustillos and The Awl editors are as concerned about new financial bubbles being created, through the massive amounts of  money—created out of thin air—currently being pumped into the Fed system. Do they care? Are they aware it’s happening?

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Another point of Maria Bustillos’ attack is her condemnation of Wall Street. Of so much wealth being funnelled to so few, and at that, those who create nothing themselves, but merely manipulate paper—or numbers on computer screens.

Here again, Maria Bustillos is being unfair, this time to Ayn Rand, who would condemn the crony capitalist manipulators of financial instruments on Wall Street. In both of her big novels, Ayn Rand’s strongest scorn is for that affluent and well-connected layer of “parasites” who suck wealth from the system. Rand lauds instead the producers, the manufacturers, the designers—the actual creators of marketable products. Don’t take my word for it. Read the novels. See for yourself.

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No, Maria Bustillos, like her friend Tom Bissell, isn’t a fair-minded journalist. Like so many other of her peers, she’s a propagandist. The objective is to construct a distorted straw man of your opponent so you can knock it down. The troubling aspect is that her mishmash of inept thought and misrepresentation is taken for legitimate journalism. At least when Ayn Rand put her propaganda onto the pages of novels, she made it coherent and compelling.

Is Maria Bustillos an Objectivist, or a Marxist?

Likely she’s a little of both. But chiefly, Bissell and Bustillos are fashionable liberals who believe in little of nothing. They like the idea of changing this nation’s hierarchies—or of being perceived as liking the idea. They just don’t want to change the hierarchy they work in.

We live in an Age of Propaganda. A time when slanted opinions come at the reader or viewer from every direction. A time when being “well-educated” means having a superficial knowledge of subjects—as Bustillos has—having done some reading or research in the areas one proposes to write about, but (like Tom Bissell with the ULA) having no knowledge in depth. The glibness and facile ethics of the propagandists, and the ignorance of their audience, allows them to get away with it.

And so the essayist can belch up, from his-or-her depths, like a stage medium in performance, a long rant which connects with the prejudices of their readership, and at the same time is plausible enough to be believed by that scantly educated “educated” readership.

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There are reasons, beyond those of ideology and politics, why Ayn Rand has been universally hated (hated not too strong a word) by the established literary community. This, despite her feminism. Despite the reality that most who inhabit the literary scene are not models of altruism, but are instead hugely ambitious, egoistic, often supremely selfish individuals.

That’s one of the reasons right there. Rand’s naked celebration of the artistic ego is too blatant. It conflicts not with the reality of these people, but their adopted face.

The other reason may lie in Ayn Rand’s attacks on artistic cronyism in The Fountainhead. Her depiction of literary dilettantes and fakes. Her satirical scenes are perhaps too close to the way the literary scene operates.

In her essay, Maria Bustillos refers to the gap in the Soviet Union between nomenklatura and the population as if it were Stalin’s doing, and not a natural process inevitable to Marxism; to any attempt to impose upon a people a tops-down controlling state. The inevitable rise of bureaucracy. The unavoidable proliferation of bureaucrats wielding maximum authority.

Isn’t a nomenklatura the affliction of American literature today? To have standing to speak on literary subjects one should be certified; legitimized by academies, or by gates and gatekeepers. The literary herd operates as a unit, intolerant of unfamiliar ideas. It’s a mindset the Underground Literary Alliance fought against. A mindset embodied in Tom Bissell and Maria Bustillos.

Bissell made his career by accommodating powerful literary individuals such as Jonathan Franzen and Dave Eggers. From his days as an intern at Harpers he played the cronyistic game, and has never stopped playing it.

Maria Bustillos, advocate of the downtrodden, was fine with Bissell taking cheap shots at the renegade writers of the ULA. Her own contradictions and the contradictions in today’s literary scene don’t matter to her. Power matters. The Believer/McSweeney’s empire, narcissistic and individualistic to the max, with its own cult leader, is a center of literary power. Would Maria Bustillos mess with these people? I think not. You’ll see no critical essays from her or from anyone about them. So much safer to beat up on outcast American rebels—or on a long-dead American novelist—instead.

Friday, December 20, 2013

The ULA Name

IF I’m to do anything again with literature—God knows why I’d want to—it would be with the Underground Literary Alliance name. Using it would be the only chance I or a project of mine would have to cut through the noise. There remains some brand equity in the name, due to its explosive reputation and its unparalleled history.

This, and my own proven abilities, are assets which could be used by alternative writers—or for any attempt to renew the scene. They would also be assets for ULA opponents. Let’s face it—the current literary scene is stale. Static. It defines the word stagnancy. The ULA throughout its history represented excitement; would be there to be used by the adventurous, if only in the role of villains!

Points that I’m pondering, in this downtrodden town—during my temporary visit—for the rats or the pigeons.

(Merry Christmas to one and all.)

Thursday, December 19, 2013

Three Problems

I see three related problems with the established literary scene.

1.) CONFORMISM. As I’ve oft stated, from top to bottom in American literature there’s a herd mentality. No one will publicly buck the status quo and advocate for change. Everyone is infected with “go-along-to-get-along” disease. No one will point out the corruption and cronyism that does exist in the scene. Everyone prefers to look the other way. You’ll find scarcely one person of courage and integrity. I know this from experience.

2.) BUBBLISM. Most of today’s young literati are hipsters. Many of them have congregated in Brooklyn, or in similar Hipstervilles around the country. I’ve noted in my encounters with this crowd, off-line and on, that they can’t handle disagreement. Few of them have experienced the give-and-take of no-holds-barred debate. They rely on premises, assumptions, assertions that to them are laws, because everyone in their world accepts them. This isn’t a healthy situation for any art or intellectual scene.

They’re in fact thousands of Bubble Boys from “Seinfeld,” who’ve carried their bubbles with them. Those they interact with at their hangouts look and think exactly like them.

If you study the hipster phenomenon, as one would a variety of animal, you see they’ve adopted protective coloration to try to blend in with their new urban environments. Note the beards and gritty working-class garb; the thrift shop affectations. Yet only the outer surface has changed. They’ve brought with them their gentrified upscale tastes—as seen in the new chic menus, designer beers, and upscale prices at bars and bistros which have sprung up or redesigned themselves to cater to them.

As it affects literature, there’s little chance of converting them to new ways of approaching the literary art, when everyone of them flees and blocks their mind from the slightest critique of what they see as wonderful and safe.

3.) INABILITY TO SEE REALITY. An example of this is the unquestioning believe in a pagan nature myth like global warming/climate change, which is a variation of Eve-eating-the-apple: mankind punished for its sins and hubris.

The inability to see reality applies to their art. An objective observer flipping through their literary flagship, The New Yorker, and glancing at the month’s enclosed story, should see immediately that this is a bad product; a poor entry point for readers to jump into the joys of fiction. Long paragraphs of dense prose, of hardly any dialogue or scene. (Like this blog post!) It’s as if the stories are created to be intentionally offputting to those not of the proper breeding. It’s no way to expand an art—in fact for the past several decades such stories produced by the thousands have narrowed it. Yet when you read the opinions of literati, high and low, in prestigious magazines or on on-line websites, these kind of literary stories are portrayed as tremendous achievements. Well, maybe they are—if one could read them. They’re terrible models, terrible examples of what the literary art at its best can achieve.

Wednesday, December 18, 2013

Everything Is Propaganda

Ever watch a television commercial with the sound off? You become aware of how the ad is pure manipulation. Every shot is carefully planned. The laughing happy baby followed by a shot of an easily-gliding new car. Hundreds of hours of thought and expertise go into a one-minute advertisement. That one minute could be broken down into its constituent parts, to discover what effect is intended, and how that effect is arrived at.

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The mainstream media, for all their supposed objectivity, create pure propaganda. The major outlets, from New York Times to Salon to Slate, do very much have a slant. Their journalists, in the mode of Tom Bissell, are hired for their ability to make the slant sound plausible. They’re not journalists. They’re propagandists.

Yesterday I noted a tweet from Slate regarding a business article by Matthew Yglesias. The tweet said, “Dividends are evil.” Not inefficient. Inanimate tool that they are, they’re “evil.” We’re not in the realm of economics, but religion. Agendas. Slants. The tweet’s author has apparently never read George Orwell on the topic of the corruption of language and thought. Or what the person read is long forgotten.

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In view of the manipulation of TV commercials, what do we say about larger projects, like a two-hour motion picture? Is it propaganda? Does it manipulate the viewer?

Even a classic like “The Wizard of Oz,” as great a film as it is, is highly manipulative. Watch for the devices of plot, or the shots of Toto, or Auntie Em.

View a movie like “Jaws” with the sound off and you see shot after shot which manipulates you the observer to be properly thrilled, or concerned, or scared. To identify with the characters, or hate the shark.

To me, then, it’s ridiculous for purveyors of sadistic movies of no moral purpose other than engaging the senses in a kind of bloodlust—moviemakers like Quentin Tarantino for example—to claim their movies have no effect on members of the audience. Of course they have effect. We can only wonder or fear what that effect is.

If media didn’t mess with people’s heads, directing minds this way and that, there would be no television commercials; no billion-dollar industry catering to the manipulative whims of public service campaigns, politicians. and marketing departments.

Friday, December 13, 2013

The Coded Novel

MOST NOVELS take place solely on the surface. The author presents the thoughts of his conscious mind—but isn’t in touch with his own subconscious depths, let alone the irrational depth-expressions of society at large. Think Jonathan Franzen. What you see is what you get. At that, the conscious ideas of the man are embarrassingly shallow.

My two ebook novels, THE TOWER and THE MCSWEENEYS GANG, aren’t so much narratives as nightmares. The former in particular is filled with symbols, amid the plotting and expressions of characters’ thoughts.

The symbols are codes pointing the way into the subconscious mind. Markers. Read it and find out.

Monday, December 09, 2013

Quarantine

REFLECTIONS ON ANCIENT LITERARY HISTORY

THE THING TO KNOW concerning myself and any possible attempt to revive the Underground Literary Alliance is that the ULA exists within the culture in a kind of prison camp, surrounded by guards and watch towers. Not a physical camp, mind you, but a mental construction of one. The image of the ULA which exists within established literature’s mind is the creation of distorted narratives about us. No one can see the reality—or wants to see it.

Within the prison camp I exist as a Hannibal Lector figure. Confined to a straitjacket while strapped to a chair on an open concrete floor, observed by spotlights. The writer pariah, untouchable by the literary community. It’s an impossible situation, because the more you try to escape from the straitjacket, the crazier you seem.

I realized this over a year ago, when I attempted to counter gross distortions and lies about the ULA which were perpetuated by a republished essay about the organization. The essay was receiving glowing reviews from a score of reviewers—including in the New York Times—despite its inaccuracies. In the essay, the ULA’s grass roots DIYers are portrayed as would-be totalitarians, simply for wanting to have any kind of a voice in this hectic society. (The fate of the Underground Literary Alliance of course well proves who are the real totalitarians.)

As I contacted various editors to present the other (real) side of the story, I encountered in almost every instance a priori hostility. I knew none of these people, nor did they know me, but on the question of the ULA their minds were settled. The accepted narrative, false as it was, had become the hardened reality.

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The conflict between the Underground Literary Alliance and the larger lit world was a difference of temperament and ideas. The warm morality of the ULA cause, our uninhibited freedom, versus the cold expediency of inflexible cultural conformity. Against indoctrinated system writers marching in lockstep and single file, there was and is no room for those who occasionally step out of line.

The flaw in the original ULA strategy was thinking that our actions and revelations would provoke the conscience of the greater literary community. We couldn’t comprehend that said animal has no conscience. That it’s an unthinking beast concerned only with its own survival.

If we play-acted as radicals, our opponents play-acted as persons of integrity.

The result was that we provoked the literati’s monstrous true face. We were quickly ostracized.

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Banished! Which leaves me unable to aspire to any kind of a normal writer’s life. Should I begin any association with other writers, no matter how tame and innocuous, they would be tarred by the association. The paranoid fear of possible dissent existing within the established literary community would quickly again reach levels of hysteria. Anything we said would be received through a prism of mendacity and dishonesty.

Within the cultural straitjacket, then, my possible actions are constrained. The script has been written—”abandon all hope, ye who enter”—which means that if I’m to do anything it must be in the guise of the crazy. Extreme. Possible colleagues would have to be themselves outcasts, those with no possibility of being accepted themselves, for whatever reasons. It wouldn’t be the ULA which existed ten years ago, with its amateur theatrics and—when all was said and done—rather tame personalities. It would be the Underground Literary Alliance gone nuclear. With no quarter given, none would be asked. Balls to the wall writing and activism done on speed.

Not that this is going to happen. I’m simply saying that given the circumstances, the closed walls faced, it’s the only way of operating that could happen. A cultural scorched earth policy with intensity matching that of the ULA’s ruthless and unmovable enemies.

Thursday, December 05, 2013

Cutting the Gordian Knot

Someone needs to come along and artistically shatter literature's Gordian Knot-- a pagan gnostic symbol aptly matching our solipsistic literature of careful intricacies able to be approached only by students of the Eleusinian Mysteries. Popularly known as MFAers.

Alexander at Gordium in effect said, "Enough of this shit." He showed the boldness necessary to attempt the conquest of Persia, which at the time was civilization's status quo.

As I told moderate members of the Underground Literary Alliance ten years ago, there's no reforming a thoroughly corrupt, insular, stagnant literary system. The established lit world is as hierarchical and backward as was Darius's Persia. There's no correcting it. No baby steps. No carefully going along with literature's High Priests in hopes they'll give up a smidgen of power.

Only a complete break will do.

(Buy my ebook THE MCSWEENEYS GANG at Nook or Kindle. It's filled with pagan ghosts.)

Sunday, December 01, 2013

Whither the ULA?

Will the Underground Literary Alliance ever return?

That thought popped briefly into my head—only briefly—after running into a former ULAer a couple weeks ago. Could the once-notorious literary organization come back? Should it?

Even the ULA’s opponents now must recognize that our arguments were right. The literary scene is as stagnant as ever. No controversy or excitement to be found anywhere. No contention. No new ideas. That the very uninteresting and unoriginal follow-the-status-quo Alice Munro won the Nobel confirms almost every point we made.

When I was directing the ULA, every move we made was exciting.

Likely, to bring the ULA back would require an entirely new team, with me overseeing it. I’d do little more than that—but I would do it. No one besides myself has the force of personality necessary to make the right amount of noise—nor a storehouse of tactics and polemics. One thing I still carry is my voice.

These are stray musings. The odds against such a move, such a restored movement, remain impossible.

One thing for certain: If the organization does come back, under new guise or old, this’ll be the last place where it will be announced!

Monday, November 25, 2013

Seeing Through It

Seeing Through It means seeing through the layers of bullshit surrounding us on all sides, coming from the political, cultural, educational, and media establishments. It’s what I’ve tried to do on this blog and with my literary actions. Also with my ebooks.

THE TOWER, a novel, makes a good starting point. For all its chaos, it shows several sides of today’s debates, and raises questions about this mad society and those who play in it and run it. The characters are toxic. Available still via Nook or Kindle. Check it out!

Wednesday, November 20, 2013

What’s Happening?

ANYTHING of note taking place in the literary world? Exciting new novels? Radical departures from business-as-usual? Innovative attempts to reconnect the art with the general public? OR, just the same-old same-old?

Like most folks, I’ve lost much of my interest. My reading list consists of 19th century classics, books about movies, and historical works.

Keep me posted if the lethargy of literature halts.

Monday, November 11, 2013

National Propaganda Radio?

A couple of Sundays ago, 10/27, while flipping through the radio dial I stumbled upon a rebroadcast of a 10/25 “This American Life” feature on National Public Radio.

http://www.thisamericanlife.org/radio-archives/episode/509/it-says-so-right-here?act=3

The narrative presented by the ostensibly non-partisan producers carried overtones of McCarthyism and blacklists; pariahs and outcasts—a topic to which I’m receptive, for obvious reasons.

They told the tale of one Josh Inglett, former star Wisconsin high school quarterback, who was nominated for a position on the University of Wisconsin’s Board of Governors. The nomination was withdrawn by Governor Scott Walker’s office—apparently because Josh Inglett had signed a recall petition against the governor.

The NPR commentator narrated with the voice of moral seriousness and controlled public outrage. How bad was the offense, to merit a nationwide broadcast on NPR? Josh Inglett, a somewhat privileged young man, might’ve gotten a plum spot. If he had received the position, he’d have been wonderfully fortunate. (Especially considering his age.) But he didn’t get it.

Did Inglett’s signing of the petition justify Scott Walker’s staff looking elsewhere for their candidate? Depends on how you look at it. To me, trying to get someone recalled from his position—kicked out of his job—is as personal as you can get. (Expecting that same man to give you a job is asking much, at least in the real world.)

“This American Life” producer Ben C. Calhoun asks pristine perfection of the Scott Walker staff. It’s the kind of perfection NPR itself pretends to have. The mantle of moral purity which the standard NPR listener wears.

It’s laudable that “This American Life” goes after injustice. They looked long and hard, apparently, to find an example of it—discovering it, coincidentally, in the camp of one of the liberal establishment’s political enemies: the staff of Wisconsin Governor Scott Walker.

I’m sure “This American Life” examined first all the many patronage positions given out by Democratic officeholders, for examples of apparent unfairness—but just couldn’t find any!

So instead: poster child Josh Inglett, former star high school quarterback, positioned to receive, after a lifetime of struggle, a patronage position, at the tender age of 23!—and he didn’t get it. Horrors. Proof, to the NPR listener, that life is truly unfair.

The National Public Radio story is in fact a subtle hatchet job. Reminiscent to me of the hatchet jobs done on the Underground Literary Alliance ten years ago.

No, we weren’t coming from the Right in our attacks on the liberal establishment, our exposes of corruption, but we were a threat to the elite liberal image of perfection. We were also Do-It-Yourselfers; crude, independent voices not properly vetted by said establishment. We were aliens, as alien to the Perfect People as Tea Partiers are now, and so we had to be destroyed.

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Interesting to me, in the NPR story, were the mentions of the Tea Party, which was brought into the narrative as a kind of dark, offstage force. The true villains in the piece, according to NPR; pushing for a vendetta against young Mr. Inglett, innocent victim.

Josh Inglett probably is the lamb NPR portrays him to be. Why did Josh sign the recall petition against Scott Walker? For his mother! Josh Inglett signed the petition not out of conviction, but for his schoolteacher mother. Granted, a son’s loyalty is always (usually?) laudable, but I’m not sure someone of such tender age, lacking as yet independent control of his own mind, was quite the individual Wisconsin taxpayers wanted on that Board of Governors.

But, the Tea Party. The NPR story’s subtext. Implied: dangerous. The standard NPR listener reacts in fear and outrage at the very mention of the name, so thorough has been the media’s creation of the stereotype.

This is a standard tactic—one I saw used often against the Underground Literary Alliance. Call it “Flipping the Script.” It’s a useful tool for shutting down dissent. Small-d democratic populists become portrayed as the very thing they’re fighting against. The very purpose and thrust of the Tea Party is a call for decentralized power. Protest against what they see as a too-big authoritarian central government. They’ve been on the receiving end of the authoritarian power, as seen in the revelations of IRS machinations against them.

Though the populists have no power—other than their voices—they become the potential authoritarians in the standard narrative. As in NPR’s narrative. The tactic is Orwellian.

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This isn’t Propaganda 101. It’s a 700-level class. For grad students only.

More important than the actual story, and the tactical distortions created by it, is the media’s selection process. Which stories do we see? In a nation of 300 million people, there are hundreds of such stories at any moment to be found. For those who listen only to NPR, an entire carefully-selected distorted world can be created to give the slant NPR wishes to present.

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To my knowledge, National Public Radio has never examined corruption and cronyism in the ranks of themselves and their friends. Or in the privileged milieu from which they stem, of well-positioned, well-schooled like-minded writers and commentators.

Such as the established U.S. literary scene, for instance, which, as the ULA once claimed, is utterly stagnant, closed, and corrupt; aggressively intolerant of alternative voices. Either that, or the literary world is utterly wonderful, perfection itself, free of all prejudice—and there just happen to be no contrary voices to be found anywhere.

Sunday, November 10, 2013

National Propaganda Radio?

LESSONS IN THE PROPAGANDA ART

A couple of Sundays ago, 10/27, while flipping through the radio dial I stumbled upon a rebroadcast of a 10/25 “This American Life” feature on National Public Radio.

http://www.thisamericanlife.org/radio-archives/episode/509/it-says-so-right-here?act=3

The narrative presented by the ostensibly non-partisan producers carried overtones of McCarthyism and blacklists; pariahs and outcasts—a topic to which I’m receptive, for obvious reasons.

They told the tale of one Josh Inglett, former star Wisconsin high school quarterback, who was nominated for a position on the University of Wisconsin’s Board of Governors. The nomination was withdrawn by Governor Scott Walker’s office—apparently because Josh Inglett had signed a recall petition against the governor.

The NPR commentator narrated with the voice of moral seriousness and controlled public outrage. How bad was the offense, to merit a nationwide broadcast on NPR? Josh Inglett, a somewhat privileged young man, might’ve gotten a plum spot. If he had received the position, he’d have been wonderfully fortunate. (Especially considering his age.) But he didn’t get it.

Did Inglett’s signing of the petition justify Scott Walker’s staff looking elsewhere for their candidate? Depends on how you look at it. To me, trying to get someone recalled from his position—kicked out of his job—is as personal as you can get. (Expecting that same man to give you a job is asking much, at least in the real world.)

“This American Life” producer Ben C. Calhoun asks pristine perfection of the Scott Walker staff. It’s the kind of perfection NPR itself pretends to have. The mantle of moral purity which the standard NPR listener wears.

It’s laudable that “This American Life” goes after injustice. They looked long and hard, apparently, to find an example of it—discovering it, coincidentally, in the camp of one of the liberal establishment’s political enemies: the staff of Wisconsin Governor Scott Walker.

I’m sure “This American Life” examined first all the many patronage positions given out by Democratic officeholders, for examples of apparent unfairness—but just couldn’t find any!

So instead: poster child Josh Inglett, former star high school quarterback, positioned to receive, after a lifetime of struggle, a patronage position, at the tender age of 23!—and he didn’t get it. Horrors, to the NPR listener, that life is truly unfair.

The National Public Radio story is in fact a subtle hatchet job. Reminiscent to me of the hatchet jobs done on the Underground Literary Alliance ten years ago.

No, we weren’t coming from the Right in our attacks on the liberal establishment, our exposes of corruption, but we were a threat to the elite liberal image of perfection. We were also Do-It-Yourselfers; crude, independent voices not properly vetted by said establishment. We were aliens, as alien to the Perfect People as Tea partiers are now, and so we had to be destroyed.

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Interesting to me, in the NPR story, were the mentions of the Tea party brought into the narrative as a kind of dark, offstage force. The true villains in the piece, according to NPR; pushing for a vendetta against young Mr. Inglett, innocent victim.

Josh Inglett probably is the lamb NPR portrays him to be. Why did Josh sign the recall petition against Scott Walker? For his mother! Josh Inglett signed the petition not out of conviction, but for his schoolteacher mother. Granted, a son’s loyalty is always (usually?) laudable, but I’m not sure someone of such tender age, lacking as yet independent control of his own mind, was quite the individual Wisconsin taxpayers wanted on that Board of Governors.

But, the Tea Party. The NPR story’s subtext. Implied: dangerous. The standard NPR listener reacts in fear and outrage at the very mention of the name, so thorough has been the media’s creation of the stereotype.

This is a standard tactic—one I saw used often against the Underground Literary Alliance. Call it “Flipping the Script.” It’s a useful tool for shutting down dissent. Small-d democratic populists become portrayed as the very thing they’re fighting against. The very purpose and thrust of the Tea Party is a call for decentralized power. Protest against what they see as a too-big authoritarian central government. They’ve been on the receiving end of the authoritarian power, as seen in the revelations of IRS machinations against them.

Though the populists have no power—other than their voices—they become the potential authoritarians in the standard narrative. As in NPR’s narrative. The tactic is Orwellian.

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This isn’t Propaganda 101. It’s a 700-level class. For grad students only.

More important than the actual story, and the tactical distortions created by it, is the media’s selection process. Which stories do we see? In a nation of 300 million people, there are hundreds of such stories at any moment to be found. For those who listen only to NPR, an entire carefully-selected distorted world can be created to give the slant NPR wishes to present.

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To my knowledge, National Public Radio has never examined corruption and cronyism in the ranks of themselves and their friends. Or in the privileged milieu from which they stem, of well-positioned, well-schooled like-minded writers and commentators.

Such as the established U.S. literary scene, for instance, which, as the ULA once claimed, is utterly stagnant, closed, and corrupt; aggressively intolerant of alternative voices. Either that, or the literary world is utterly wonderful, perfection itself, free of all prejudice—and there just happen to be no contrary voices to be found anywhere.

Thursday, November 07, 2013

What’s the True Story?

The Jonathan Martin-Richie Incognito NFL story is interesting because we’re left asking, “What’s the real story? What really happened?” We’re seeing how the same incident—colleagues getting up from a table—can have multiple interpretations. Obviously, the things which were happening were being perceived differently by Martin and by the team.

Much of history, much of literature, much of life is the search for objective truth. It’s not found by looking at a topic in a one-dimensional way. Better to at least try to understand all possible viewpoints. When you play chess, you see the game through the eyes of your opponent, if want to have hope of countering what he’s doing.

What of course frustrated me about my days with the Underground Literary Alliance—and which still concerns me about today’s literary scene—is how one, narrow, basically untrue viewpoint toward our campaign was grabbed hold of, deliberately by our opponents, and became the official narrative on us, as exemplified of course by Bissell’s egregious, widely circulated and wildly applauded essay. The entire literary scene believed it, gullibly. And these supposedly writers!? Those who should be on the alert at all times for the games and rationalizations, the untruths and machinations, guaranteed to come from an established narrative in any (intrinsically) flawed and corrupt human society. The writer first of anybody should know humans are flawed creatures. You should never automatically buy anything.

Real art comes from creating multiple dimensions of perception and meaning, at the same time pulling back the facades and masks obscuring the true story.

Monday, October 28, 2013

In Defense of New Media

I CAN UNDERSTAND  concerns about the omnipresence of new media, including social media outlets like Twitter, blogs, and Facebook. Too many people are letting social media seemingly to dominate their lives.

The flip side to these concerns is that new media at least presents in our society the possibility of alternate viewpoints.

Anymore, established media, especially that based on the east coast, gives us one way of thinking. Every “journalist” and spokesperson has the same assumptions about the world, the universe, and this nation. I call it monothink.

Monothink extends to the literary scene. This blog, with its contrary ideas, presents, for those who wish to find it—few as those individuals may be—an alternative way of considering American literature and its players. If it were up to the Overdogs who dominate approved literature, there would exist no contrary ideas. Anyplace.

I’m a rare person in that I enjoy the exhilaration of alternate ideas. Part of the excitement of reading The Fountainhead by Ayn Rand, for instance, is not simply that it’s a terrific novel, but also that it gives the reader a wholly different way of viewing our world. Most of today’s “intellectuals” fear to have their assumptions challenged. They’re incapable of engaging in the give-and-take of clashing ideas.

For now, the Internet remains a place to discover notions, some crazy and others not so crazy, that would never make it past the careful screening of established society’s designated gatekeepers.

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(To read more of my own incorrect views look into my ebooks, offered via Kindle Store or Nook Books. Writing outside the monolith.)

Friday, October 25, 2013

Munro Doctrine

The truth is that Alice Munro is a terrible writer.

All one need do is look at the short story The New Yorker has republished in its current (10/21/13) issue: "The Bear Came Over the Mountain." I didn't get past the overwritten first paragraph. Like most literary writers, Alice Munro is afflicted with detail disease. In the story she gives us a well-observed cataloging of minutiae. Is this guaranteed to hook anyone outside a creative writing course? Uh, no.

What Munro gives us, like so many of her literary establishment peers, is a bad model for the short story. All emphasis is on the "well-crafted sentence." This has become the lit world's highest value. And so they pile on impressive sentence after sentence, not caring that the sentences should be mere pieces toward a larger goal. As the work becomes coagulated, reading it becomes a slog.

Gatekeepers of the art like Heidi Pitlor are incapable of looking beyond the indoctrination of the writing program. Glance at Heidi's twitter account, @BAShortStories. She posts literary sentences which catch her interest. Plot? Theme? Excitement? Pace? Meaning? It's clear what Heidi Pitlor values.

Meanwhile, as Alice Munro has pursued her delicate and irrelevant art, interest in the short story from the general public has dwindled almost to nothingness. I've said before, I doubt if even many New Yorker subscribers read their fiction. Its purpose isn't to be read. Like a fashionable glossy magazine on a gentrified coffee table, the fiction exists as a taste marker. A sign of breeding and class.

The structure of the literary story today is particularly inapt in our A.D.D. era.

Short stories weren't always like Munro's. Once, writers got to it. "None of them knew the color of the sky." Yes, once, story writers like Stephen Crane, Jack London, and Ernest Hemingway could be descriptive but also vigorous and compelling. Painting a picture with a few brushstrokes-- not parked under the kitchen table jotting down like an observant cockroach every last teapot, cobweb, and kitchen spoon in the room.

(To read my own experiments in reviving the short story, pick up my ebook, TEN POP STORIES, at Kindle or Nook. Rumor has it the ebook is quite affordable. Each story is different. There's no excuse for not putting it onto your reading device!)

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p.s. Here's a link to typically overwritten gushy praise from literary establishment types about Alice Munro. I picture Joyce Carol Oates, while typing her remarks, simultaneously poking the eyes out of an Alice Munro doll, wanting to tell the world that after all, others also, including herself, SHE, have produced overwritten, Chekovian and even hysterical short stories-- sometimes very violent stories-- in her particular instance, quite a few of them; if people anyone SOMEONE is handing out awards to deserving or at least long-suffering writers. . . .

http://www.newyorker.com/online/blogs/books/2013/10/writers-on-alice-munro.html

Tuesday, October 22, 2013

Corruption of Language and Thought

Here's what seems to me a confused essay relating the sublime to horror movies:

http://americamagazine.org/issue/wounded-beauty

The writer, Eve Tushnet, uses "sublime" as almost the opposite of "beautiful." Yet the sublime is supposed to be the best in mankind. That which elevates us from the base. Horror movies, on the other hand, wallow in the base. Their effect comes from depictions of grossness and ugliness. They examine what's darkest within us.

Our culture today is in a full-on embrace of irrationality. Of nonstop media depictions of cruelty. Movies of horror, fantasy, and sadistic violence. That people enjoy these depictions says something about where we are now as a civilization. The greatest forms of art, the truly beautiful and sublime, have been shoved aside. We're more in pagan Rome than in what was once the good old U.S.A.-- which carried the heritage of the glories of Western civilization.

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In my newest ebook, ABOUT WESTERN MOVIES, I discuss a movie genre which can be cruel but can also be, at its best, very beautiful. I'll take that genre anyday over the unending savagery of horror movies, which once were an artistic curiosity but have gone completely mainstream, leaving confusion in their wake.

Sunday, October 20, 2013

Believing in the Devil?

Supreme Court Justice Antonin Scalia made some waves recently when he affirmed his belief in the devil. See:

http://www.upi.com/Top_News/US/2013/10/13/Scalia-and-the-devil/UPI-76941381649400/

Many media commentators saw Scalia’s statements as a big joke. Yet how wrong was he?

I’ve been around enough to say I believe in the existence of evil. I’ve seen, once or twice, persons who seemed possessed by a spirit of evil.

When one studies history—the French Revolution, for instance—the idea of human evil becomes more tangible.

The question is whether or not evil is a personality, or the attribute of a personality. Or a living personality.

Is the notion of the devil childish? Or rather, is not the failure to believe in the evil in man and mankind—call that evil Original Sin, or call it the devil—the true childish viewpoint?

(As Scalia says, far more intelligent men than anyone alive today believed in the existence of the devil. Yet today’s intellectuals—nothing if not narrow-minded and arrogant—have all the answers. At least in their own uninquisitive minds.)

Monday, October 14, 2013

Wednesday, October 09, 2013

A Pauline Kael Quote

Here’s an interesting quote from famed film critic Pauline Kael, from an essay, “Are Movies Going to Pieces?” dating from December 1964:

“The ‘pure’ cinema enthusiast who doesn’t react to a film but feels he should, and so goes back to it over and over, is not responding as an individual but as a compulsive good pupil determined to appreciate what his cultural superiors say is art. Movies are on their way into academia when they are turned into a matter of duty, and in this country respect for High Culture is becoming a ritual.”

This situation today of course holds true even more for literature than for film. What we see now, even from the youngest generations—especially from them—is an unwillingness or inability to question the accepted premises handed down to them. The assumed gods. Which is not the path toward vibrant living art forms; only stagnating status quos. Dead art.

Sunday, September 29, 2013

About the Intelligentsia Part II

Today’s establishment intellectuals receive feedback on two levels.

A.) That which you actually say. The argument you make.

B.) More important, to how they react, is whether you agree or disagree with them. As simple as that.

Whether or not they pay attention to A, depends on B.

If you don’t agree with them, it’s a personal affront. More, it’s an attack on the intellect itself.

The world of the intelligentsia is not an unbiased, coldly objective forum, as advertised. Instead it’s run, controlled, and protected through primal codes of the herd.

Monday, September 23, 2013

Uncoding “The Wizard of Oz”

LOOKING FOR DEEPER MEANING

Oz

With the appearance of the Imax 3-D version of the 1939 classic movie The Wizard of Oz in theaters, I’ve written a review of the experience, but also added thoughts about what the various symbols contained therein, such as the ruby slippers, could mean. Here:

http://www.americanpoplit.blogspot.com/2013/09/about-wizard-of-oz.html

This is part of my foray into writing about movies—along with my new ebook, ABOUT WESTERN MOVIES, affordably available at Kindle or Nook. Buy it!

Saturday, September 21, 2013

About the Intelligentsia Part I

STRAY THOUGHTS

Just as no established literary persons, or writers of any kind, dared publicly debate the Underground Literary Alliance after we destroyed the Paris Review staff at CBGB’s in New York City, February 2001—so not one of the many thousands of wonderful status quo writers, critics, and literary persons will to this day contest myself and my ideas anywhere, at any time, in any forum.

Has an art throughout history ever been so congealed with a mass of unquestioning conformity? Contrary opinions not only aren’t allowed. The possibility of their very existence is not considered. Writing academies produce waves upon waves of writers, throwing them upon the culture-at-large, yet you’ll look in vain for any who’ll dare disagree with the accepted gods and ways of doing things. It’s a prescription for obsolescence. The public still reads—mass market junk produced without thought. But said public has no longer any concept of American literature. Literature, in that sense, no longer exists—except on the rare occasion when the monopolistic media marketing machine can present an Insider writer like Jonathan Franzen AS IF he’s one more of the mass market crowd. His works frankly are mediocre enough to get away with it.

Nowhere are there any advances in the art. Nowhere are new ideas tried, or wanted. There’s an “avant-garde,” but it’s an avant-garde mimicking in every way, every sentence (but absent the radical intent) of avant-gardes of ages past. Of 100 years ago, really. Which means, not an avant-garde at all.

No advances are wanted, no criticism, no tests, no aesthetic combats. All is frozen. Sclerotic. Impregnable, but at the same time at any moment able to collapse, like the corrupt and complacent French empire of a Louis Napoleon, bolstering its arrogance on the glories of sixty years past.

I note that a frenzied and feverish literary intellect like Joyce Carol Oates, for instance—who’s been frenzied and feverish since 1960, and whose work and mentality haven’t budged one microcentimeter since then—is still taken seriously by following generations of well-indoctrinated literary scribblers. Not just taken seriously, but lauded, though her “ideas” and violently confused works could sustain no serious scrutiny, and never could, beyond some early short stories since then endlessly, year after year, reproduced with slight variations. The standing of Ms. Oates being one example of the refusal of new writers to artistically challenge the received artistic gods. Countless other examples could be given—but while other examples of the staleness of the art might surpass Oates in willful and obstinate mediocrity (see Franzen again), they’ve lasted not nearly so long.

Here I stand like a lonely knight, my flag planted, still waiting for the contest which will never come, while the vast armies of stasis, innumerable in their glittering yet cheap pot-metal armor—but not very confident—continue to keep their far distance from where my sword and flag stand planted as continuous challenge in the ground.

Monday, September 16, 2013

Edited From My Ebook

Here are a few passages I took out of my most recent ebook, ABOUT WESTERN MOVIES, because I didn’t want to beat my theme into the ground:

“If you have a major shootout every ten minutes, then you’ve lost all sense of proportion. You’re not building toward anything, are merely creating violence porn for violence groupies, with a serial killer as your hero.”

“Violence in art can be tragic and cathartic. When there’s too much of it, it merely benumbs. Today, in a real hopeless West—our depraved imaginative culture—maniac murderers shoot up movie theaters in Colorado. The minds of movie audiences have already been shot up. The violence now is simply jumping from the screen into the actual world.”

“Violence alone isn’t realism. The world is not all darkness.”

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Pick up my ebook, new-style film criticism, ABOUT WESTERN MOVIES, for a mere 99 cents at Nook or Kindle.

Saturday, September 14, 2013

What Happened?

Has anyone fully processed what happened viz-a-viz the United States, Russia, and Syria, this past week?

Has Vladimir Putin advanced that far on the p.r./diplomacy front, reinventing those fields—or is our government of Kerry, Obama and Company that spectacularly incompetent? It’s a week that will be studied by diplomatic historians and propaganda experts for decades to come.

Our preconceptions have been turned on their head. Tactics of the Cold War have been reversed. Starting with the Edward Snowden incident, Putin has become the man of intelligence, fair play, and peace. He’s done to the United States what the U.S. did to the Soviet Union. Namely, win the public relations battle. Putin seems to have learned well, adopting our skills, while we’ve regressed.

Case in point is the international TV show “Russia Today” (RT), fronted by hyper-beautiful and hyper-intelligent Abby Martin, who puts America’s crudely indoctrinated bubble-headed plastic Mainstream Media commentators to shame.

Here’s a look at Ms. Martin on a recent story, in an RT feature “Breaking the Set.” Click on the video. It’s very slick, with Abby Martin firmly on the side of the underdog:

http://rt.com/shows/breaking-set-summary/us-syria-crisis-nsa-854/

Say what you will about Putin, but he’s doing something right, while our corrupt system is dependent not on the kind of talent and strategic skill ex-KGB man Putin exhibits, but on same-old same-old Ivy League mediocrities whose qualifications for promotion are an unquestioning willingness to be indoctrinated by a status quo ideological system and an unswaying ability to conform. (Even when not from the Ivy League, apparatchiks’ mendacity and ability to stretch the truth is noteworthy—as shown for example by cheap propagandist Tom Bissell, among many others.)

That President Obama and John Kerry—as well as previous President George W. Bush—are all Ivy Leaguers is not evidence against my thesis!

Thursday, September 12, 2013

Order from Chaos

(A companion post to this one at American Pop Lit: http://www.americanpoplit.blogspot.com/2013/09/order-and-chaos.html)

One reason why I believe in the existence of God/a Creator is because I can’t conceive how order can be imposed upon the chaos of the universe without an intelligence behind it.

It’s the feeling I had upon finishing Thomas Carlyle’s masterwork, The French Revolution. The collected intelligences of men of the Age of Reason, who made a god of reason, produced from their efforts violence, chaos, and terror. The disorder didn’t end until a unitary intelligence, in the person of Napoleon, imposed order upon French society via cannon fire.

Order from chaos, via a strong intelligence, explains much of French history. Charles De Gaulle rescued the French nation twice; in 1940-46 and in 1958, times when the combined voices of his countrymen were producing disintegration. Only he—no one else—could’ve rescued the French nation.

In my own experience, I know that the Underground Literary Alliance failed because it tried to run itself via group consensus, instead of unitary leadership.

Democracy is fine once the universe—or nation or movement—has been created. Creating the universe, putting it on a solid foundation, without an overarching intelligence seems an impossible feat.

Sunday, September 08, 2013

Best Ensemble Movies

On my American Pop Lit blog I’ve been looking at what I call “Best Ensemble Movies.” Here’s my look at one of them, 1959’s Anatomy of a Murder.

http://www.americanpoplit.blogspot.com/2013/09/order-and-chaos.html

Tuesday, September 03, 2013

Latest Hysteria

PANIC UPDATE

The latest scare story making the rounds on the Internet is the contention that the oceans are acidifying “at the fastest rate in 300 million years.”

This is the kind of thing it takes only a moment of thought to wonder about. Not 30 years—which no doubt has been measured. Not 300 years, which might be questionable, but okay. No. The promoters of this one go all the way. 300 MILLION years! Ohmygod! Help!

The public today is so braindead unquestioning about media hype that many of them accept this on face value. Needless to say, we have no real way of knowing what was happening 300 million years ago. Or 30 million years ago, for that matter. It’s all guess work—but enough to set a mass movement upon, and hold colorful demonstrations in unthinking places like San Francisco filled with the need-to-believe heal the planet mob.

Not that they’ll change anything about their San Fran lifestyles. It’s gesture politics to make them feel good—in the same way that lobbing a few missiles at Syria is a gesture intended to make us—or someone—feel good. We—he—did something. Now let’s continue what we were otherwise doing.

Sunday, September 01, 2013

Front Page Story?

The elite flagship newspaper The New York Times is getting more bizarre in pursuing some kind of crazy agenda which seems intent on dividing this country.

Case in point: This article by John Eligon which appeared on the front page of Friday’s Times. The article is about a white racist found in North Dakota, plying his trade in a metropolis of 24 people!

http://www.nytimes.com/2013/08/30/us/white-supremacists-plan-angers-a-north-dakota-town.html?_r=0

How hard did the New York Times and John Eligon have to look to find the guy? Yes, the individual is misguided; what he’s doing is terrible. But: the front page? Really?

What’s the point? What exactly are you trying to prove? Don’t you realize that the net result of such mainstream media bombardments of every example found of existing racism is to further divide this country? To further alienate the races?

I’m a native of the troubled city of Detroit and have seen the result of distrust between blacks and whites—what it leads to. As I’m back living in this city, whose hope is dependent on racial cooperation, I can only say to the New York Times and other agenda-following elite media outlets: Stop. Please.