Sunday, January 23, 2005

"this octopus was not in good mental health"

A huge octopus emerges from the ocean, wraps an oversized tentacle around the waist of a young woman, and proceeds to drag her into the sea. This memorable episode from Thomas Pynchon's vast and surreal novel, Gravity's Rainbow, has a happy ending, however, owing to the intervention of Mr. Tyrone Slothrop, who first unavailingly beats the molluscan monster over the head with an empty wine bottle. Then, in a stroke of zoologically informed genius, he offers the briny behemoth something even more alluring than a fair maiden: a crab. It works, suggesting that this particular octopus conforms, at least in its dietary preference, to the norm for its species. We learn, nonetheless, that "In their brief time together, Slothrop formed the impression that this octopus was not in good mental health."

It isn't entirely clear where the creature's mental derangement lies. After all, it behaved with a reasonable degree of healthy, enlightened self-interest in seeking first to consume the young lady, and then forgoing her for the even more delectable crab. Yet nature writer David Quammen may have been onto something when he pointed out that octopi generally - not just Pynchon's fictional creation - might be especially vulnerable to mental disequilibrium, if only because one of their distinguishing characteristics is having immense brains. Mental strain is probably not unknown among animals, but there seems little doubt that it is particularly well-developed in the species Homo sapiens, whose brains - like Pynchon's octopus - are especially large, and whose strain, is correspondingly (and regrettably) great.

This essay will argue that one of the major themes of evolutionary biology - the conflict between individual selfishness and group altruism - is paralleled by a comparable theme in literature, and that each usefully illuminates the other.

The tension between individual and group may also shed light on another longstanding evolutionary conundrum: Why do people have such big brains, bigger even than our hungry octopus? There has been no shortage of possible answers, including the possibility that humanity's oversized intellect has evolved as a means of facilitating communication, tool use, making war on our enemies and/or defending our friends, attracting and keeping mates, or dealing with predators as well as prey. There is even the prospect that the human intellect might be a by-product of sexual selection, comparable to the peacock's flamboyant tail feathers. Here is yet another possibility, suggested by the self/group tension: Maybe human beings owe their mental adroitness to the peculiar pressures of keeping a very complex social life in adaptive equilibrium. This possibly hare-brained schema for explaining our human-brained selves has at least one virtue: It speaks to a long-standing question in ethics, which is also illuminated - at least in part - by evolutionary biology: How to navigate the conflicting demands of personal selfishness and social obligation?

Moreover, the question of individual versus group generates a useful way of looking at one of the most pervasive yet elusive themes in literature: the dilemma of self-assertion in a world that often calls for precisely the personal abnegation that our genes are generally primed to reject. This conflict between self and others, selfishness and altruism, the needs of the individual and those of society, has a long pedigree in the world of stories, as well as an equally potent basis in the world of life. Homo sapiens is a social creature. So, when people battle to make their way, as individuals, within a larger social group, they are doing something that all social species do (often in remarkably similar ways). Human beings are simply more aware of it than is the average prairie dog or pumpkinseed sunfish. And so, people not only live through these dilemmas, they write about them.

This essay, accordingly, suggests that when writers explore one of their favorite themes - the ever-present struggle between the individual and the larger group - they are recreating a parallel, and fundamental theme of biology.

As difficult as it must be for any creature to balance its various competing demands (to eat or sleep, attack or retreat, eat a damsel or a crab, etc.) such choices are probably most confusing in the social domain. For as hard as it may be to predict the vagaries of weather, for example, the vagaries of one's fellow creatures have to be even more complex, confusing, and stressful. And when it comes to negotiating a complicated and difficult social life, human beings are in a class by themselves. Clearly, our remarkably over-sized brains do not satisfy themselves with simply meeting the contingencies of daily life. Human neurons are obsessed with confronting all sorts of difficult issues, mostly of their own making. Small wonder that so many people, like Pynchon's octopus, are stressed.

And small wonder, as well, that so much fiction revolves around the conflicting demands of self versus group, selfishness versus altruism, callow youth versus responsible adulthood, individual needs versus society's expectation: it is a conflict that may well reside, literally, in our genes....

....read it all: Biology Lurks Beneath: Bioliterary Explorations of the Individual versus Society by David P. Barash, Department of Psychology, University of Washington.

L.S.D.



From Multidisciplinary Association for Psychedelic Studies:
On Wednesday at 12 noon EST, MAPS offered its first live internet audio broadcast of our celebration of Albert Hofmann's 99th birthday. Dr. Rick Doblin, president of MAPS, and a panel of prominent scientists spoke to Albert live in Switzerland about the renewal of psychedelic research and their work....To listen to the conference call, go to: http://www.maps.org/conferences/ah99/ah99b.mp3

The Crying of Lot 49, p. 111:
There is me, there are the others. You know, with the LSD, we're finding, the distinction begins to vanish. Egos lose their sharp edges.

The structure of lysergic acid diethylamide. The diethylamide group is shown in red and the indole ring in blue.


Wednesday, January 19, 2005

oneirine lives



Gumpelmann. A Psychiatric Novel

Publisher's information

In this brilliant comic novel Karl Koehler paints a nightmarish picture of his former psychiatric colleagues and their drug studies.

Gumpelmann, an alter ego of the author, confronts an all-powerful psychiatric establishment intent on pushing through its agenda at all costs. In this instance it is the drug oneirine - first described in Thomas Pynchon's Gravity's Rainbow—that psychiatrists believe holds the key to developing the ultimate paranoid mouse.

Who then could better describe the sexual humiliations and numerous forms of never-ending dependency originating in a clinic with an academic dog-eat-dog mentality primarily geared to doing the bidding of the drug companies than a psychiatric insider?

A funny, corrosive and entirely absorbing novel written in the subversive tradition of American postmodern literature, which could just as well have been entitled "Sex, Drugs and Doo Wop."

About the Author

Karl Koehler was born in Manhattan in 1935, grew up in the Bronx and, after studying at Holy Cross College in Massachusetts, completed his medical studies in Innsbruck. After finishing his psychiatric residency in Cornell, Heidelberg and the State Hospital in Marburg, he became a Privatdozent in Heidelberg; later he accepted an appointment as head of Social Psychiatry at the University Psychiatric Clinic in Bonn. He is presently living in retirement with his wife in the Bonn-Cologne area.


Published in German. Thanks to p-list Otto for the heads-up.

Thursday, January 13, 2005

Beethoven, Hansel & Gretel, V-2, paedophilia



Israeli opera signs up Buchenwald production:
ERFURT - The New Israeli Opera Tel Aviv will participate in the controversial staging of Beethoven's prison-based opera "Fidelio" at the site of Buchenwald concentration camp, German organisers of the production announced on Tuesday.

The 14-year-old opera company, under the general direction of Hanna Munitz, will provide musicians and singers for the production, scheduled for 2007 at the Nazi death camp site near Weimar in eastern Germany.

The controversial production is the brainchild of Giancarlo del Monaco, guest artistic director of the new Erfurt Opera House.

Del Monaco, 61, son of famed tenors Mario del Monaco, currently is embroiled in another controversy involving a production of German composer Engelbert Humperdinck's much-loved 1893 opera "Hansel And Gretel".

The Erfurt production, which premiere's next weekend, shifts the story from a fairy tale forest witch's cottage made of candy to a sinister metropolitan red-light district where children are abducted and held as sex slaves for paedophiles.

The sandman of the original libretto is transformed into a cocaine-sniffing procurer who hands over child abductees to the "witch" who, in del Monaco's production, is a seemingly respectable clergyman.

As he has with the "Fidelio" production, del Monaco has defended his "Hansel And Gretel" production, saying the original story by the Brothers Grimm was designed to make children wary of strangers promising them sweets.

"Underlying the libretto is a tacit comment on paedophilia, violence and sexual abuse of children," del Monaco said in an interview with Deutsche Presse-Agentur dpa.

"I am not attacking the church, but only attacking the church's continued denial that such things have gone on and continue to go on," he told dpa.

"Fidelio", Ludwig van Beethoven's only opera, is a story of political repression, unjust imprisonment and eventual dramatic liberation.

Gravity's Rainbow, p. 50:
How Pointsman lusts after them, pretty children. Those drab undershorts of his are full to bursting with need humorlessly, worldly to use their innocence


see also:

Beethoven in Gravity's Rainbow @Amazon.com index

Hansel and Gretel in Gravity's Rainbow @Amazon.com index


Saturday, January 08, 2005

deathmarch

The Gravity's Rainbow Deathmarch: Our First Few Steps..., a group reading of the novel, underway at cecil vortex. "All are welcome."

Friday, January 07, 2005

a madman dreams of space conquest




Download be damned, can't resist the Rocket. Image from Comic Book Bondage Cover of the Day, "the web's foremost reference site for bondage covers on mainstream comic books."


urban gorilla




Through the use of posters, stencils, stickers and apparel, we aim to rally skateboarders and artists alike to "Reclaim The Streets!"

... read it all: The Urban Guerilla Projekt - An Explanation, at the always-interesting Wooster Collective.

Gravity's Rainbow, p. 368:
Well, what it is--is? what's "is"?--is that King Kong, or some creature closely allied, squatting down, evidently just, taqking a shit, right in the street! and everything! a-and being ignored, by truckload after truckload of Russian enlisted men in pisscutter caps and dazed smiles, grinding right on by--"Hey!" Slothrop wants to shout, "hey lookit that giant ape? or whatever it is. You guys? Hey . . ." But he doesn't, luckily. On closer inspection, the crouching monster turns out to be the Reichstag building, shelled out, airbrushed, fire-brushed powdery black on all blastward curves and projections, chalked over its hard-echoing carbon insides with Cyrillic initials, and many names of comrades killed in May.

Is it O.K. to be a Luddite?
There is a long folk history of this figure, the Badass. He is usually male, and while sometimes earning the quizzical tolerance of women, is almost universally admired by men for two basic virtues: he Is Bad, and he is Big. Bad meaning not morally evil, necessarily, more like able to work mischief on a large scale. What is important here is the amplifying of scale, the multiplication of effect.

Wednesday, January 05, 2005

consider the miserable life of the pig, update




Consider Pig City:
Three years ago, Rotterdam-based architects bureau MVRDV imagined a pig city to change farming production and solve problems such as swine fever and foot and mouth disease. Their idea was to give more space to pigs, letting them live in huge and comfy skyscrapers. Balconies allow the animals to rummage around under trees, an abattoir is housed in the plinth, and animals for slaughter are moved in lifts. There's even a fish farm that supplies some of the food needed. If pigs are kept in stacked "apartments" in such a way that they enjoy better conditions, the meat tastes better, livestock transport becomes unnecessary, diseases are eliminated, and the Netherlands (European Union's leading exporter) acquires more space, according to the architects.

The We Make Money Not Art blog entry includes link to MVRDV's interesting pig movie.

Gravity's Rainbow p. 555:
William must have been waiting for the one pig that wouldn't die, that would validate all the ones who'd had to, all his Gadarene swine who'd rushed into extinction like lemmings, possessed not by demons but by trust for men, which the men kept betraying … possessed by innocence they couldn't lose … by faith in William as another variety of pig, at home with the Earth, sharing the same gift of life.…

Monday, January 03, 2005

top 10 war profiteers of 2004

1. AEGIS
2. BearingPoint
3. Bechtel
4. BKSH & Associates
5. CACI and Titan
6. Custer Battles
7. Halliburton
8. Lockheed Martin
9. Loral Satellite
10. Qualcomm

...gory details: War Profiteers: The Center for Corporate Policy's Top Ten War Profiteers of 2004

Gravity's Rainbow, p. 105:
Don't forget the real business of the War is buying and selling. The murdering and the violence are self-policing, and can be entrusted to non-professionals. The mass nature of wartime death is useful in many ways. It serves as spectacle, as diversion from the real movements of the War. It provides raw masterial to be recorded into History, so that children may be taught History as sequences of violence, battle after battle, and be more prepared for the adult world. Best of all, mass death's a stimulus to just ordinary folks, little fellows, to try 'n' grab a pice of that pie while they're still here to gobble it up. The true war is a celebration of markets.


Saturday, January 01, 2005

new year

One of those sad little Parisian-sounding tunes in 3/4:

Love never goes away,
Never completely dies,
Always some souvenir
Takes us by sad surprise.

You went away from me,
One rose was left behind--
Pressed in my Book of Hours,
This is the rose I find. . . .

Though it's another year,
Though it's another me,
Under the rose is a drying tear,
Under my linden tree. . . .

Love never goes away,
Not if it's really true,
It can return, by night, by day,
Tender and green and new
As the leaves from a linden tree, love,
that I left with you.
[Gravity's Rainbow, pp. 289-290]



my linden tree


Friday, December 31, 2004

A.Word.A.Day--pinguid

pinguid (PING-gwid) adjective

Fat; greasy; unctuous.

[From Latin pinguis (fat).]

"But after losing two stones, he (Andrew Roberts) has shucked off his old nickname of 'the pinguid Thatcherite historian'." Sholto Byrnes; Pandora; Independent (London, UK); Feb 12, 2003.

"Turner always said that the news had to be the star for CNN to flourish--though he had a curious loyalty to pinguid idolator Larry King." Phil Rosenthal; What the Bleep?; Chicago Sun-Times; Feb 10, 2003.

This week's theme: words to describe people.

See also: Peter Penguid in The Crying of Lot 49


Tuesday, December 07, 2004

round up the usual octopus quotes

It was a May-December romance that really had legs: Young Aurora, a female giant octopus and her aging cephalopod suitor J-1 were thrown together for a blind date seven months ago by aquarists who hoped the two would mate. By all appearances, their fling was a success, and Aurora began dribbling long strings of eggs down the sides of her tank the following month. Though her sweetheart died of old age in September, the pitter-patter of tiny tentacles seemed close at hand.
.... read it all: Octopus Doesn't Give Up on Motherhood

Random octopus graphic:

"Octopus - The River
from their mega-rare debut album, Restless Night, released in 1970"

See also: 14 references to octopus in Gravity's Rainbow and octopus porn.

Friday, December 03, 2004

the haunted mansion of an underground past

from: Growing Up in the Weather Underground: A Father and Son Tell Their Story Democracy Now!, 3 December 2004:
THAI JONES: Well it starts on a night that my parents were arrested. We were sitting around, it was World Series time, we had just had dinner and the telephone in the apartment rang and because we were underground, no one had that number. That phone had basically never rung in about the six months we had lived there. And Jeff picked it up and it was an F.B.I. Agent and he said, “We have the building surrounded. We have sharpshooters on the rooftops and in a few seconds, the F.B.I. Is going to knock on your door.” So Jeff turned to Eleanor and said, “We are busted.”

AMY GOODMAN: Eleanor is your mom?

THAI JONES: Eleanor is my mom. The next thing I knew, there was banging on the door. About 20 fully armored swat, F.B.I. And police officers with M16's and shotguns stormed you this the house. They took Jeff out into the hallway and made him crawl down the hallway. What I remember is that there was a moment in all this sort of craziness when people had forgotten about me and I went down to my little bedroom at the end of the hall and I was sort of looking through my belongings to see if I could find some way to help out. And I just had this feeling of, you know, I had like a cowboy hat, I had some stuffed animals, I had a little pair of child's safety scissors, so I just remember feeling helpless and I went back out and just stood with Jeff in the hallway. And I had no idea what was happening. I had no idea that our family was different. I mean I knew that we had had different names but I had never questioned that. And so this book is sort of about exploring how that came about.

Vineland, p. 114:
So into it and then on Prairie followed, a girl in a haunted mansion, led room to room, sheet to sheet, by the peripheral whiteness, the earnest whisper, of her mother's ghost.

Wednesday, December 01, 2004

that duck



Vaucanson's Duck



From The Guitarist Is Metal. No, Not Heavy Metal by Michael Beckerman, New York Times, 30 November 2004:
GuitarBot claims its ancestor not in the golem - which, after all, has decidedly human characteristics - but in the ingenious automated machines of the last three centuries. In the mid-18th century, the Maillardet brothers created an astonishing writer-draftsman that could write poetry and do amazing drawings of ships and buildings. Around the same time, Jacques de Vaucanson created his famous defecating duck, which could eat, digest and all the rest. He also created a flute-playing android, which offered 12 tunes, perhaps an ancestor of the robot that recently conducted Beethoven's Fifth Symphony in Tokyo. While audiences may be titillated by the prospect of seeing such devices and their descendants do "human" things, Mr. Singer and Mr. Adamson have something else in mind. Mr. Adamson, in particular, is more concerned with technical issues and the ability of machines to do things that humans cannot accomplish.

Mason & Dixon, p. 374:
"Agreed, you must consider how best to defend yourself,-- wear clothing it cannot bite through, leather, or what's even more secure, chain-mail,-- its Beak being of the finest Swedish Steel, did I mention that, yes quite qable, when the Duck, in its homicidal Frenzy, is flying at high speed, to penetrate all known Fortification, solid walls being as paper to this Juggernaut.… One may cower within, but one cannot avoid,-- le Bec de la Mort, the…'Beak of Death.'"

Tuesday, November 30, 2004

black/white

From review of Hitler's Black Victims: The Historical Experience of Afro-Germans, European Blacks, Africans and African Americans in the Nazi Era by Clarence Lusane:
Lusane investigates Nazi policy towards blacks, the Nazi sterilization program directed at blacks, black captives of the Nazis, Nazi propaganda against blacks, the Nazi response to jazz, their reaction to black athletes, and blacks in the resistance movement. Several recurring themes inform these chapters. First, Lusane stresses the Nazis' differential treatment of differently situated black groups and individuals. Though many blacks tried to leave and some Africans and other expatriates succeeded, the Nazis confiscated Afro-Germans' passports, and the British prevented natives of Southwest Africa from returning because they had fought with Germany in World War I. However, blacks in Germany were never targeted for elimination or even systematic harassment. In general, Africans were better treated than Afro-Germans, since the Nazis foresaw they would need African assistance should Germany regain its colonies. The Nazis also employed Afro-Germans in the German film industry to portray Africans in colonial propaganda films made mostly between 1938 and 1943. Lusane can document the presence of blacks (imprisoned for other reasons) in concentration and labor camps as well as black GIs in POW camps. Otherwise, Afro-Germans were mobilized for the war effort like the rest of the German population. Some even belonged to the Hitler Youth and served in the German army--but were also compulsorily sterilized. Lusane declares, "the preference to address the problem by sterilization of some would be as coherent as the Nazi policies ever got regarding Afro-Germans and Africans" (p. 99). Since Nazi sterilization law, promulgated in 1934, did not allow sterilization based solely on race, the Nazis undertook the sterilizations in secret. At least 385 Rhineland children were sterilized between 1935 and 1937, a gradual strategy that, Lusane argues, nonetheless "sought to erase any future blackness on German soil" (p. 142).

[...] Hitler's failure to shake hands with victorious African American athletes, including Jesse Owens, in the 1936 Olympics was cited by the U.S. press as evidence of racial views that Americans should oppose (though, as the black press pointed out, the black athletes confronted similar racist views in the United States). Though, because they considered it both Jewish _and_ black, the Nazis opposed and prohibited jazz on principle, its popularity compelled various Nazi concessions, including unsuccessful attempts to create more acceptable German jazz and "swinging" German radio music. German swing movements and jazz clubs constituted a form of cultural, though rarely political, resistance to the Nazis. Lusane can also document that jazz was performed at Auschwitz, Flossenburg, and Theresienstadt as well as at some POW camps. Lusane has perused many black U.S. newspapers of the period and reveals the black press's attentiveness to developments in Germany, its concern about the rise of National Socialism, and its condemnation of Hitler's policies towards Jews and blacks.

Finally, Lusane seems committed to saving little-known figures of the black diaspora from historical oblivion by recounting their individual encounters with National Socialism. These figures range from Hans Massaquoi, son of the Liberian ambassador to Germany who survived the Nazi era to become an _Ebony_ editor, to the "enigmatic" (p. 122) Lonnie Lawrence Dennis, mixed-race U.S. writer, diplomat, and businessman, who seems to have admired Hitler, embraced anti-Semitism, and advocated for fascism. William Marcus Baarn, a black nightclub singer from Dutch Guinea, even served as a Nazi spy. Some blacks, like the composer Elmer Spyglass in Frankfurt (perhaps protected by his African American affiliation), lived comfortably in Germany throughout the Nazi period. Other blacks in Germany opposed the Nazis. Joseph Bile of Cameroon published a letter in a black U.S. newspaper pleading for black U.S. solidarity with blacks in Germany. Hilarius Gilgus was an Afro-German labor organizer and an early Nazi victim, killed by the SS in Düsseldorf at the age of twenty-four. Mohamed Husen from German East Africa served with the Germans in World War I, appeared in numerous colonial films, but was eventually convicted of _Rassenschande_ and sent to Sachsenhausen, where he died in 1943. Jean Johnny Voste from the Belgian Congo was active in the Belgian resistance movement and survived Dachau. Joseph Nassy from Surinam, a black Jew, was captured in Belgium and sent to an internment camp in Bavaria where he could teach art and also produce sketches, drawings, and paintings now in the holdings of the U.S. Holocaust Museum. Johnny Williams, son of an Alsatian father and a mother from the Ivory Coast, discovered his "splendid voice" (p. 165) in the Neuengamme camp and went on to a successful singing career after the war. Johnny Nicholas, originally from Haiti, was captured as an Allied spy in France and sent to various camps, where he survived by working as a doctor. Lusane regrets he has little information about black women but does try to reconstruct the story of the jazz trumpeter Valaida Snow, who may have been interned in a Nazi camp in Denmark. It is not exactly clear what can be concluded from these disparate experiences, but Lusane has certainly successfully documented a black presence in Germany and Europe during the Nazi era and pointed the way towards many potentially fruitful research areas.

Gravity's Rainbow, p. 62:
We want to talk some more about Boston today, Slothrop. You recall that last time we were talking about the Negroes, in Roxbury. Now we know it's not all that comfortable for you, but do try, won't you.

consider the miserable life of the pig




From A.Word.A.Day today:
There's a schizoid quality to our relationship with animals, in which sentiment and brutality exist side by side. Half the dogs in America will receive Christmas presents this year, yet few of us pause to consider the miserable life of the pig -- an animal easily as intelligent as a dog -- that becomes the Christmas ham. -Michael Pollan, professor and writer (1955- )


Gravity's Rainbow p. 555:
William must have been waiting for the one pig that wouldn't die, that would validate all the ones who'd had to, all his Gadarene swine who'd rushed into extinction like lemmings, possessed not by demons but by trust for men, which the men kept betraying … possessed by innocence they couldn't lose … by faith in William as another variety of pig, at home with the Earth, sharing the same gift of life.…



Monday, November 29, 2004

the new temperance

This passage from The New Temperance: The American Obsession with Sin and Vice, by David Wagner, quoted in a MAPS (Multidisciplinary Association for Psychedelic Studies) email today, reminds me of the way certain reactionary elements on PYNCHON-L critique Vineland, demonizing the novel's portrayal of '60s counter-culture from the same Reagan Administration perspective that the novel undermines so thoroughly:
Demonizing the 1960s

It is not coincidental that advocates of the New Temperance have so strongly attacked behavior that they claim was at the heart of the "excesses" of the 1960s. The war on drugs and on many forms of sexuality has been fought as much for its symbolic value (i.e., as part of a strategy of eradicating the mythologized "60s") as for any of its more manifest purposes. Writing late in his life, Richard Nixon forcefully pointed us back to Woodstock as a symbolic reason for continuing the war on drugs: "Even today, when most of the prestige media have managed to crowd onto the anti-drug bandwagon, they could not help indulging in a revolting orgy of nostalgia during the twentieth anniversary of Woodstock. The smarmy retrospectives glossed over the fact that Woodstock's only significant legacy was the glorification of dangerous illegal drugs.... To erase the grim legacy of Woodstock, we need a total war against drugs."

Similarly, former British Prime Minister Margaret Thatcher was fond of attacking the sexual doctrines of the 1960s, holding promiscuity and free love responsible for the AIDS epidemic and the widespread child sexual abuse reported during the 1980s: "We are reaping what was sown in the 1960s. The fashionable theories and permissiveness claptrap set the scene for a society in which the old virtues of discipline and self-restraint were denigrated."

The historical events of the "60s" (in actuality including much of the 1970s) have been repainted in dangerous and frightening hues. Consider this vitriolic comment by conservative historian Joseph Conlin regarding the "60s" lifestyle: " [L]ife in the New Age communes of the 1960s and 1970s . . . [was like living in] 'garbage dumps' and 'hells': children smeared in their own filth for days, hysterical under the LSD given to
pacify them.... [V]enereal infection, pneumonia, influenza, and the unprimitive affliction of hepatitis reached disastrous proportions."

For many people alive at the time of the 1960s counterculture, this sinister and bizarre reconfiguration of history has a clear agenda of vilification. Of course, not everything that occurred in this (or any other) time period was positive or worth repeating. But the presence of a few dirty and sick children on a commune somewhere by no means sums up the reality of this period, any more than conservatives of the time were correct in summing up the French Revolution as primarily about terrorism
and guillotine practice. The popular movie Forest Gump similarly portrays 1960s "long-hair radicals" as violent and misogynist, and the movie hero must save his girlfriend from their abuse. Perhaps there were a few more people of this sort than I was ever aware of in the late 1960s, but it is still absurd to portray "60s"-style radicalism in this way. If anything, the image of the peaceful hippie flashing a peace sign would be closer to the mood of the times. In short, the retrospective portrayal of the "60s" has little to do with veracity. Rather, it is an attempt to take the essence of the social and cultural revolution of the 1960s and convert it to one primarily of sin and vice.

[...] I make no claim of originality in drawing a connection between the mandatory drug testing of the current period and the McCarthyism of the 1950s. As early as 1986 a leader of the Civil Liberties Union called drug testing a "form of social McCarthyism aimed at getting rid of people who won't buy the line. It's a step away from an authoritarian society." In addition, writer Ellen Willis has observed a link between the drug test and the loyalty oath: "The purpose of this '80s version of the loyalty oath is less to deter drug use than to make people undergo a humiliating ritual of subordination: 'When I say pee, you pee."'

[...] The urine test - along with mandatory sentencing and other severe behavioral controls central to the drug war is a power strategy that mirrors the "personal is political" radicalism of the 1960s. It takes seriously the proposition that those who resist the dictates of power, whether or not such resistance is framed as "political" in the conventional sense, are enemies and are undermining production, public order, and rationality. Like the loyalty oath and the "naming of names," the policing of everyday lifewhich in schools, for example, focuses on behaviors such as smoking, speech, and sexuality requires Americans, from an early age on, to comply with the norms of the powerful without asking questions, and to accept the right of the state and corporate power to hold their bodies captive. Ultimately, it is not important whether drug testing finds traces of a drug in a student's urine or if locker searches turn up cigarettes or guns or pornographic literature. Rather, it is the policing itself that makes the point about who is in control.

Another key point about the role of the New Temperance in symbolically eradicating the "60s" is its constant use against members of the baby boom generation, particularly those who might be charged with having some relationship to the social movements of that period. It is not coincidental that Democratic Party politicians from Gary Hart to Bill Clinton have come under relentless questioning about their sexuality, prior drug use, and past participation in political demonstrations (although some Republicans such as former Supreme Court justice nominee Arthur Ginsburg have been caught in the net as well). Reminiscent of McCarthyism's "Are you now or have you ever been a Communist?" questions, political leaders (and many potential civic, corporate, and bureaucratic leaders) are now asked "Are you now or have you ever been a '60s'-style person?" That is, did you use drugs, engage in nonmarital sex, attend anti-war rallies, or burn a flag?

As in the ritualized hearings of the 1950s, most members of the 1960s generation either admit guilt and purge themselves of sin or minimize their past guilt ("I didn't inhale") and promise future clean living. To some extent, liberals and former leftists have been forced, far more than conservatives and moderate politicians born before the baby boom, to actively repudiate the 1960s. And like many liberals in the late 1940s and 1950s who dissociated themselves from communism, they have, for the most part, happily obliged. Some sociologists studying the drug war, for example, have observed that, in the election campaigns of 1986 and 1988, liberal Democrats hammered home the attack on drugs far more than Republicans did, and charged government leaders with being "soft on drugs."

The reason that Bill and Hillary Clinton, Gary Hart, George McGovern, Tom Hayden and Jane Fonda, and other leaders or public figures must constantly answer McCarthyite questions about the 1960s, and reveal their views on issues like drugs and sex, is that their opinions on these issues and their distance from the tradition of the 1960s are considered a measure of their respectability and readiness to accept political, corporate, and civic leadership. Conversely, there is little reason to question the Bob Doles and Dan Quayles whose loyalty to dominant norms has never been in doubt. But among those who have had any association with the dreaded "60s," only a repudiation of both the politics and the culture of the times is deemed acceptable by the media and political elites as a measure of their potential to serve as responsible leaders.

Novelist Sol Yurick captures the sense of this constant need to repress the 1960s: "[T]he 60s, like some compulsive recurrent nightmare[,] still persists in the consciousness of the ruling elites. They must exorcise and reexorcise it, demand acts of contrition, to ask of its adherents that they confess that they were possessed by the devil.... We are asked to admit, once and for all, . . . [that we] were wrong, to make
penance and obeisance, to hypostatize those sins into those devils now on trial."

Vineland, p. 313:
"Just please go careful, Zoyd. 'Cause soon they're gonna be coming after everything, not just drugs, but beer, cigarettes, sugar, salt, fat, you name it, anything that could remotely please any of your senses, because they need to control all that. And they will."

Friday, November 26, 2004

werewolf

From Nazi Defendants Venting by William Grimes, New York Times, 26 November 2004, review of The Nuremberg Interviews: An American Psychiatrist's Conversations With the Defendants and Witnesses:
In 1946, Leon Goldensohn, an Army psychiatrist, was handed the assignment of a lifetime. Six weeks into the Nuremberg trials, he was put in charge of the 21 imprisoned defendants, responsible for assessing their mental health and determining, in the words of a colleague, "what made those Nazis tick." ....The evasive verbal maneuvers of Oswald Pohl, in particular, roused his blood. Pohl, who ran the concentration camp system, struggled mightily to explain that one could administer a system without actually being responsible for what occurred in it. "About the murder of the five million Jews, I had nothing whatever to do with it," he said. " The fact that I was in charge of all the concentration camps in Germany from 1942 until the end is beside the point."




"Blicero had grown on, into another animal . . . a werewolf . . . but with no humanity left in its eyes: that had faded out, day after day, and been replaced by gray furrows, red veins in patterns that weren't human." [Gravity's Rainbow, 486]