Tuesday, June 30, 2020

Book Review



Book Review

Big Sur by Jack Kerouac

     Jack Kerouac is the kind of author that you either get or you don’t. The people who don’t get him usually hate him and to be fair, a lot of the people who love him don’t really get him either. The ones who do get him are those who read and re-read most of his works over and over again, discovering something new each time they burn through one of his novels. Kerouac’s works really do get richer with repeated readings and when you begin to see the broad patterns across his books, you realize how organically interconnected the entire oeuvre actually is. Of course, some of his writing are forgettable; his poetry is first to come to mind, Satori in Paris could be skipped, and Book of Dreams can be taken or left alone although I think it is worth at least a quick skim since the dream he has where is sitting on the toilet and eating the toilet paper instead of using it for its intended purpose is bizarre and hilarious. His later work, Big Sur, is necessary since it shows where Kerouac ended up in life; it refers back to other books he wrote in a significant way and acts as a sad and depressing culmination of a life lived too fast.

     This short novel starts with Jack Duluoz sinking into a drunken depression in San Francisco. After becoming a famous author, he isn’t happy or comfortable with the attention he gets and drinks himself into a stupor night after night while sleeping in a cheap hotel. He decides to sober up and reconnect with himself and his spirituality while staying in a cabin at Big Sur, the canyon and beach head just outside of the city. Experienced Kerouac readers will see the connection here with the time he spends on Desolation Peak in The Dharma Bums and Desolation Angels. At Big Sur, Duluoz tries to complete what he didn’t finish on Desolation Peak. Like some kind of Pagan faun, he wants to connect with nature while at the same time reaching Buddhist enlightenment and atonement with the Catholic God, all the while writing about the experience. Instead of rapturous ecstasy, his encounter with the massive waves of the Pacific Ocean is sublime, scaring him half to death while casting an even darker shadow over his existence than what was there before. He also walks in the canyon and relaxes by the creek and these passages about nature are some of the most lyrical, rhythmic, and melodious prose that Kerouac ever wrote. His writings about forests and mountains often sound like joyous Elysian music being played softly on a flute.

     The solitude and the overbearing sound of the ocean start to get to him so Duluoz heads back to San Francisco to party with his friends. He is possessed of a never ending restlessness and can never stay in one place for long. When Jack Duluoz is in the city he longs to be in the wilderness and when in the wilderness he longs to be in the city. Back in San Francisco he meets up with Lorenzo Monsanto (Lawrence Ferlinghetti) and a couple other guys. They hang out, get drunk, and do the usual Beat Generation things. They get tired of being in the city so Duluoz takes them all out to the cabin at Big Sur. The parties start off well but then Duluoz gets drunk and depressed so they follow him back to San Francisco. He bounces back and forth like this throughout the novel. This is standard Kerouac writing though with the difference that his mood swings start slowly creeping into the narrative.

     Along the way, Jack Duluoz reconnects with his old friend (significant other? Muse? Latent homosexual lover?) Cody Pomeray (Neal Cassady) and his wife Evelyn (Carolyn Cassady). Many references are made back to On the Road and it seems as if Duluoz is trying to recreate the good times he had when they were young. But Cody is married with children and a little mellower. Duluoz doesn’t hesitate to mention that Cody had always shared Evelyn sexually with him. In fact, Cody has a new mistress named Billie and he is eager to have Jack Duluoz meet her so they can sleep together. Jack and Cody had always had a curious habit of sharing their sexual partners with each other. (Check out Carolyn Cassady’s writings for further insight into this. She says that they were simultaneously her two husbands).

     Billie lives in an apartment with her son Elliot and hangs out with a rough crowd. When Duluoz starts sleeping with her and staying at her place, everything starts going to hell. He starts drinking heavily and falls into a pit of drunkenness, depression, and self-loathing. He decides one last time to go back to Big Sur with Billie and Elliot. They are accompanies by his poet friend Dave Wain (Lew Welch, a Beat Generation poet who later committed suicide) and his nudist Romanian girlfriend named Romana. With each succeeding visit to Big Sur, Duluoz gets more crazy and unhappy. This time he hits rock bottom. He keeps getting more and more drunk while falling into an abyss of dipsomania, delirium tremens, hallucinations, paranoia, despair and an almost complete nervous breakdown. In one of Bob Dylan’s greatest songs “Ballad Of a Thin Man” he sings “something is happening here and you don’t know what it is, do you Mr Jones?”. This line could have been about Jack Duluoz at Big Sur but the name “Duluoz” doesn’t really harmonize well with the music (but Bob Dylan never really was a master of harmony anyways, was he?). Billie doesn’t react to his insanity in a sympathetic way either. She switches from insisting that she can save him by marrying him but then flies into rages where she beats her son and threatens to commit suicide while Duluoz’s nerves are so frayed he can’t comprehend what is really happening. Dave Wain and Romana are too drunk and too busy having sex in the woods to acknowledge Duluoz’s mental collapse as well.

     For the first three quarters of Big Sur it appears that Jack Duluoz is at the onset of his mid-life crisis but this turns into a full on psychotic episode that takes on the dimensions of a personal apocalypse. In some ways, the end of the novel reads like a retelling of the climax of Dr. Sax. Remember his vision of the massive snake that devours the entire world? Big Sur, in the end, is like yet another Catholic Armageddon mental meltdown. But this time it is more harrowing, hopeless, and frightening than anything else Kerouac has ever written. Big Sur might even be a borderline horror novel. Part of what makes it so disturbing is that Kerouac had a talent for such honest and personal writing that a reader can feel as if they are on intimate terms with him, as though Kerouac is a close friend and companion. When he plunges into insanity, you go along with him and end up hurting just as badly as he does. Being inside his mind as he self-destructs is even more painful when you remember what a gentle and kindhearted literary persona he built up in his previous works. But then you can’t be surprised because he lived so fast and hard that he could do nothing in the end but crash and burn. Neil Young sings that it’s better to burn out than to fade away and this novel is Kerouac’s moment of burning out.

     Severe alcoholism is a disease and it was an illness that obviously afflicted Jack Kerouac. He probably had some some underlying mental health issues too. If he had sought treatment for his problems would he have written all these great books? Only lovers of Kerouac’s writing should be allowed to contemplate that answer. The rest of you can just shut the fuck up.

     So now Big Sur will go back on my shelf, along with all my other Jack Kerouac paperbacks, to wait a few more years when I begin re-reading his whole literary cycle again. As I have gotten older his books have become more meaningful to me. The span that stretches from The Town and the City to Big Sur is an odyssey like The Lord Of the Rings only it isn’t mythical or fantastic. It is realistic and personal.

Kerouac, Jack. Big Sur. Penguin Books, New York: 1992. 

Sunday, June 28, 2020

Book Review



Book Review

The Rebel by Albert Camus

     Your impressions of Albert Camus’ The Rebel will mostly depend on how familiar you are with his subject matter. Camus draws heavily on fiction, philosophy, art, and European history since the Enlightenment. The more you know about these, the easier this book will be. It simply is not a book for young and inexperienced readers. Having said that, with a considerable amount of mental discipline and a long attention span, it is something that can be read by novices even if only to grasp the main ideas.

     The Rebel was written to be a philosophical companion piece for his novel The Plague. Metaphysical rebellion is the theme. In this philosophical work, Camus moves on from the story of Sisyphus to those of Prometheus and Milton’s Lucifer. He defines metaphysical rebellion as a rejection of the conditions of existence. The rebel is one who simultaneously says “no” and “yes”; they say no to their position of servitude and the suffering of all but also say yes to the prospect of justice and freedom. The rebel is someone whose long term goal is self-actualization, totality, completion, and unity with everything. This latter point is not clear or easy to grasp at first but after he explains the philosophy of Hegel, it makes a lot more sense.

     The concept of nihilism is central to this book. Camus goes on to parse and explain its different forms, illustrating its different facets with examples from literature, philosophy, and art. He exemplifies the concept of absolute nihilism with the writings of the Marquis de Sade; this negation of values is purely destructive. It does not create anything from the ruins it leaves behind. Ultimately it leads to contradictions, self-negation, and an inevitable self-destruction. The other side of this is Friedrich Nietzsche who used nihilism as a tool to renounce all of existence. While Nietzsche sought to dismantle all values, his ultimate purpose was to to rebuild a new and higher form of existence. His nihilism was a step along a path to greater ways of living in the future. Finally, the Surrealist art movement is used to show how nihilism and creativity can be combined through art to make something useful and fulfilling out of rebellion. All of these analyses are excellent and Camus had a deep understanding of those intellectual trends which he communicates effectively to those who have already been initiated into those methods of thought. The sequence of introducing those concepts is significant too because it determines the later course of this book.

     The theoretical part of The Rebel continues on with an exceptionally good explication of G.W.F. Hegel’s phenomenology. An individual human is validated through recognition by other people. Through self-assertion, an individual achieves self validation by making themselves known, meaning that the more recognizable they are, the more validated they are to themselves. Hegel’s major dilemma is that societies are made up of masters and slaves, the dominators and the the dominated, the managers and the workers, the owners and the owned. A rebel seeks validation by breaking free from their servant status and establishing themselves as a master. This is a movement in the direction of totality and one that seeks increasing validation through increasing domination over others. Taken too far, this leads to tyranny and cruelty, sometimes even destruction and in the worst cases, the totality of destruction can result in self-destruction along with the destruction of everything surrounding the rebel. Camus’ description of Hegel is crystal clear and relatively easy to follow; for this reason, The Rebel is worth reading for the passages on Hegel alone, especially if you have read Hegel and got thoroughly confused by his opaque writing style. That seems to be the case for most people who try to read him.

     Hegel’s theory of history was one of dialectics. Political conflicts will continue through a process of evolution, progress, and refinement until the need for conflict no longer arises. Then humanity will unite with God, material and its essence will be one, phenomena and noumena will be perfectly united, and history will end. This idea directly influenced the writings of Karl Marx and led to the establishment of the communist state in Russia with the Hegelian goal of ending history in mind.

     While a direct line can be drawn from Hegel to Marx, Adolf Hitler claimed to be a philosophical heir to Nietzsche. Camus, an avid Nietzsche scholar himself, demonstrates how the Nazis deliberately misread and misused the theory of the ubermensch while ignoring more beneficial human concerns in those writings. Camus also succeeds in showing how it would be more accurate to draw an ancestral line from the absolute nihilism of the Marquis de Sade to National Socialism which resulted in the suicidal spasm of an entire nation. Hitler’s plan was for never-ending warfare and his inability to articulate a vision of post-war society led to Nazi defeat and the collapse of the German nation.

     Camus’ historical analysis of communism in the Soviet Union takes up most of The Rebel. Camus, in how own way, was reacting against the widespread support for communism and even Stalinism among French intellectuals during the 1950s. His depiction of the Soviet revolutionary government is one of injustice, sterility, and stagnation. Where the Soviets were undoubtedly superior in terms of rationality, they were severely lacking in terms of creativity. This is where Camus brings in the need for art to stabilize society because without art, rebels and revolutionaries will not know when to stop in their quest for totality and absolute freedom. Maybe he is right since communist doctrine ended up having more in common with religion than it did with the sciences it claimed as kin. Without the outsider’s perspective of the artists, there was no way for the Soviets to question their practices or see themselves from alternate points of view.

     Camus’ concept of the rebel as artist is probably the most controversial part of this book. He introduces the concept but never fully examines its implications. He does not address the efficacy of the solution he proposes for the conflicts he introduces. It sounds good in theory but now in the 21st century it is obvious that world leaders have no interest in using art for self-reflection so it may not be so sound in practice. Maybe Camus felt like he was cheating his readers for not proposing a solution to his dilemma but, a lot like the concept of God, it seems like a simple solution tacked on at the end of an inquiry to answer an unanswerable problem. Or maybe it is an invitation for future intellectuals to examine the concept on their own.

     Overall, The Rebel might be a challenging read but Albert Camus provides a strong defense of his thesis. His concept of rebellion and revolution can be transported from mid-century Europe to probably any other place or time. Not only is it useful for explaining intellectual and political movements but it can also be used as a tool to explain things like counter-cultural movements, social justice activism, and religious institutions like sects and mind-control cults. It can even be applied to mundane affairs like the social dynamics of business, be they small mom-and-pop operations or massive corporations, as well as educational institutions, sports teams, online discussion groups, and mass media outlets. It could be said that the first effective step in rebellion is accurately understanding the mechanisms of power so Camus can certainly be an aid in that endeavor.

Camus, Albert. The Rebel. Vintage Books, New York: 1956.


Wednesday, June 24, 2020

What became of Yoshiwara, Tokyo’s old red-light district?



Take a walk around modern-day Senzoku 4-chome 千束四丁目 in Taito-ku 台東区 and you will find few reminders of the Yoshiwara, the best-known red-light district in Old Edo, bar a handful of plaques. One is at 4-10-8 Senzoku, where a plaque commemorates the "Looking Back Willow Tree" (mikaeri yanagi 見返り柳), so-called because on reaching the tree, visitors to Yoshiwara used to cast a last wistful look back before heading home.

Monday, June 22, 2020

What was the Decembrist Revolt?



Autocracy ruled in Russia under the command of the Romanov Tsars for centuries. But in the 19th century was a century of change and Russia was no immune. Explore how a pursuit of change led to revolt of men called the Decembrist.

What the White Horse Tavern meant in the 1950s



The rough edges are long gone from the White Horse Tavern, the corner bar at Hudson and West 11th Streets that’s been serving drinks (not always under that name) since 1880.

Sunday, June 21, 2020

Arthur Rimbaud, Poet Wild Child Badass, Was an Adventurer to the Very End



In 1886, a Frenchman named Arthur Rimbaud led a caravan across what is now Ethiopia. Although he was only 32, grey peppered his blonde hair. Hollow cheekbones, tanned beyond recognition, betrayed years of malnutrition and poverty. Only his eyes remained of the looks his childhood friends remembered: They were still a fierce, piercing blue. Despite his exhaustion, he often chose to walk alongside the caravan as it made its way through a wild, volcanic moonscape.

Book Review



Book Review

Desolation Angels

by Jack Kerouac

     I imagine Tom Waits reading Jack Kerouac’s Desolation Angels when he got inspired to write lyrics for his early albums like Nighthawks At the Diner or Heartattack and Vine. I can also imagine Jim Jarmusch reading this and then hurrying off to make films like Stranger Than Paradise or Down By Law. This is definitely Kerouac at his best.

     This novel begins where The Dharma Bums ended, with Jack Duluoz alone on Desolation Peak, employed as a fire lookout for a whole summer. The solitude and boredom begin to eat away at him so he plunges into daydreams and random memories of his past while meditating on the nature of existence. Some of these passages are scattered, some are lucid, some are downright nonsense but in the world of jazz no one asks what Louis Armstrong meant when he sang scat and no one tried to figure out what Charlie Parker meant when blew rapid-fire staccato imrovs on his trumpet. You just listen, feel it, and go with it.

     Desolation Angels is as much a work of jazz as it is a work of literature. It is an extended piece of music played through the medium of language. Kerouac works his words into a rhythmic progression and riffs on until he knows, by instinct, when it is time to move on to another mode. The novel really picks up when Duluoz comes down off the mountain. He hitchikes to San Francisco and meets up with his bunch of friends. Allen Ginsberg and his boyfriend make appearances thinly disguised as Irwin Gardener and Simon Darlovsky. Greogry Corso shows up as Raphael Urso. Neal Cassady is Cody Pomeray. There are others who can be recognized from previous Kerouac books. William S. Burroughs shows up later when Duluoz travels to Tangiers. The media begins to take notice of the Beat Generation literary scene and this bunch of guys do what they ordinarily do, run around getting drunk, getting high, getting laid, listening to jazz and having some wild conversations that sound like Arthur Rimbaud and Andre Breton arguing about passages from Finnegans Wake.

     Desolation Angels is a lot more oriented to the places Duluoz goes to. There is less writing about road trips and more subjective, stream of consciousness thought overlaying everything that takes place in the cities he vists. The narrator tries to see the angelic and lonely side of everyone he encounters and that leads to him drawing some sharp and vivid portraits of a lot of people. Kerouac had a talent for writing quick and easy descriptions of others so they appear just as if you see them in the flesh but he also describes them so you get little glimpses and glimmers of who they are. Those insights are brief but also vivid and easy to relate to. The world Duluoz lives in is one populated by sad and somber people and he truly wants to believe that all of them are good.

     A lot of Jack Duluoz’s thought is deep, reflective, meditative, often serious but peppered with bits of humor that tend to be a bit dark. He contemplates a lot on Buddhist philosophy and Christian theology, though neither strain of his spirituality is orthodox. He gives you a mishmash of ideas about the emptiness of existence, the fact that nothing matters in the end because we all die, nothing exists but the Void, being is permeated with nothingness but still God needs to be praised, Jesus needs to be loved, Buddha needs to be learned from, and he tried to fill the blank spaces of life with passion and vivacity. He rebels against the bleak, joyless life of middle, industrial-era America. He brings passion to everything he does and infuses it everywhere he goes. He wants the whole world to vibrate with ecstasy. Duluoz is a hedonist with a gentle nature, a heart of gold, and a mind saturated with combustible bursts of music. He celebrates his status as an outsider, an eccentric, a manic wildman both foolish and wise simultaneously.

     Another theme that runs through Desolation Angels is the creeping trendiness of the Beat Generation, or the “Beatniks” as the media so offensively labeled them. As the author starts getting on in years, the younger crew of imitators and wannabes start to get on his nerves. Duluoz and his friends are conscious of their growing celebrity status as well and he wants very little to do with it. In his mid-thirties, Duluoz finds he is not immune to the cycles of life. He gets tired of wandering and rambling and starts to consider settling down. He wants a wife but instead takes his mother from Florida to California to live with him. She enjoys the time they spend in New Orleans and Nogales despite the painfully long crosscountry bus ride but decides she wants to return to Florida after a couple weeks in Berkeley.

     Jack Duluoz finds his unconventional lifestyle and undisciplined friends bother his conservative, working-class mother. He does not say it loudly but you can tell he feels hurt by the rejection. He also comments on the unrequited love of his father. It makes me wonder if all the times he insists on shouting out his love to God, if he is, in actuality, trying to fill the void left by his emotionally distant parents. After all, while he puts so much emotion into praising divinity, all he hears is the echo of his own voice. God never responds, there is only silence. In the high-octane, hyperactive madness in Kerouac’s writing there is always a sad undercurrent of solitude and despair. Why else would he abandon himself so maniacally in boozing, partying, and writing books about it all? It’s like he wanted the sanctity of transcendent joy to be imminent so that the vast Buddhist Void or the anxious empty spaces in his mind could be filled.

     Desolation Angels is Jack Kerouac’s most fascinating novel. Once the prose begins to flow it never stops. It reads like a hurricane of emotions that sweep the reader in a whirlwind of language and wild emotions. It is also the kind of book you can re-read several times and always discover something new. Kerouac’s writing is so intimate and candid you can feel like you actually know him. There were even times when I felt like his words were coming out of my own head rather than off the page where they actually are. After reading this novel several times, this feeling has grown stronger with age. I tend to avoid religious thought as much as I can but I think if angels existed, Jack Kerouac would have become one, when he died, to watch over us and try to make us feel lively and excited about everything we set out to do.

Kerouac, Jack. Desolation Angels. Paragon Books, New York: 1979.


Tuesday, June 16, 2020

The history of the Tulsa race massacre that destroyed America’s wealthiest black neighborhood



In1921, Tulsa had the wealthiest black neighborhood in the country. On Sundays, women wore satin dresses and diamonds, while men wore silk shirts and gold chains. In Greenwood, writes historian James S. Hirsch, “Teachers lived in brick homes furnished with Louis XIV dining room sets, fine china, and Steinway pianos.”

They called it Black Wall Street.

Read the full article on Timeline here

Saturday, June 13, 2020

The Dreyfus Affair: The Banality of Evil In the French Armed Forces



     There are those who say that honor, loyalty, and duty to one’s country are the most important virtues. But what if such patriotism is sustained by the practice of deceit, dishonesty, and the persecution of innocent people? Are the virtues of truth and justice superior? Does an individual have the right to disagree with their nation to uphold these higher standards? The Dreyfus Affair put French society to the this test at the end of the 19th century.
     During the 1870 war between France and Germany, a young Jewish boy named Alfred Dreyfus lived in the French territory of Alsace-Lorraine. He watched as the German army invaded his town and slaughtered the French soldiers defending it. The Germans took control and eventually annexed Alsace. The family of Alfred Dreyfus fled to Paris and declared themselves French citizens. Young Alfred grew up dreaming about joining the French military so that one day he could avenge the injustice of the German occupation. His life’s ambition was to faithfully serve and protect his country.
     One evening in 1894, a French cleaning woman went to work, cleaning the office of a German military attache named Alexander von Schwarzkoppen stationed in Paris. Part of her routine was to empty the contents of a wastepaper basket into a bag and take it to the Section of Statistics, a French military intelligence bureau. Day after day, officials would sort through von Schwarzkoppen’s garbage, looking for evidence of what the spy, posing as a German diplomat, knew about their affairs. Most of what they found were ashes, some were crumpled up letters or documents, still others were papers torn into tiny pieces which they proceeded to piece together. Many of those papers were correspondences with an Italian spy named Alessandro Panizzardi. Apparently the two spooks were having a love affair. Or were those references to buggery really coded messages? No one knows for sure but what is well known is that one of those torn-up papers had hand-written, secret artillery information and logistics that only an insider, say a commanding officer, would be aware of. Somebody in the French military was a spy and a traitor too. The letter subsequently became known as the Letter D document because it was signed at the bottom with no name, only the letter D.
     Alfred Dreyfus graduated from the French military academy with distinction. He was a serious student with a quick mind and unfailing attitude of loyalty. He did not excel in all his subjects but he did well in most of them. He was quiet and aloof, characteristics that would cause some other students to think of him as arrogant. After graduation he was sworn in as a low-ranking captain of an artillery squadron. Dreyfus’s last name started with the letter D; the Letter D document was signed with the letter D. Therefore, according to the Station of Statistics, the incriminating document was written by Alfred Dreyfus who was also Jewish. The military officials quickly decided that he must be tried and convicted of espionage and treason.
     Due to French tradition, the military at that time was deeply conservative and loyal to the Catholic church. Jews and Protestants were regarded as foreigners, in other words, enemies who could not be trusted. In the 1890s, France as a whole saw a wave of anti-Jewish sentiment and the commanding officers of the army felt a deep attachment to this social trend.
     The original document was first received by the officer Commandant Henry who passed it on to his superior Commandant Mercier. The anti-Semite met with other high-ranking officers who agreed to link the letter to Alfred Dreyfus. On his day off, Commandant du Paty de Clam summoned Dreyfus to an office and dictated a letter to him, saying that a hand injury prevented him from writing it himself. He also directed Dreyfus to sign the letter as D. That document was then taken to Henry.
Meanwhile, the cleaning lady delivered more garbage collected from von Schwarzkoppen’s office and this time another letter with the same information as the Letter D was found, written in handwriting that was clearly not the same as that on the original document. The intelligence agents deduced it was written by the German military attache and addressed to P which most likely stood for Panizzardi. The espionage triangle had been fully revealed.
     Mercier ordered the arrest of Alfred Dreyfus. The stupefied captain was imprisoned in Cherche-Midi without any explanation as to what the charges against him were. He learned about it all on the day his trial by military tribunal began. The deck was stacked against him from the start. His attorney had no time to prepare a defense; he mostly had to improvise and often the judges would not even allow him to speak. The prosecution admitted Letter D as the first piece of evidence and then entered the letter that du Paty de Clam had dictated to Dreyfus so the handwriting on the two papers could be compared. A handwriting expert from the intelligence agency named Brillon was bought in. Anyone who held the two documents side by side could see that they were obviously written by two different people but the senile old scientist used an elaborate chart that looked like an astrological diagram to explain the procedures of handwriting analysis. He baffled the judges with a speech that sounded like the impenetrable babbling of medieval alchemists and wound up by saying there is undisputed proof that the writing in Letter D could only have been written by Dreyfus and no one else.
     The next part of the trial was held in secret council The prosecution met with the three military judges without the defense being present. They presented a secret document that the Dreyfus team was not allowed to see. Alfred Dreyfus’s only line of defense was to continually reiterate that he had no knowledge of Letter D and had never written it. The judges quickly declared Dreyfus to be guilty of treason and sentenced him to life imprisonment in exile.
     The next day, Commandant du Paty de Clam visited Dreyfus in his cell at Cherche-Midi. He told the captain that he could get him a more lenient sentence if he confessed to his crime. Dreyfus refused. Du Paty de Clam went into a rage and began shouting at him then stormed off. The prison warden was there to witness the incident. He later contacted Alfred Dreyfus’s brother Mathieu.
One morning, Alfred Dreyfus was taken in his full military uniform to the military parade ground for a ceremony of degradation. He was marched for display in front of the whole army. An officer took off Drefus’s hat and threw it on the ground. He tore the medals and epaulettes from his jacket then commanded him to take it off. He drew Dreyfus’s sword from its scabbard and broke it over his knee. The soldiers collectively jeered and booed and Dreyfus was hauled off to a ship where they locked him in a cell and made a long journey to the Caribbean.
     Alfred Dreyfus was taken to Devil’s Island, a tiny penal strip of land off the coast of French Guiana. The equatorial heat was brutally hot. They imprisoned him in a shack and fed him only bread and water. In the daytime he was allowed out but he could only walk around the shack which was surrounded by two walls to prevent his escape. At night they shackled his wrists and ankles to the bed posts. Dreyfus was allowed to read and write letters to his wife Lucie but most of the letters were intercepted by the guards and kept in a file in the Section of Statistics to be used as further evidence of his guilt. Dreyfus was not allowed to socialize with the guards. The shackles were cutting into his flesh and causing infections so he had to tear his clothes to shreds to make protective padding.
     While Alfred Dreyfus rotted away in his prison shack, the warden of Cherche-Midi contacted his brother Mathieu and told him about the encounter he witnessed when du Paty de Clam demanded a confession from the prisoner. Convinced of Alfred’s innocence, the jailer decided to speak out. Mathieu Dreyfus was a successful, upper-middle class bourgeoisie. He immediately started using his social contacts to meet with representatives of the media. Most of them were not interested in the Dreyfus story but there was one, a Jewish anarchist named Bernard Lazare, who saw the case as a chance to mobilize the public. Lazare started publishing editorials in his newspaper explaining the facts of the case and decrying the injustice of the conviction.
     The general public and a handful of intellectuals took notice and about the same time, a young colonel named Picquart went to work at the Station of Statistics. Not having any immediate work for him, his superiors kept him occupied by managing incoming documents. Part of his job was filing papers into the Dreyfus dossier which they insisted on stuffing with any document, no matter how trivial, relating to the case of Alfred Dreyfus. One day a letter came to Picquart’s desk. An agent intercepted it in the mail en route to von Schwarzkoppen’s office; the return address indicated it was being sent from an apartment in Paris. When Picquart opened the envelope he was shocked. The handwriting looked familiar. He went to the Dreyfus dossier and retrieved the incriminating Letter D. Upon comparing the two letters it was obvious to see that they had been written by the same hand. This new letter also had intelligence about the artillery division written in a thinly veiled code.
Picquart took the two papers to Commandant Henry. They were able to trace the letters to another artillery captain named Esterhazy. He was a former Hungarian-Prussian count with a long drooping mustache. His family had emigrated to France when he was young. Esterhazy was known to be a schemer, a blackmailer, a compulsive gambler, and a squanderer of his family’s money. He dishonored the family’s name by constantly borrowing money without paying it back. Never secretive about his whoring and heavy drinking, his family disowned him and stripped him of his aristocratic title, making him nothing but a commoner, no longer a count, for the rest of his life. Aside from commanding an army squadron, he spent most of his time scamming money from everyone he met, even his brother.
     Picquart circulated the documents throughout the Section of Statistics. If the evidence was not damning enough, it got worse because the story got leaked to the press. Leftist newspapers seized the issue and brought it even further into the public’s attention. An inquiry was launched and it was agreed that Esterhazy should be tried before a military tribunal.
Workers at the Station of Statistics started to become aware that Esterhazy, the distinctive looking ethnic Hungarian commandant, sometimes quietly showed up for meetings in Henry’s office with the door tightly shut. Some even said they had spotted Henry and Esterhazy having brief social encounters in public.
     Esterhazy’s trial was short. The prosecution made the most of his sloppy demeanor and irresponsible behavior. They even entered as evidence a letter he had sent to a mistress in which he clearly stated his hatred of France. In defense, Esterhazy admitted to writing that letter but insisted that Alfred Dreyfus had forged Esterhazy’s handwriting for Letter D in an effort to hide his identity. Henry, Mercier, du Paty de Clam and others all testified to the sneakiness and cleverness of the Jews who had no loyalty to any nation. Alfred Dreyfus was a Jew so that proved he could pull off this outrageous stunt. The judges deliberated for only three minutes and returned a verdict of not guilty for Esterhazy.
     The officers at the Station of Statistics were worried that Picquart had learned too much. He was a young, loyal, and earnest colonel but they feared he would unwittingly stir up too much trouble. They got him out of the way by assigning him to command colonial troops in Algeria.
The leftist media went into a rage. The famous French novelist Emile Zola published an editorial called “J’Accuse” in a paper; he heavy-handedly listed all the reasons why Alfred Dreyfus should be given a civil trial. A team of right wing lawyers charged Zola with treason. Their case was taken to civil court with Zola as a defendant. The prosecution rehashed the same old tropes about Alfred Dreyfus they used in the first military tribunal and the jury found Esterhazy innocent. Zola was found guilty for making false accusations against him and sentenced to prison. His sentence was later suspended.
     A clique of military officers were in the strange position of having persecuted the innocent Alfred Dreyfus, a loyal and patriotic man, by sheltering and defending a known con-artist and spy who was obviously guilty of treason. Of course, Dreyfus was Jewish and Esterhazy was not. The officers were conservative Catholics and anti-Semites so ridding the army of Jews took precedence over honesty or truth.
     Esterhazy felt Paris was too hot to handle. He quit the army, shaved his mustache, bought new clothes, and exiled himself to Belgium where he continued losing other people’s money so he could have fun.
     The French right wing reacted to the verdict with violent jubilance. Mobs of young people took to the streets armed with clubs and bricks. Jewish businesses were vandalized, looted, and burned to the ground. Several people were attacked and killed as a wave of anti-Jewish hate spread throughout the country. A sect of Catholic clergymen called The Assumptionists grew in popularity, especially within the ranks of military officers. Aside from being anti-Semitic, the reactionary Assumptionists also called for an end to parliamentary democracy, internationalism, and cosmopolitanism. They believed in reinstating the French monarchy and returning to a feudalist economy, free from religious and ethnic diversity. Xenophobic and racist, they took it on faith that anybody who was not French or Catholic was part of a conspiracy to destroy the French nation. With the Assumptionists, the seeds of 20th century fascism were sown.
     The left wing intelligentsia also saw the Dreyfus trial as a rallying point. The centrist government of Meline could no longer hold the country together as the moderate sectors of the population allied themselves with the progressives who were starting to be called the Dreyfusards. Several disparate groups took sides with them. Socialists, anarchists, trade unionists, and democratic-republicans joined forces with atheists, pacifists, scientists, and human rights activists although this conglomeration of special interest groups were often more concerned with piggybacking on the Dreyfus controversy to further their own agendas. The Dreyfus Affair had split France straight down the middle with a wide, uncrossable chasm separating progressives from conservative reactionaries.
     Due to the media’s constant hammering at the Dreyfus case with its deep analysis of facts and logical arguments, the left wing in France began to gain the upper hand. Support for the right wing ideologues began to slip as it became more and more obvious that they had no evidence to build their case against Dreyfus on; they were an emotionally charged rabble of hotheaded windbags with nothing but bad intentions. Commandant Henry knew something had to be done to revive the anti-Jewish cause. He got hold of another letter written by the Italian spy Panizzardi and cut off the heading and last lines. These were pasted to sheet of paper, the center of which he filled with an amateurish forgery of a confession from Dreyfus that said he was working with Panizzardi and von Schwarzkoppen as a spy for the sake of starting a war with Germany. Where Panizzardi had signed the letter P at the end, Henry altered it to say D instead, making it look as if Alfred Dreyfus had written the letter. He then photographed the document and sent it to the press. It was printed in newspapers all around the country; the forgery was also printed on flyers and posted in town squares everywhere. The anti-Semites believed they had the proof they needed, definitively proving that Alfred Dreyfus was guilty of treason.
     Then an unknown person retrieved the forged letter from the Station of Statistics’ files and brought it to the attention of the authorities. After careful examination, it was clear that Henry had created it himself. The letters were written on lined paper and the lines in the middle were a different color than the lines at the top and bottom. Comparisons with Dreyfus’s handwriting did not match; his cursive was written with a smooth flow and Henry’s appeared jerky and uneven as if he were writing slowly and carefully while deliberately trying to make it look like the script of someone else. Henry was summoned to a meeting with his superiors. Henry broke down crying and admitted to having forged the Dreyfus confession but he claimed he did it to protect the army from the conspiracy of Jewish infiltrators that were polluting the French army and trying to take down the nation from within. The police handcuffed Henry and locked him in a cell in Cherche-Midi. After writing a letter to his wife, he slit his throat with a razor. Nobody knows how the blade got into his cell.
     Intelligence agents located Esterhazy in Belgium. He refused to return to France but agreed to answer written questions through the mail. Under the threat of legal pressure, he admitted that it was he, and not Alfred Dreyfus, who wrote the Letter D which was originally seized. He admitted to spying on behalf of von Schwarzkoppen and Panizzardi but his excuse was that he was commanded to do so by the Station of Statistic’s head officer Sandherr with the intention of feeding them misinformation. The problem with Esterhazy’s story is that the information he had written in the documents was true and the part about Sandherr could not be corroborated since the director had already died. They later learned that von Schwarzkoppen was merely paying Esterhazy for information because he wanted money to indulge in his gambling habits.
     Socially and politically, the French majority supported the causes of the leftists, progressivists, and Deryfusards by 1896. The liberal prime minister Waldeck-Rousseau had been sworn into office. When the story of Henry’s forgery and suicide, along with the account of Esterhazy’s treason, got into the papers, the government began taking the Dreyfus Affair into serious consideration. By 1898, a court martial proceeding was scheduled. The exile of Alfred Drefus ended when he was taken off Devil’s Island and transported by steamboat back to France for the trial. Colonel Picquart, who had also been imprisoned for making a false accusation against Esterhazy, was released to join the defense team along with Dreyfus. The two lawyers representing them were named Demange and Labori.
     The court martial was intended to be a retrial of the military tribunal. This time it was to be tried by a team of seven federal judges. Most of the original witnesses were too sick or too senile to testify for the prosecution. Some of them were dead. The retired and ailing commandant Mercier did most of the speaking, the majority of which explained how Alfred Dreyfus the Jew was untrustworthy, chronically dishonest, incapable of loyalty because of his religion, and incapable of being nothing but a traitor and a false human being. He presented no evidence other than the original Letter D that started the whole ordeal. This was again analyzed for the court by the looney handwriting expert Brillon who repeated the gibberish he originally said in the first trial. Mercier later came back to defend Henry’s forgery, saying it was necessary to protect the honor of the army. Mercier also claimed to have a letter written by Germany’s King Wilhelm II which clearly says that Alfred Dreyfus was employed as a spy for their nation; this document was not admitted as evidence since it supposedly contained classified information. Most likely it never existed since it has never been found in the intelligence agency’s archives.
     The defense should have had an easy time winning the case. They had all the evidence on their side but Demange and the envious Labori were constantly bickering with other about how to proceed. Still, their lack of coordination should not have damaged any of the hard evidence they had on their side. Then things got worse for Labori. One evening as he took a stroll by the Seine, an assassin shot at him from behind and ran away. The police made no attempt to apprehend the gunman. Labori fell face down with one bullet lodged in his back next to his spine. The surgeon decided the risk involved with removing the bullet was too great, so Labori was left to recover in bed. The judges ruled against postponing the end of the trial and Demange took over as the only attorney for the defense. Labori quickly recovered and returned to the trial, bellicose as ever. His arguments with Demange continued to wound the morale of the defendants. But by then he had contacted von Schwarzkoppen and Panizzardi. The two spies who had fled France when the Dreyfus Affair came to public attention. The had both sent letters claiming that they had never hired or worked with Alfred Dreyfus. They had never met him and had never heard of him until they read about him in the news. When Alfred Dreyfus was asked by the court to make a statement, he stood up and simply said, “I am innocent” then sat down again.
     The defense’s final statement was given by Demange. He made a five hour speech that had everyone in the courtroom on the edge of their seats with tears in their eyes. After Demange’s tour de force, the jealous and sullen Labori decided to sulk rather than add anything of his own. The judges went to their chambers to deliberate and when they returned they announced that Alfred Dreyfus was found guilty of treason with five judges voting to convict him, two were in favor of acquittal. He was sentenced to ten years in prison.
     The progressivist prime minister Waldeck-Rouseau felt sympathetic to Alfred Dreyfus and Picquart. He approached the defense team. Under French law he had the legal authority to pardon criminals with the consent of parliament. However, there was an unpleasant catch. In order to be pardoned, they had to admit to being guilty as charged when originally brought to trial. The pardon would also exonerate the anti-Jewish military conspirators, making it impossible to bring them to any future trials regarding the Dreyfus Affair. Picquart was quick to agree to this but Alfred Dreyfus decided to spend some time thinking it over. It is true that he would be free to live the rest of his life with his family but by admitting to a crime he never committed, his honor would be permanently tarnished. Eventually, he decided to accept the pardon. Waldeck-Rousseau’s bill passed through parliament with an overwhelming majority in favor of Dreyfus and Picquart. To compensate the two men, the government passed a bill saying that all French newspapers were legally obligated to print an announcement declaring that Dreyfus and Picquart were innocent of all charges against them. Technically, they were considered to be guilty on paper but in the eyes of the media and the general public they were fully vindicated. The French military had conducted a conspiracy of lies and deceit to hide their mistakes and preserve their honor but in the end the unraveling of their water-thin case disgraced them anyways.
     The troops were summoned to the parade ground. Dreyfus and Picquart were ceremonially reinstated into the French army while in full uniform, medals, epaulettes and all. In another ceremony, they were awarded with medals making them members of the French Legion of Honor. The younger Picquart was given a prominent position as a lieutenant. The older and frailer Dreyfus was returned to his position as a captain of a small artillery squadron. After two years he retired and died soon after.

Reference

Bredin, Jean-Denis. The Affair: The Case of Alfred Dreyfus. George Braziller, New York: 1983

Adult Performer Detained for Manslaughter in Bizarre Ritual (Involving a Toad)


Adult performer Nacho Vidal (aka Jordá González) was detained last week in Spain's Valencia region in connection with the death of fashion photographer Jose Luis Abad in July 2019 at Vidal's home, reports the UK Metro website.


Friday, June 12, 2020

Postmodernism Isn’t A Scourge on Civil Society—It’s Just a Pointless Indulgence


Postmodernism has taken some heat in recent years. Anyone with the capacity to say I don’t know who has taken a close look at it since it first emerged from mid-twentieth century France has considered it, at best, very silly, and some of them have bothered to say as much publicly.

Read the full article on Areo here

Wednesday, June 10, 2020

After an Egyptologist Tweeted Instructions on How to Knock Down an Obelisk, Protesters Tried It Out on a Confederate Monument. It Worked


The Birmingham mayor was all for removing the monument.

Art history doesn’t usually have much to offer in the way of practical, directly actionable lessons. But Sarah Parcak, a renowned professor of Egyptology at the University of Alabama at Birmingham, recently plumbed humanity’s cultural past to offer some very concrete advice. On Sunday, she posted detailed, step-by-step instructions on Twitter (including a helpful diagram) for how to tear down an obelisk, culled from her research into ancient Egypt. (For every 10 feet of monument, you need 40 or more people; use rope attached to a chain; everyone should wear gloves; pull hard in unison from either side.)

Read the full article on Artnet News here

Tuesday, June 9, 2020

Monday, June 8, 2020

Olof Palme: Who killed Sweden's prime minister?


On a Friday night more than thirty years ago, Sweden's prime minister went to the movies.
Controversial and outspoken at home and abroad, Olof Palme was by then in his second term as leader of his country. But he still insisted on living as normal a life as he could, and - as on that night - he often dismissed his police protection.

Thursday, June 4, 2020

What Is Tear Gas?


The term 'tear gas' refers to a group of chemical irritants that can be used to control or disperse crowds.



Tuesday, June 2, 2020

Book Review


Book Review

The Dharma Bums

by Jack Kerouac

     When reading The Dharma Bums forget about Jack Kerouac’s biography. Forget his other books. Forget what you know about the Beat Generation. Forget what you know about Buddhism. Most importantly, forget what you know about critical theory, deconstruction, feminism, political correctness or whatever other pseudo-intellectual muck you might have clouding up your brain. Clean out your mind and encounter this novel as it is. Just read it and go with it. It has to be experienced on its own terms.
     The Dharma Bums is primarily Jack Kerouac’s exploration of Buddhism. Ray Smith is the main character and the four strands of the book include accounts of his friendship with Japhy Ryder, his encounters with nature, his travels across the country, and some wild Beat Generation parties. The characterization of Japhy Ryder is both visual and psychological. Their extensive conversations about Buddhism, their mountain climbing, and their wine drinking sessions that lead to silly bouts of spontaneous poetry-making bring this individual to life. Through conversation, Ray Smith and Japhy Ryder intertwine their minds and personalities while remaining distinct in a way that makes both of them easy to understand. It seems as if Kerouac dropped the manic in-the-moment hedonism of Neal Cassady and replaced it with the imminent transcendence and lofty contemplation of the guru Gary Snyder, the real life poet who Japhy Ryder represents.
     When Ray Smith and Japhy Ryder take an experienced mountaineer up to the peak of Matterhorn, we get some of Kerouac’s best prose stylization. The natural atmospherics of the mountain range are sharply described and vivid; you can feel the height of the pine trees, the shade of the forest canopy, and the refreshment of cold stream-water as they pour it over their sweating heads and let it flow down their thirsty throats. You can feel Ray Smith’s straining muscles and the resistance of gravity as he hikes and climbs. His hunger makes your stomach rumble. All this is described in a free flowing prose that is rhythmic, airy, light, and spontaneous. It literally sounds like music when read out loud and in fact the musical flow and beat is so strong you could, at times, even imagine dancing to it.
Another great section about nature is when Smith visits his family in North Carolina and spends copious amounts of time meditating in the woods while surrounded by dogs. He describes the grove as a temple and meditates under a pine tree the way the Buddha Siddharta Gautama found enlightenment under the Bo Tree. In his inward journey he contemplates the true nature of existence. His thoughts are abstract but not impossible to understand. In terms of Buddhism, this is probably not very original but he articulates them well and in the end his sense of peace and well-being are sincere without sounding like flakey, new age pretentiousness. His return to the world outside his head is not glorious, though; his family treats him like an idiot because he deviates from the well-trodden path of mainstream America full of dull people who do little more than work and watch tv, the mid-century equivalents of the nobodies today who do little more than lay on a couch, playing with their cell phones.
     Then back in California there are the parties. The friends of Ray Smith and Japhy Ryder stay up all night with bonfires, jugs of wine, guitar playing, people dancing naked, and couples sneaking off to make love in the woods. This Dionysian revelry predates the California hippy scene by almost ten years and Japhy Ryder makes an accurate prediction about a future youth movement where people celebrate life and return to nature rather than falling for the never-ending drudgery of work and boredom that was so popular in the 1950s. Even his prediction of a rucksack revolution where pilgrims roam the Earth in search of knowledge and experience foresees the world-traveler backpacking movement that has been going on since the 1990s. But Ray Smith, ever the loner, feels uncomfortable at these parties and spends a lot of time cooking for the guests, sitting silently by the fire, and wandering off along to look at the stars.
     In between all this are the passages about traveling around America. Ray Smith rides buses, hitchhikes, and jumps on freight trains like a bum to get from coast to coast. He meets a cross-section of truck drivers, hobos, and various other people while expressing fascination and admiration for almost all of them.
     Ray Smith is such a great guy. He loves the world and he loves life. He seeks for genuine truth and believes deeply in kindness and goodwill towards all human beings. He wants to bless everybody with generosity and enlightenment. His kindheartedness brings out the best in everyone he meets and his fascination for other people is both naive and charming. Underlying all this goodness, though, is a sadness, a dark shadow, because of all the suffering and unhappiness of the human race. While Kerouac does not explicitly bring out this subtle gloom, it can be felt in so many lines of The Dharma Bums.
     This novel may be the closest Jack Kerouac ever came to perfection. The sections are well organized and distinct from each other while flowing smoothly from one passage to another. His sentences are a little more controlled than usual and his thoughts, even when rambling, are clear, clean, and accessible. While The Dharma Bums has a gentle and contemplative tone, it is also energetic and vivacious. In our age when America is steeped in hopelessness, anger, injustice, and hate this is a great pieces of literature to turn to for renewal. In our day, it does not seem dated and in fact, the thoughts and actions of Ray Smith seem more relevant than ever. 

Kerouac, Jack. The Dharma Bums. Signet Books, New York: 1959.