In Response To Comments by ‘Oh Mercy’
December 28, 2007
In Response To Comments By ‘Oh Mercy’
Obviously ‘Oh Mercy’ is a one off moniker for these comments. Your style reminds me of someone who made an equally violent comment some time ago. He went by the moniker ‘Winky, The Psychoanalytical Clown.’ Perhaps you’re the same.
Your comments are merely defamatory, Winky. Whatever your objection to my content may be you seem incapable of making yourself clear. You merely go into an ad hominem rant.
My sources are qite clear. I list the four Dylan biographies I am relying on at the top of the first essay. I refer to the specific biographer I am using an an authority in the text. I supply hyperlinks when quoting an online source.
I see no reason to employ academic citation style. It does not lend itself to online writing. It merely looks stupid. So, you want to check my sources they are clearly listed in text. Interpretations are of course my own.
Further I consider myself a scholar rather than a researcher. If a fact appears in four or five books I see no reason to attribute it to anyone. At that point it becomes general knowledge. If you have ‘researched’ one book each fact is unique to you so you might as well attribute it. I stopped buying current books because they are all written by researchers without backgrounds. A history of codfishing by a guy who has never been on a fishing boat and probably even never eaten a codfish carries what authority? Who would read such crap?
I supplement my study in the case of Dylan by my own experience. In one form or another I was there. I lived the folk era. I was there at the creation of rock. I bought Presley 45s new.
If you don’t think you can take me seriously then don’t. I can assure you I don’t take Greil Marcus seriously but he is amusing. Perhaps you’d like to be amused?
So, if you wish to actually comment or question something I said I’ll be happy to elucidate any point you bring up.
But as for my being insane because you disagree with me- see you in Charenton, Winky.
Exhuming Bob 2-2 Detourning The Folks
December 24, 2007
A Critique
Exhuming Bob 2-2
Detourning The Folks
Greil Marcus has written of detournment extensively especially in his Lipstick Traces. The French word means hijacking, rerouting or diversion, or in other words changing the direction of the flow or meaning. Thus one strips an object of its familiar values and replaces them with others but leaves the object intact. In a conflict of cultures the question becomes who will assign the values or meanings to objects and words.
I will use as a starting point for my purposes here H.L. Mencken of the twenties. The values into which immigrants migrated were those of the Anglo-Saxons. From the immigrant viewpoint the Anglo-Saxons detourned their languages and cultures attempting to replace them with English and Anglo-Saxon values. The inevitable result was that immigrants felt that they had been devalued and demeaned. So it is no wonder that having recovered some balance by the end of WWII they fought back by attempting to detourne Anglo-Saxon culture in their favor.
This is nowhere more apparent than between the Jews and Angl0-Saxons. No matter whether you place the conflict between the Old Dispensation or the New Dispensation the Jews always view themselves as a separate, independant and potentially dominant culture. Hence the drive is always first for autonomy and then detourning the host culture to reflect Jewish laws and customs, hopefully making Hebrew the official language. To Jews, like Greil Marcus and Bob Dylan then ‘freedom’ means the replacement of the Anglo-Saxon law and culture with Jewish law and culture with the Jews as arbiters of the fate of what become essentially subject peoples. The Jews can never be ‘free’ no matter how unrestrained they may be so long as they are subject to others legal and social systems. This is the central problem the United States and the West refuse to face. The same is true of the Semitic Moslems. It is the purpose of Moslems to detourne Western culture for a Moslem Culture. It is quite simple.
By the time H.L. Mencken was making his rise Anglo-Saxon pride was at its maximum. I haven’t been able to determine whether Mencken was Jewish but he allied himself with the Jews making common cause with them. The approach naturally was to defame Anglo-Saxonism. Mencken naturally chose the least sophisticated Anglo-Saxons to represent the whole. Thus he went to the mountain folk of Appalachia and the hill country all along the Line. He began to ridicule these people as representative of all Anglo-Saxons. I mean, he was mean; he was vicious; his Jews caused a huge fuss for much less criticism or in their terms- defamation.
Expanding the arena, using these rural folk as their model the Communists then picked up on these people with the least possibility of education as the example of Anglo-Saxonism. In 1932 and 1933 following Mencken’s example Erskine Caldwell, a Communist writer, published two mammoth best sellers, Tobacco Road and God’s Little Acre. These books were especially mean and vicious making Mencken look laudatory in comparison. Perhaps using Mencken and Caldwell as inspirations a Jewish cartoonist by the name of Al Capp created the L’il Abner comic strip in 1934. This strip also ridiculed Anglo-Saxons but in a less demeaning manner that not only didn’t offend the majority but actually pleased them. There were some few of us who saw through the sham but there was nothing obvious enough that the majority could see.
Capp would be convicted on a morals charge late in his career that effectively ended his influence. The motif was carried forward on television in the series Archie Bunker.
Now, the Anglo-Saxons used to represent the whole were the custodians of the Folk music that was so revered by the New York City Jews of the late fifties and early sixties. So you actually have Jews imitating Hillbillies.
The vilification the Mountain Folk endured actually shamed the city Anglo-Saxons causing a dichotomy in their character. They rejected the Mountain Folk as representing all Anglo-Saxons. This is made quite clear in Caldwell’s novel when his urban relative throws his rural cousins out of his house and tells them to never come back. Something like a son testifying against his father. The Liberal-Conservative split was given a difinitive form.
The Mountain Folk formed what Greil Marcus calls the Weird Old America. After the Roosevelt administration was elected and the New Deal was established as a continuation of the Wilsonian New Democracy Jews flooded back into Washington as under Wilson.
During the twenties as radio became a reality and recording technology became more widespread and available a number of Mountain Folk and/or White Trash as they were alternately known, recorded their distinctive music in their own voice. Nor was this music ill received, many of the recordings were huge sellers according to the standards of the times while some like Jimmie Rodgers and the Carter Family became very successful recording acts. Thus what was known as Hillbilly music until 1954 came into existence. For whatever reason whoever controls these things thought the term Hillbilly was insulting so the various rural flavored musics were grouped under the term, Country and Western. Hicks are hicks to me whatever you call them, Hillbilly or Country, I’ve been called worse. Having ancestors that came down from the Kentucky hills I have no objection to my Hillbilly ancestry.
The Anglo-Saxon dichotomy was such that those who were shamed by Communist efforts had an extreme aversion to Hillbilly or Country music that they considered ignorant while professing to admire the Blues simply because it was performed by Blacks even though the intellectual content was well below that of Hillbilly music.
Nevertheless the Hill Folk were the custodians of the old English folk traditions. Folk music was then separated from Hillbilly music and approved on that basis. Thus after the Roosevelt administration was installed in an effort to counter the Depression certain cultural programs were developed. One involved the attempt to preserve the quaint customs and music of the Hill Folk and the rural Blacks. These two peoples were treated as anthropological specimens on the same level as Tobriand Islanders and others.
The New Deal of the Roosevelt administration was a direct continuation of Wilsonian New Democracy. It was as though they’d never been gone. With the creation of a huge new bureaucracy Jews came flooding back into Washington as they had in the two Wilson administrations. In many if not most cases these people were the ones sent out to deal with our homegrown anthropological specimens as Superior to Inferior. Sort of a domestic Peace Corps. Yes, they did profess to revere the music of these simple folks.
So Folk Music always had an honored place in Anglo-Saxon cultivated circles perhaps spurred to some extent by the ‘field’ recordings of the New Dealers. Folk played a prominent part in popular music from the end of WWII on. Foremost practioners of the genre were the Almanac Singers and their successors The Weavers.
A key member of both groups was Pete Seeger. Pete was both Jewish and Red. This was a bad combination during the post-war anti-Communist reaction. While making hits of a number of Leadbelly songs under Seeger’s guidance The Weavers had a major success with the Jewish melody Hava Nagila. It was a catchy tune. I liked it.
Capitalizing on this success The Weaver’s under Seeger’s guidance concocted a ‘folk’ tune called Song of the Sabra celebrating Jewish ‘pioneer’ efforts in Israel. Apparently the Sabras were some kind of hobo outfit that sat around campfires and ate stew a lot. Thus the effort to detourne American Folk Music began. The Song of the Sabras was so egregiously promotive of Israeli/Jewish interests that the song caused a big reaction. If I remember correctly it was staged at least once on a TV version of the Lucky Strike Hit Parade. That’s where I got the camp fire bit as Pete roasted his weeny and sang. Whether it was an extra or supposedly in the Top Ten I can’t remember.
Somewhere about then Seeger and The Weavers were found to be subservice giving a bad name to Folk Music as long as the genre lasted in 1966 or ’67. The Weavers disappeared from the air waves. However at least one member would be instrumental in guiding the musical direction of the Kingston Trio.
Folk music continued strong between the demise of The Weavers and the emergence of the Kingston Trio both as popular music and ‘purist’ Folk. The greatest of them all was Lonnie Donegan who had a successful career in the US and a tremendous impact on the British scene from England to Australia as Skiffle Music. Josh White, Odetta, Harry Belafonte, Terry Gilkyson and the Easy Riders among others, one might add Mitch Miller, had many memorable folk tunes competing equally with Rock and Roll if not its superior. If one considers the Presley Sun recordings objectively they also can be seen as Folk or highly influenced by Folk. After all Elvis was known as the Hillbilly Cat.
The Kingston Trio with their Tom Dooley that was an actual sensation in 1958 sort of broke the taboo against Folk music although the Kingstons were plenty subversive. The great Chad Mitchell Trio emerged at this time also as an even more politically subversive group but also with a popular sound and enough bite to defuse Dylan’s claim to have introduced serious lyrics into popular music. The Chad Mitchell Trio is probably running neck and neck with the Kingstons as my favorite folk groups although Terry Gilkyson along with the Pozo-Seco Singers are right behind them. The old Seekers from Australia are hot stuff too.
So that brings us up to Grossman’s Gate of Horn in Chicago of ’58 and the founding of the Newport Folk Festival in ’59 as well as Dylan’s entry into the New York Folk Scene in ’61.
3.
After WWII the Jews had introduced the raw form of multi-culturalism designed to replace the Anglo-Saxon model of society with the Jewish. With the election of the Irish Catholic John F. Kennedy it appeared that the Anglos had been defeated.
The next phase of the Jewish program was put in place. The thing was to detourne or hijack American culture.
Detourning Folk music was part of it. The study of Dylan concentrates on the New York City East Village group that was virtually Jewish with its specific outlook. Actually the Folk scene was very diverse and different in its emphasis in each locale. Bob would focus the entire Folk movement in himself.
Boston with the Mel Lyman family and Jim Kweskin Jug Band, Geoff and Maria Muldaur was quite different from NYC. The strictly commercial LA scene with Randy Sparks’ New Christy Minstrels had its own flavor. In San Francisco Jerry Garcia, Robert Hunter and others had credentials that easily matched those of Dylan. The whole San Francisco Sound was Folk based.
The top bands like Kingston Trio, Chad Mitchell Trio and semi-pop groups like the Brothers Four and the Christy Minstrels really carried the banner for folk.
And then there was the Country or Hillbilly faction that was considerable. Great old tunes like Jimmy Brown The News Boy were Country smashes. Hank Snow recorded a passel of old Folk songs like Nobody’s Child. New murder ballads appeared for people who like that sort of thing that were fabulous like Snow’s Miller’s Cave and Lefty Frizzell’s dazzling The Long Black Veil. It would be years before it was known that Veil was newly written and not an old Hillbilly song. If you compare the Kingston’s Tom Dooley with Frizzell’s Long Black Veil you can’t tell the difference.
A word about Harry Smith’s Anthology Of American Folk Music that Greil Marcus and Bob Dylan revere so much. The collection is a very small selection of songs culled from a huge mass of material that just happened to fit Harry Smith’s personal psychosis. Anyone going over the same mass of material could select an entirely different selection of songs that reflected their own personal outlook and would be just as ‘authentic.’ I mean, I heard The Cuckoo and I Wish I Was A Mole In The Ground over the radio decades ago as a kid. I was signally unimpressed. I never called in to hear either again. So as far as being some authentic voice of America I rather think the collection reflects Jewish and Communist ideals.
What is the message exactly of ‘I wish I were a mole in the ground, I would burrow until I brought that mountain down.’
It that isn’t a call to detournement I don’t know what is. So Harry Smith is Harry Smith and welcome to him but I have my own agenda.
So Dylan left his old life behind to begin a new life in New york City but with an old agenda. His secret agenda was to detourne American culture. Of course the word ‘detourne’ was unknown in America at that time. I have to thank Greil Marcus for adding that very useful word to my vocabulary.
Bob started out detourning Woody Guthrie. Within a couple months he had hijacked Woody’s life. Clinton Heylin believes that even the Guthrie persona was second hand having been detourned from Jack Elliot who had of course detourned it from Guthrie. Boy, there was another stone bore I never could listen to, Ramblin’ Jack Elliot.
Dylan more or less confirms this in his Chronicles Vol. I. I’m copying a quote from Chronicles as noted by Jim Kunstler in his excellent review of Bob’s memoir:
http://www.kunstler.com/mags_dylan.html
Quote:
“You’re trying hard, but you’ll never turn into Woody Guthrie,’ (John) Pankake says to me as if he’s looking down from some high hill, like something has violated his instincts. It was no fun being around Pankake. He made me nervous. He breathed fire through his nose. ‘You’d better think of something else. You’re doing it for nothing. Jack Elliot’s already been where you are and gone. Ever heard of him?’ No, I ‘d never heard of Jack Elliot. When Pankake said his name it was the first time I’d heard it. ‘Never heard of him, no….’ Pankake lived in an apartment over McCosh’s bookstore, a place that specialized in eclectic, ancient texts, philosophical political pamphlets from the 1800s on up. It was a neighborhood hangout for intellectuals and Beat types, on the main floor of an old Victorian house only a few blocks away. I went there with Pankake and saw it was true, he had all the incredible records, ones you never saw and wouldn’t know where to get. For somone who didn’t sing and play it was amazing he had so many….Pankake was right. Elliot was far beyond me….I sheepishly left the apartment and went back out in the cold street, aimlessly walked around, I felt like I had nowhere to go, felt like one of the deadmen walking through the catacombs. It would be hard not to be influenced by the guy….He was overseas in Europe, anyway, in a self-imposed exile. The US hadn’t been ready for him. Good. I was hoping he’d stay gone, and I kept hunting for Guthrie songs.”
Unquote.
Of course the US hadn’t been ready for Elliot. One Guthrie was one too many. Who needed a Guthrie detourned by another Jew? Let the English have Elliot. But that didn’t stop Bob from detourning both Guthrie and Elliot when he got to the Big Apple. He followed Elliot around studying and copying his mannerisms. Elliot should have painted on his guitar the slogan: This machine kills copycats.
Well, no matter Bob learned his error when he learned another Guthrie copycat wasn’t needed in NYC but Bob had mastered a style, a persona on which he could build. That was more than he had had before.
Pete Seeger and the Jewish busybodies were busy fomenting discord in the South. Already knee deep in the Big Muddy Seeger was encourging others to write political diatribe songs. The path was clear and Bob met a girl named Suze Rotolo. Rotolo worked at CORE. She then encouraged Bob to write ‘politically relevant’ songs. Well, what are you going to do but go with the flow, swim with the current? Bob didn’t like the topical songs though. You have to give him credit for good sense there. He wrote literary style lyrics that talked around the political issues without dealing with them directly.
Now there were songs that other voices could sing.
As a lyricist Bob was not a tunesmith so he merely borrowed tunes from old ballads and other people. In other words he detourned Anglo-Saxon folk tunes grafting on Jewish sensibilities. Heylin gives a perfect example in an exchange Dylan had with Martin Carthy in England. Carthy showed him the old English ballad Greensleeves. Bob dutifully learned the song. Then he went away for a few weeks. When he came back he collared Carthy and played him Greensleeves. Here’s your Greensleeves he said. Then he played the tune set to the words of Girl From The North Country. Thus he detourned tune after tune to his own Jewish sensibilities.
Now things were heating up on the Jewish revolutionary front. The so-called Free Speech Movement was being launched at UC Berkeley.
As I mentioned Jews could never be ‘free’ so long as they were merely part of a dominant other culture. So ‘Freedom’ meant to them detourning the dominant culture so that their own law and culture was supreme. Freedom for the Jews meant slavery for everyone else. Thus we have Greil Marcus in the bleachers cheering his heart out at Free Speech rallies for ‘freedom.’ There were many of us in the bleachers much less enthusiastic. But then we weren’t Jewish and we weren’t clear as to what was going on.
Dylan as a Jew came to Berkeley to play where he was received as a hero by his fellow Jews. Both must have been aware of what they were doing. Jerry Rubin was the sparkplug whether Greil Marcus slyly disagrees with him or not.
The revolt at Berkeley soon spread to Columbia and the rest of the Ivy League and across the country where it meshed with Mao’s Cultural Revolution.
Dylan himself progressed from his political associations to Another Side of Bob Dylan in which he worked out his own personal problems in a Jewish social context in highly symbolic language. The lyrics are complex, poetical and not easily understood. the concept of ‘Freedom’ plays a prominent role.
4.
Freedom as the idea of a complete lack of constraints developed in the latter half of the twentieth century. Prior to this ‘freedom’ meant to be free so long as your own freedom didn’t conflict with the freedom of others. Latterly it has taken the meaning that others be damned so long as one can do what one wants. This entails the related notion: consequences be damned. Consequences won’t be damned so if one does the crime one must do the time. I suppose the notion is that if you can run fast enough you can avoid the consequences. I don’t know if one can but some have done a very presentable job of it. Mao was one, Dylan is another. Of course there was that one little incident at Redwing that didn’t work out too well but since then it has been fairly smooth sailing for Bob and he may leave the building without suffering too many serious consequences.
Now, in order to be free one has to dominate everyone else. If one is obligated to an other then one isn’t free according to this latter day interpretation of ‘freedom.’ In that sense in the entertainment industry Frank Sinatra was as free as anyone has ever been. The man need only place a call to anyone elses wife and she would leave her husband’s bed and run over and give Frank a blow job and there was nothing the husband could do about it. This is no joke. Sinatra could have anyone beaten up with impunity. When he was offended by President Kennedy, Kennedy was shot. There are those who maintain Frank had a hand in it. Never been proven but there are reasons to so believe. Frank Sinatra had ‘freedom’ while he escaped the most serious consquences dying in bed a very old man. Alone and despised perhaps but then one can’t escape all the consequences.
So while limiting himself to a field in which he could be successful Bob has perhaps been the most ‘free’ of the Rock ‘n Rollers. He never took on Frank however and if he had he would have discovered the limits of his ‘freedom.’ Although Albert Grossman may have limited Bob’s ‘freedom’ somewhat I find it interesting that Bob came out at least even in his brush with the current Hollywood hard-on, David Geffen.
Now, Bob wasn’t so free that he could achieve his goals without leaning on or being dependent on others. However to compensate himself he destroyed, trashed whoever and whatever he had used as stepping stones to achieve his ‘freedom.’ In the pursuit of his freedom he became a very vicious and nasty man.
There is no reason to believe that at the 1965 Newport Folk Festival he wasn’t trashing the whole Folk scene that he had used to get him to the launching pad of his Rock ‘n Roll dream.
The arguments about how or who brought Folk Rock into existence may well be interminable. The fact is that both Folk and Rock at the time were stagnant. Whether the music died in that corn field in Iowa in 1959 or not the big labels had pretty well tamed the music of the fifties. Columbia had separated Dion from the Belmonts and had him singing standards to syrupy instrumentals. Ruby Baby was his last great effort before Columbia detourned him. Safe teen acts and emasculated falsettos dominated the airwaves . By late 1963 and early 1964 the Folk ethic had worn out as Folk groups dressed in loden green pull overs and sang like the Brothers Four. Even the emasculated and detourned version of Michael Row The Boat Ashore couldn’t prop up Folk for long.
So musicians had to be searching for something different if not new. Folk Rock was as new as anything while the electric blues served as different. Thus as the middle sixties came in one had Folk Rock, the electric blues and rough sounding garage bands like the Seeds. Oh yes, that was another development temper tantrum teenagers screaming ‘I don’t want to be like anybody else.’ Not to worry.
Folk rock would have or did develop without any real help from Bob. He already had electric recordings out so that if he didn’t want to stick it in their ear he could have done an acoustic set at Newport and let his electric side take its natural course.
I’m not so sure even then that electricity was the problem. Personally I welcomed the electric Bob. I was glad to see him leave the Folk stuff behind. I was on the West Coast but I didn’t run into many or any people who were emotionally involved. Even Greil Marcus doesn’t seem to be put out by the change.
I think you had to be emotionally invested in Bob the protest singer. When that fellow in Manchester cried out Judas I would have to think that his problem wasn’t an electric guitar but the fact that Bob seemingly betrayed the political stuff he had been singing. He had pandered to the protest crowd and now he wasn’t letting them down easy. He was turning his back on them. Rathr than being the standard bearer of spokesman for the generation that he had let them believe he was he now trashed everything they believed in. They had given him his and now he didn’t need them anymore.
His whole career was based on trashing his believers. Not that I understood any of this at the time. I didn’t even know about it and if I had I wouldn’t have cared.
Positively Fourth Street was his ‘kiss my ass’ song to all those Folkies he had used and abused and now abandoned.
An interesting aside that could use closer examination was his visit to Carl Sandburg in 1964. All the biographers assume that Carl Sandburg snubbed Bob because he hadn’t heard of him. Maybe, I can’t say but it is significant that Sandburg was a folksinger himself or, at least, he sang folk songs. While Bob and Greil are enthusiastic about Harry Smith Sandburg himself had published his American Songbag in 1928 and then followed it up in 1950 with a new collection. Unless he was brain dead in ’64 there is little reason to believe he hadn’t maintained his interest in folk into the sixties and kept up with it.
After all the Christies were doing a number of songs from the 1928 Songbag so Sandburg must have experienced great satisfaction that everything he had been hoping for had come to pass. I don’t know his singing style, and he did publicly perform the songs, but I suspect it was more Christy style than the cacophony of Bob.
I don’t think it improbable that he in fact knew exactly who Bob Dylan was, had probably heard him on record and/or the radio and fully detested him, so that when he opened his door and found Bob Dylan, let us say the folk devil himself, standing there he just froze. It would be nice to know exactly what was said. I think it unlikely that he would have been familiar with Paul Clayton but as Clinton Heylin suggests if he had dropped the needle into the groove there is little doubt which record would have been played through.
If Sandburg had shown any preference for Clayton at all for any reason, manners for instance, there is little doubt that that sealed Clayton’s fate with Bob.
If It’s All Over Now Baby Blue was a put down of Clayton which seems likely then the odds are that it was resentment over something that was said or done at Sandburg’s is the reason.
That would have been added to the fact that Bob had stolen a couple tunes from Clayton that required the trashing of the man in ’64 to cover up the evidence. One can’t hold it against Bob that Clayton committed suicide, after all, we’re all big boys here, but he must certainly have contributed to a deteriorating mental state.
The trashing of Joan Baez also at this time doesn’t require further comment in this place. Suffice it to say that Bob had taken hers to keep with his and now it was her turn for the circular file. It is hard to believe Bob didn’t enjoy what he was doing amidst the flashing gongs on the road to ‘freedom.’
In ’66 Bob’s mind broke. He had what used to be called a nervous breakdown. In his terms a motorcycle accident. There was a long recovery period of several years. I certainly don’t hold the nervous breakdown against him. He was pushing too hard. Even if he had been straight he would have become distraught, but under the influence of what all his biographers agree were monumental amounts of drugs washed down with quantities of alcohol it is a wonder if not a miracle that he lasted as long as he did. Apparently he was driven to complete the sound in his head and vomit out all his rage accumulated up there in the North country before he cracked.
When he went down he went down hard but in pleasant enough circumstances.
Why he came out isn’t clear unless it was to trash his fans. It didn’t take much for me to catch on back then but then on the first hearing of Blonde on Blonde I realized he’d ridden his board all the way to shore. From there he would have to start all over again while he would never catch a wave like that again.
Bob still had a lot of past to bury though.
He achieved this in spectacular fashion in 1975 on his Rolling Thunder tour as an overseer on his very own Maggie’s Farm. The tour mayby be considered as a vision of Plantation Bob. And he was a sadistic overseer too.
As Heylin points out the shows were over four hours long while Bob may have been on stage only a few minutes to a half hour or possibly a little more. Thus his cast of characters were slaving on Maggie’s Farm while Maggie or Bob showed up from time to time to make sure his darkies were singing as they slaved. A very good joke. If you step back and look at it the gig is pretty transparent.
Now, Dylan asked people if they were for it. As the only ‘free’ man in the group Bob had no trouble in getting his victims to come on board his ship that had just come in. The performers couldn’t have been paid much if at all. The payroll and expenses of such an extravaganza couldn’t have been recouped at all. If there was any money left over it went into Bob’s pocket.
Bob reached way back in the past to bring Ramblin’ Jack Elliot aboard. Bob owed Elliot a lot so the old man had to be trashed. McGuinn was brought along because he had traded on Bob’s talent or else had done such sparkling versions of Bob’s songs that he had made Bob look bad.
Phil Ochs wasn’t allowed to come along not because Bob had pity on his fragile mental state but simply because Bob didn’t owe him anything. If he had had reason to trash Ochs you may be sure he would have.
One may guess that he was already finished with Sara, his wife, as he not only allowed her to come along to witness his degenerate behavior but actually cast her as a prositute in his movie Reynaldo and Clara. One just doesn’t allow the mother of one’s children much less a woman one respects to play a prostitute. I find it unforgiveable while Sara took him for much much more than thirty-five million if Heylin and Sounes are correct which is pretty good wages of sin.
As if that wasn’t enough Bob brought along his old inamorata Joan Baez to confront his wife, Sara. Gratuitously cruel and unnecessary so I suppose Bob was attempting to trash his entire pre-1975 past. Like a snake shedding his skin he was attempting to begin a new existence.
Here his Frankist upbringing rose up to bite him because you can’t pour out that quart and half of evil. As Bob said you can change your name but you can’t run from yourself. Bob wasn’t released and one can never be released, only the truth can set you free. You have to come to terms with yourself and acept things as they were and are. Even then your freedom is conditional; at best you are only out on parole. You can’t trash reality.
End of Exhuming Bob 2-2
Exhuming Bob 2: With One Hand Waving Free
December 19, 2007
A Critique
Exhuming Bob 2:
With One Hand Waving Free
by
R.E. Prindle
TEXTS
Scaduto, Anthony: Bob Dylan 1972
Shelton, Robert: No Direction Home 1986
Heylin, Clinton: Behind The Shades Revisited 2000
Sounes, Howard: Down The Highway 2001
Marcus, Greil: Articles and Essays.
Prindle, R.E.: Essays
Come on, give it to me,
I’ll keep it with mine.
-Bob Dylan
Time to tackle a few basic assumptions. For instance what is the conception of freedom as entertained by Bob Dylan and latterly his alter ego, Greil Marcus. Both are Jews so freedom must be examined in the context of the Jewish understanding of the term and contrasted with the Gentile understanding.
With the emergence of the supremacy of cultural differences in the United States made stark by the doctrine of Multi-culturalism such a definition seems to be demanded. Cultural expectations are quite different. What is freedom for Jews is not freedom for others. My concept of freedom differs markedly from that of Dylan, Marcus and their fellow Jews.
As is pointed out by both Sounes and Heylin Dylan’s given Jewish name is Sabbatai. That means that his father was probably of the Sabbatian-Frankist Jewish sect. This sect holds that the messiah can never come until the Jews have expelled all the evil from their souls. Therefore they should commit any and all crimes in the effort to purge their souls of evil. In other words apparently according to Frankist beliefs there is, oh, about a quart and half of evil in a Jew which once that is poured out their souls will be purged of evil.
In his 12/30/04 review in Rolling Stone of Dylan’s Chronicles Vol. I Greil Marcus quotes Dylan recollecting a saying of his father:
Quote:
“My father,” Dylan writes of Abraham Zimmerman, “wasn’t so sure the truth would set anybody free”- and those words sound down through the book.
Unquote.
Marcus goes on to say:
Quote:
This isn’t just the stiff-necked Jew turning on Jesus pronouncing that “the truth shall set you free.”
Unquote.
Thus we are led to the core of the issue. If the truth won’t set you free, what will? This seems to be an internal Jewish problem as at the time Jesus is quoted he was merely an itinerant Jewish prophet speaking solely to his fellow Jews as a Jew while demanding recognition as a prophet.
It is often forgotten that prior to Paul’s universalizing of the teaching of the Jew, Jesus of Nazareth, the Jesus cult was confined to the Jews.
The Jewish Jesus cult only became Christian after it was grafted on to the Greek Kyrios Christos cult and therefore became Christian through the association with Aryan Greek religious thinking. Christos means merely the Expected One, the same as the Jewish term Messiah and the Moslem Mahdi. Who are you going to believe, right?
So, the question is what Truth did Jesus have to offer to his fellow Jews that would set them free and free from what? This seems to have been a problem that Abraham Zimmerman was pondering. As he was most likely a Frankist the struggle would have been between expelling the quart and half of evil by committing it while rejecting ‘the truth’ as expounded by the Jewish would be prophet, Jesus of Nazareth.
The Jews reacted violently to Jesus and his message causing his death, then persecuting his following attempting genocide on them. So whatever ‘truth’ Jesus sought to impart to his fellow Jews was thoroughly rejected.
Symbolically Dylan whose personality was divided between the goiish world of Hibbing and the Jewish world of his father speaks of ‘dancing with one hand waving free.’ Which hand?
There is quite obviously a terrific conflict going on in Dylan’s mind from then to now. Not only was his father probably a Frankist but Bob was sent to a Jewish summer camp over several years. This was Camp Herzl. Theodore Herzl was the founder of the Zionism that captured the Jewish identity in the twentieth century. Bob attended those camps in the decade or so after the realization of the Nazi extermination camps. He must therefore have been indoctrinated with the paranoia of post-war Jewry. When he is described as ‘plenty Jewish’ he obviously endured heavy indoctrination with the endless showing of heaps of dead bodies being pushed around with bulldozers.
So then, ‘one hand waving free?’
As Jesus’ message to the world was that God so loved the world that he gave his only begotten son this notion was in conflict with the traditional Jewish notion that God so loved the Jews exclusively that he made them his chosen people. The plea of the Jewish prophet Jesus of Nazareth to his people may well have been to come out of the isolation of their chosenness to join the rest of humanity and become ‘free’ of a ridiculous prejudice. This the Jews refused to do choosing to eliminate the messenger instead.
Abraham Zimmerman obviously understood this but chose the Frankist approach rather than the Jesusite. As Greil Marcus so aptly noticed he seems to have been successful in passing this notion on his son. Bob himself, it seems to me, has lived his life in the most represhensible manner running roughshod over everyone, indulging his evil impulses.
A key issue that Heylin emphasizes is what happened in the summer of ’59? This was the summer of Bob’s graduation and a year before he spent the summer in Colorado. The period seems to have been one of extreme psychological turmoil as Bob’s Jewish persona took over his life.
It seems pretty obvious that Dylan committed some crime around his graduation for which he was sent to the Redwing Reformatory of Minnesota. Heylin accepts Beatty Zimmerman’s explanation that Abraham for some reason voluntarily sent Bob to a reformatory in Pennsylvania. This makes no sense to me. As we know Bob committed more than one theft in the year after he began at U. Minnesota. I think it more likely that he appropriated something of someone else in Hibbing and ‘kept it with his.’ What it could have been must have been pretty serious to send a first time offender to the reformatory for a couple months expecially at the age of 18.
It seems possible if not probable that the offence was not Bob’s first and that he had been let off with a warning on earlier offences. At any rate Bob wrote a song concerning the walls of Redwing. It would seem likely that he was familiar with them from the inside.
If so he didn’t learn his lesson as he took to theft at Minnesota. It is also interesting that he also sang ‘why am I always the thief?’ The Pankake record theft at Minnesota was a most ill-considered and egregious theft as the material ‘kept with his’ led directly to him. Bob continued his thefts in Colorado where when the police were called, according to Sounes, he went into a real panic. The panic may have been caused by the fact that if the Minnesota police history became known, as a second offender and an adult, he may have been facing a more serious sentence and that in the men’s prison rather than the boy’s reformatory. Realizing he had outworn his welcome Bob skipped back to Minnesota.
When Pankake was tracking Bob down he discovered that a lot of people were looking for Bob. Why would they be looking for him? Either he owed them money or they too were missing something that Bob was ‘keeping with his.’
Whether Dylan actually wanted to go East to meet Woody or whether the times were changing enough that it was opportune for him to skip Minneapolis requires further investigation but it is probable that it was time to move along.
His mental turmoil was such that people posted an unwanted sign upon their hearts whenever he came around. Heylin quotes Bonnie Beecher concerning an incident that would have made me want to leave the planet. Apparently in mid-day Bob got so drunk that he collapsed in the middle of a campus sidewalk soaking in his own vomit. Beecher was more than a good friend to him in helping the besotted boy to his feet. When Dylan later described his song Like A Rolling Stone as pure vomit his mental state in both instances must have been the same.
At any rate at this point Dylan took his problems to New York City where he began to live out the most improbable of fantasies although in an almost 100% Jewish milieu.
2.
Go to: Exhuming Bob 2-2 Detourning The Folks
The Ballad Of Bobby And Albert
November 30, 2007
by
R.E. Prindle
For some reason the notion has grown that Folk music erupted in 1958 with the Kingston Trio’s version of Tom Dooley. I don’t understand this. We sang Folk and Old Timey all the way through grade school. Grade school ended for me in 1950. Folk music was always a conscious part of my life. I grew so tired of singing Go Tell Aunt Rhody and She’ll Be Comin’ Round The Mountain that I shouted for joy upon hearing The Weaver’s sing On Top Of Old Smokey and Goodnight Irene.
That was in the days of ‘Your Hit Parade’. That show was a key program before TV wiped programmed radio off the Networks. They thought radio was dead. Didn’t think anyone would listen to music twenty-four hours a day. We not only did that but we listened to the same four songs over and over in fifteen minute segments. They called it Top Forty but I remember it more like the Top Four. When one song wore out they plugged in another one and kept going. Of course that was only temporary; things evolved fast.
Folk and Folk related music was a strong stream all through the fifties. Burl Ives was the rage for a while but you can only get so far on Jimmie Crack Corn And I Don’t Care and The Blue Tail Fly. Tennessee Ernie Ford and his Sixteen Tons was as close as you could get to Folk without actually stepping over the line. Harry Belafonte occupied the mid-fifties as a Folksinger, academic quality, with his stupid Mark Twain. In a more pop vein Mitch Miller churned out stuff like She Wore A Yellow Ribbon and The Bowery Grenadiers. I didn’t care for it at the time but his sing along stuff is pretty good.
Who can forget the greatest of them all with his fabulous hit tune The Rock Island Line in 1955. The Great
Lonnie Donegan. The song was played once every fifteen minutes around the clock on every station for a couple of weeks. I once artfully shifted stations so that I got to hear the song seven times in a row. Lonnie Donegan could sing circles around the entire Greenwich Village crowd including any number of Dylans. He was very successful in combining a listenable approach to a trad style. All the trad stuff done trad style was OK for the enthusiasts but had no commercial potential. None of the Greenwich Village crowd had a future except Dylan. Even the best of them, Fred Neil, fell flat.
Fred Hellerman of the Weavers was musical advisor to the Kingstons who merely continued the Weavers’ tradition. The music that Bob Dylan tuned into in 1959 had been an established fact for ten years or better. His future manager Albert Grossman had established the premier folk venue, The Gate Of Horn in Chicago the year before while helping to establish the Newport Folk Festival in 1959
The trad folk types were running the Village by the time Dylan got there. Some people liked the traditional style, they usually smoked pipes. I can handle it but I don’t like those precious antiquarian stylists; I much prefer the pop styles of the Kingstons and the Chad Mitchell Trio. Did you ever listen to Terry Gilkyson and the Easy Riders? Pozo Seco Singers?
It didn’t take Dylan long to understand that the way to success was through the pop style rather than the trad. Thus Dylan as a folk act can be classed with the Kingstons, the Mitchell Trio and The New Christy Minstrels.
His muse, however, spoke with a purer voice; the muse belonged to him, he said, or at least she shacked with him for a couple years before moving on. As talented as Dylan was in those years he did not make it alone. As he said, he wanted to sing to people on his own wavelength. That was a small audience.
While he was shifting the dial to the high numbers at the right hand side of the band he passed through the broad band. In order to get to his own audience he had to appeal to a broader cross section; so he wrote stuff like Blowin’ In The Wind.
As someone who was there at the time I had to roll my eyes at the song’s obviousness while Bob’s vocals drove me up the wall. The sales figures for the first three or four albums bear me out.
So how did Bob get from there to superstar? Two words- Albert Grossman. This article might be subtitled: The Genius And The Promoter. For that brief one or two year period Bob turned out generalized songs that caught the spirit of the g-g-generation. It is questionable how far the songs would have gone had not the promotional genius of Albert Grossman seized the main chance.
Grossman would be as fascinating a study as Bobby. While Dylan has gotten all the credit his early career was in fact a fifty-fifty partnership with Albert.
Bob had no business sense, still doesn’t; nor should any artist be expected to. Everyone would have
stolen him blind. It’s the music business. The performers about him either professed to reject financial success because they couldn’t find the handle or may have been so purist that they actually despised the money. Sorta hard to believe but that’s the way they talked.
Now, Albert not only saw the financial potential of the caterwauling Dylan but more importantly he foresaw that phonographs records would be the medium of expression for the entire generation. Records were how the generation would communicate. Rather than looking back at what the recording industry had been he looked foward to what it would be.
Noting the song writing potential of the 1962-63 Dylan he determined to make Bob the keystone of his grab for the golden ring. He succeeded in capturing Bob. He had his keystone but he lacked the supports. He’d already thought that out working at it from the time he founded the Gate of Horn. Having gotten himself a fecund folk style songwriter he now needed a sweet singing Top 40 folk style group a la the Kingston Trio. The latter was perhaps the easiest part of the equation.
Secure in his source of material Albert organized the commercial sounding folk group called Peter, Paul and Mary, three former purists who opted for the cash. Packaging a sound for his group was relatively easy. Taking the songs of his keystone he had them set to pretty three part harmonies. Presto! Albert had dumped the harsh cacophony of Dylan and the songs shone.
Parts one and two of his plan were complete. He had partnered himself with Dylan and he owned Peter, Paul and Mary. The rest fell into place. The public was entranced by the songs of Bob Dylan; now they wanted to know who the writer was. Essentially the singer-songwriter was called into existence by demand. Albert put his publicity act in motion. It is doubtful that he knew how Dylan would respond but Dylan’s mysterioso act was perfect for the times while being executed to perfection. Albert’s keystone captured the imagination of the world.
As a genius promoter Albert understood his contribution to the equation. Albert engineered Bobby’s success while with an artist’s ego Dylan totally underestimated Albert’s contribution. Nevertheless Albert Grossman wanted his fair share which he calculated as much higher than the established ten percent for perfunctuory management while probably going over the line of fair which a promoter’s ego will.
The structure of the contemporary music business was in its formative stages. Albert was a presage of the future. He formed groups with an identity in which he took only fifty percent, but the groups were his creation he was entitled to it. Later the artists would simply be put on salary. By the end of the century when the music industry had evolved, his successors concceived a group concept from start to finish providing concept and songs while merely hiring some musical working stiffs, probably not all that musical, just stiffs. The performers were interchangeable like members of a sports team. Heck they didn’t even play or sing they just danced to records. It didn’t matter whether one or more or the whole group was replaced. The performers had no talent merely acrobatic skills. Promotion had evolved since Albert.
Albert understood the artistic ego but too well. Two colossal ambitions came into collision.
One of the first things Albert did when he captured Bobby was to buy back the publishing from M. Witmark. He then set up a new publishing company, Dwarf Music, in which he gave himself a fifty percent interest. At first glance fifty percent looks like he really took advantage of Bobby.
Certainly he was underhanded. Remember, this is only the record business and Albert was relatively honest. He never explained himself to Bobby. He did go to lengths to conceal the fifty-fifty split from Dylan. Albert Grossman was after all a promoter. The record industry itself will never get high marks for probity. The equation for theft is when one group controls the money and the other group provides the product.
The question here is not whether Albert stole from Bobby in the sense of juggling the accounting, you can be sure Albert took advantage of his position, but whether he cheated Bobby by taking a fifty percent interest in Dwarf is open to qestion.
I don’t think so.
It is hard to believe that Bob Dylan would have amounted to much if Albert Grossman hadn’t been a promotional genius who recognized the potential which no one else, in fact, could see.
Of course, today, long after the fact, Dylan’s genius seems to have ensured success. At the time that genius wasn’t quite so obvious, indeed, I’m not so sure it ever existed.
I wasn’t Johnny on the Spot when it came to recognizing Dylan’s talent. I didn’t hear of him until 1964 when my brother-in-law played the first couple records for me. All I could hear was a guy thwacking away noisily on guitar punctuating his horrid screeching with cacophonous bursts on an harmonica. It might as well have been an air raid.
I was thoroughly repelled. I wouldn’t have listened to Dylan again but my brother-in-law who had a curious ability to scent out the next big thing insisted I listen to what he was saying. ‘The answer, my friend, is blowin’ in the wind.’ To be sure. Well, I’m from the midwest too. I recognized the catch phrases; Dylan uses a lot of midwest catch phrases. I still wasn’t impressed.
To me Dylan sounded illiterate. I ask you, what does ‘How many times can a man look up until he sees the sky?’ mean? What does ‘How many seas must a white duck cross before it can sleep in the sand?’ mean? Is there such a thing as a migrating white duck and do they ever sleep in the sand? Am I supposed to let my heart bleed for white ducks who can’t sleep in the sand tonight? The anwer to those questions, my friend, aren’t blowing in the wind.
The guy just said whatever came into his head. After his mind broke in 1966 and his muse left him he came up with ‘Shut the light, Shut the shade, you don’t have to be afraid.’ I mean, shade and fraid do rhyme. I had problems understanding where the talent was.
Protest singer? What’s that to me? I never did march anyway.
If you listen to the 1963 Newport Folk Festival album Dylan’s singing of Blowin’ In The Wind is sandwiched between Joan Baez and the Freedom Singers. Both back Bobby with a religious fervor the song doesn’t bear before launching into an even more religious shouting of We Shall Overcome…Someday.
Masters of War? You’ve got to be kidding? This is a really puerile song. Dylan just said what no one else wanted to put into words, although once said all those Sing Out types seemed to love it. But, does anyone really believe that wars are promoted by a bunch of professional warriors sitting in a room trying to come up with ideas? Before Bush I mean. Is that a valid explanation of how politics work? What happened to Bobby’s notions of ‘fixtures and forces.’
I really couldn’t go with stuff like this.
Impressed more by my brother-in-law’s unerring ability to spot the next big thing than Bobby I went out and bought the records but I didn’t listen to them although I was increasingly impressed by the number of cover versions that were appearing. Albert Grossman was doing that work, not Bobby.
And then Bringing It All Back Home with its vicious sounding title tuned into my wavelength down around 1600. I was one of those confused, accused, misused, abused, strung out ones and worse. I placed myself in the accused, abused and misused categories; A.J. Weberman obviously placed himself with the strung out ones and worse sorting through garbage cans. But, here we have the spectrum of Bobby’s wavelength.
It just keeps right on a hurtin’.
By the time of Highway 61 Revisited and Blonde On Blonde Bobby was like strong drink to me. I became a bobaholic as he backed deeper and deeper into the inner recesses of his mind where a different logic prevailed in an attempt to narrow his audience as much as possible. Strangely the more he found his own audience the greater his reputation grew.
Even though I became absorbed in Bob Dylan’s ‘genius’ I always remembered those lovely cover versions of his early songs. Don’t you think those Byrds’ covers are too beautiful? I asked myself would I have stuck with Bobby if it hadn’t been for those. I can’t say, but they homogenized Bobby’s quirky personality into a palatable product. When you couldn’t handle Bobby’s Mr. Tambourine Man you could switch to that of the Byrds.
Those cover versions Albert obtained are what made Bob Dylan successful.
Bob wrote them but he had nothing to do with either their placement or production. Bobby’s self appointed ‘partner’ Albert did.
First he created Peter, Paul and Mary. Grossman’s group was the key to Bob’s success. It must be credited
to Grossman that he seized the moment. This was his one chance for success and he caught the Golden Ring as it came around. The rest of Grossman’s career was trying to replicate this golden moment and that he could not do although he did have a ‘critical’ success in establishing Bearsville Records. The label turned out some nice stuff including the very lovely catalog of Jesse Winchester.
However Grossman’s success was based on PP&M. Albert cleverly recognized the quasi-religious spirt of the times. While the catchword at the time was ‘God Is Dead’ Albert chose to name his group after three Christian saints. This was mildly off-putting to those of us of the time. Grossman, himself a Jew, had his private joke as these three ‘Christian’ saints were all Jews.
His group started out singing stupid quasi-religious songs like If I Had A Hammer and This Land Is Your Land. Guthrie Stuff. Grossman was actually mired in the tastes of the fifties. This material in itself was off-putting, even though popular, as being too overtly political. PP&M really caught fire when Bobby, Albert’s ace in the hole, came up with Blowin’ In The Wind. The song was still quasi-religious in tone but cleaner and more modern sounding while being, from my point of view, completely apolitical.
After a couple successful covers by PP&M the Byrds came in with really stunning contemporary versions of Bobby’s songs. Within a year or two of that whole albums were issued trying to cash in on Bobby as a songwriter. Barry McGuire ex of the New Christy Minstrels for Chrissakes. Even that embarrassing Sinatra clone, Trini Lopez.
So Albert had turned Bobby’s catalog gold. Not a trick to be despised.
Bobby’s star rose as his reputation as a songwriter rose.
Albert pushed the envelope to secure as large a portion of the revenues for himself and Bobby as he could. Columbia had conned Dylan into a disadvantageous contract so Albert forced a change. He secured twenty-five percent of the revenues from Bobby’s records for himself which was far in advance of practice. However Albert had been right. Pop album sales which had been miniscule in 1960 burgeoned into a mult-billion dollar segment by the end of the decade. Albert had positioned Bobby to benefit from this huge market.
Albert had bullied Columbia Records, Bobby’s label, into giving him producers who would make the most of his talents. His unusual terroristic tactics threw the fear of god into Columbia’s executives. If Bobby hadn’t signed a new contract, a fairly generous contract, behind Albert’s back Albert probably would have secured an even richer contract. Remember Albert had the incentive of twenty-five percent of Dylan’s record revenues.
One must accept the fact that Albert Grossman managed Bob Dylan’s career to perfection. One must accept the fact tht Dylan would have been worth much less financially, perhaps, worthless without the aid and support of Albert Grossman.
But then, Bob discovered that Albert had, and this is improtant, given himself fifty percent of Dwarf Music not only without telling Bobby but actively preventing his knowing.
Bobby saw only his own genius while ignoring Albert’s. Without thinking it out he chose to feel betrayed. Albert traded on Bobby’s trust but I do not believe Albert betrayed him. I think Albert was the best friend Bobby ever had.
I believe that Albert was entitled to fifty percent of Bobby’s earnings in perpetuity. I’d have to say that Bobby played the churl in not recognizing Albert’s contribution to his success.
Still, Bobby is the artist, Bob Dylan, while Albert is only the promoter, Albert Grossman. Which is the tail and which is the dog? Did you ever see a dog run round and round chasing its tail?
The End.
Edgar Rice Burroughs: The Early Married Years
November 18, 2007
Edgar Rice Burroughs:
The Early Married Years
by
R.E. Prindle
First published in Burroughs Bulletin
#60 Fall 2004
Why am I stumbling down the highway
When I should be rolling ‘cross the skyway?
– Donovan
It wasn’t supposed to be like this.
-Edgar Rice Burroughs
1.
The marriage to Emma on January 31, 1900 was the definite turning point in Edgar Rice Burroughs’ life. He wasn’t ready for marriage and he didn’t want it. Up to this point his life had had no direction; it was leading nowhere, the guy was just drifting. ERB had no clear cut goals and if had had one he had no plan in place to attain it.
Beyond a vague interest in art and literature he had no career ideas. Judging from the evidence between his brief and unsatisfactory stint at the Chicago Art Institue at which he refused to subject himself to discipline and the commencement of his literary career, his mind was always tending or drifting to some such end. However at the beginning of 1900, with a new wife and the attendant responsibilites he had to find some way to end his rough and rowdy ways and succeed in business, to make his pile before he was thirty.
Striking it rich before he was thirty was important to him. That desire may have influenced him to head West in 1903 to join his brothers in their gold dredging business. Perhaps he thought he might get in on a major find. Finding a pile of gold or precious stones would be a dominating theme in his Tarzan novels. Tarzan was an extension of his primary personality facet.
But now, as his own life entered the second phase, the country was entering the second of the three distinct phases it would embrace during Burroughs’ lifetime. The first phase we have already covered in depicting Burroughs’ first twenty-five years. The transition from Davy Crockett and Daniel Boone and the Wild Frontier to modern industrial America was completed in such a bewilderingly rapid manner that one wonders that anyone kept his sanity. The world you lived in today was literally gone tomorrow.
The life of George T. Burroughs spanned this transition from conestoga wagons to the Model T. From the invention of the telegraph and Morse Code to the long distance telephone lines with a phone in the living room. From Virgin forests and unbroken sod to cutover wastelands and McCormickReapers cutting over immense fields of golden wheat.
The world of Fennimore Cooper’s Natty Bumppo in the The Prairie had disappeared almost before it was seen. there was barely time to write about it. Right behind Bumppo the skyscrapers of Chicago were thrust into the air while the conflict between the White City and the Black City erupted into industrial warfare. Out of the smoke and flames of burning railway carriages the twentieth century was born.
The streamlined Twentieth Century Limited took the place of purpose built looking locomotives. the might ten-wheel drive ushered in the new era. My god, it takes your breath away just to think about it! What had happened almost wasn’t even a beginning it was just a foretaste of things to come.
One wonders how it affected Edgar Rice Burroughs. Perhaps it was happening too fast to register on the conscious mind. I don’t know if anyone alive has ingested and digested the changes since the great convulsion of 1789. God knows I have tried and failed miserably, as this pitiful effort shows, yet I do honestly believe that I have succeeded better than a very few.
Perhaps in his way Edgar Rice Burroughs made the attempt with his Martian chronicles representing science and the future, with the Tarzan novels dealing with his contemporary life, while the Pellucidar series may possible have represented the unspoiled vistas of primordial Cooperesque America. It’s not an unattractive notion, but I don’t know how true it might be.
By 1900 America was ‘won’. Won and lost. Many plunged fearlessly into the furture while others dragged their feet trying to reclaim that which, while it could still be seen, was no longer there. The Vanished Frontier had a profound effect on American life. It spawned a whole new class of men or at least defined their manifestation. They were men and a way of life which had a profound effect on the mind of Burroughs. While he would never join them, he fantasized the life and if one looks closely wrote a great deal about them. These men were the hoboes, tramps and bums, the inveterate roamers who made Chicago the main stem of their transient empire.
In Chicago their main stem or gathering place was on Madison Avenue, the street on which the battery factory was located. Young Burroughs must have marveled at the phenomenon every spring as the hoboes cleared out of Chicago to spread over the mid-west to help in the sowing and harvesting of the great crops of grain. Every fall they poured out of the boxcars to return to winter in the Windy City.
All they needed was a stake of thirty dollars to get them through the whole winter. Thirty dollars for six months! That’s all it took in those days. When one hears ERB plead poverty when he was earning two thousand or more a year one wonders whether his claims were real or only answered a psychological need.
Nor were these mere down-and-out men as they are pictured in the imagination. As Robert Service was to picture them, these were ‘The Men Who Don’t Fit In’; men who made an ideology of their roaming which was given political form and organization beginning in the first decade of the twentieth century. As Burroughs identified with hoboes as an aspect of his Animus or personality given him by his encounter with John the Bully, I would like to take some space to describe the Hobo phenomenon.
Hoboes are perhaps the most amazing and unique of historical phenomena. They were born of the railroad and are inseparable from it. As we all know, the Golden Spike uniting the East and West coasts was driven on Promontory Point in Utah immediately after the end of the Civil War. The line was audaciously laid through unconquered Indian territory and buffalo wallows. We all remember movie scenes of Indians attacking the Iron Horse with bows and arrows and ‘hunters’ shooting buffalo from train cars dragged behind locomotives belching smoke and flames.
Before the Civil War trains were an innovation in world history arriving in America only in the mid-1830s. After the War Between The States, rail lines proliferated with amazing speed so that by the time of ERB and Emma’s wedding there were literally hundreds of thousands of miles of rail lines crisscrossing the country from North to South and East to West. Passenger trains which are not particularly well suited for hoboing formed a very small percentage of trains, while freight trains formed the bulk of the cars. Box cars were deadheaded or shuttled back and forth empty, no freight. These were the preferred hobo mode of conveyance; they were dry, out of the weather and comparatively warm and comfortable.
Like any other war, the Civil War produced a legion or two of men whose nerves had been so disorganized by the excitement of war that they found it difficult to reintegrate themselves into society. Many of them took to working on the railroads, building the lines here and there. Tansportation was provided by boxcar so, I suppose, they got used to riding in boxcars.
As the lines spread and proliferated, it became possible to just hop a train and ride. As the hobo songwriter Jimmie Rodgers put it:
When a woman gets the blues
She hangs her little head and cries;
When a woman gets the blues
She hangs her little head and cries;
When a man get the blues
He hops a train and rides.
Before the Civil War that wasn’t possible.
Thus, as time passed and the first generation of hoboes left the road, anyone who was restless, adventurous, didn’t want to work or just didn’t fit in could take to a life of roaming. The roaming life was a romantic ideal that had its charms.
Not unsurprisingly a body of literature developed espousing the ideals that motivated hoboing. These took the forms of songs and poems, all narratives are suspect, the Hobo mind falling to rhyme. Large amounts of the literature are anonymous probably growing to fruition around campfires in the hobo jungles as their gathering sites were known. Hence the line from the song ‘Wabash Cannoball’: You’re riding through the jungles on the Wabash Cannonball.
However there were also poets who composed for their audience. The Wobbly Joe Hill wrote one of the most famous songs: ‘Hallelujah, I’m A Bum.’ Perhaps the currently most famous of the Hobo poets is Woody Guthrie. His Grand Coulee Dam and Roll On Columbia are noteworthy songs for any genre. One of his songs which has become an anthem for the disaffected only makes real sense when it is placed in the context of hobo ideology. That was:
This land is your land,
This land is my land,
From California,
To the New York Island.
Guthrie means that this land is the true possession of the wandering hobo and not businessmen or straights like you and me.
For a thumbnail sketch of the Hobo of Burroughs’ time and his ideals, let’s read a song which has retained some currency down to this day. There are apparently innumerable verses and variations on verses that were concocted around the jungle fires but his is the recension printed in The Oxford Book of American Verse (Oxford University Press, 1927) It’s probably cleaned up a little for academic tastes but it still has a nice breezy quality.
The Big Rock Candy Mountain
Introduction
On a summer day in the month of May,
A burly little bum come a hikin’,
He was travelin’ down that lonesome road.
A lookin’ for his likin’.
He was headed for a land that’s far away,
Beside those crystal fountains,
I’ll see you all, this comin’ fall
In the Big Rock Candy Mountains.
1.
In the Big Rock Candy Mountains
You never change your socks,
And the little streams of alkyhol
Come a tricklin’ down the rocks.
Where the shacks all have to tip their hats,
And the railroad bulls are blind.
There’s a lake of stew, and whiskey too,
And you can paddle all around ’em
In your big canoe,
In the Big Rock Candy Mountains.
Chorus: O…the buzzin’ of the bees
In the cigarette trees,
Round the soda water fountains,
Next to the lemonade springs,
Where the wangdoodle sings
In the Big Rock Candy Mountains.
2.
In the Big Rock Candy Mountains,
There’s a land that fair and bright
Where the handouts grow on bushes,
And you sleep out every night,
Where the boxcars all are empty
And the sun shines every day,
O I’m bound to go where there ain’t no snow,
Where the rain don’t fall and the wind don’t blow,
In the Big Rock Candy Mountains.
(Chorus)
3.
In the Big Rock Candy Mountains,
The jails are made of tin,
And you can bust right out again
As soon as you get in.
The farmers trees are full of fruit,
The barns are full of hay,
I’m going to stay where you sleep all day,
Where they boiled in oil the inventory of toil,
In the Big Rock Candy Mountains. (Chorus)
Now there’s a utopia in a parallel universe worthy of the pen of H.G. Wells.
The poem does not refer to the dreams of a defeated man but rather a defiant one, one who has rejected the motivations of the ordinary man who does work for a living. This man is going to pluck the labor of other men for his own benefit- the farmers trees are full of fruit- while using another’s toil for his own benefit- the barns are full of hay. the Hobo is going to a place where they ‘boiled in oil the man who invented toil.’ The Hobo won’t work.
In another poem he says: ‘I could be a banker if I wanted to be. But the thought of an iron cage is too suggestive to me. Now, I could be a broker without the slightest excuse. But look at 1929 and tell me what’s the use.’
As can be seen, the Hobo equates himself with the executive class but to reach his true position in society he would have to apply himself or ‘toil’ against which alternative he adamantly sets his face.
He would rather lament a fate that has inexplicably denied him his birthright, his true place in society.
As another of the great hobo songwriters, Jimmie Rodgers (1897-1933) put it in his ‘Hobo’s Meditation’.
Tonight as I lay on the boxcar
Just waiting for a train to pass by,
What will become of the hobo
When their time comes to die.
Has the Master up there in heaven
Got a place we might call a home
Will we have to work for a living
Or can we continue to roam?
Will there be any freight trains in heaven
Any boxcars in which we might hide
Will there be any tough cops or brakemen
Will they tell us that we cannot ride?
Will the hobo chum with the rich man
Will he always have money to spare
Will they have respect for a hobo
In the land that is hidden up there?
The ‘land that is hidden up there’ is the same as the Big Rock Candy Mountain where the rich man will admit the hobo to equality and respect, by which the hobo means supremacy. For make no mistake, the hobo as H.H. Knibbs indicates has the true vision of life:
We are the true nobility!
Sons of rest and the outdoor air!
Knights of the tie and rail are we,
Lightly wandering everywhere.
Having no gold we have no care,
As over the crust of world we go,
Stepping in time to this ditty rare:
Take up your bundle and beat it, ‘Bo.
That’s almost a political agenda to match the ideology. Knibbs say in his ‘The Grand Old Privilege.:
Folks say we got no morals- that they all fell in the soup,
And no conscience- so the would-be goodies say.
And perhaps our good intentions did just up and flew the coop,
While we stood around and watched them fade away.
But there’s one thing that we’re loving more than money, grub or booze,
Or even the decent folks that speaks us fair,
And that’s the grand old privilege and chuck our luck and choose
Any road at any time anywhere.
Well, that’s a fine impatience with any state of affairs.
So it’s best ‘Bo, while your feet are mates;
Take a look at the whole United States.
Oh the fire and a pal and a smoke at night,
And up again in the morning bright,
With nothing but road and sky in sight!
And nothing to do but go.
I love the sound of it myself, but if you look behind the glitter of Knibbs you’ll see a man with alternatives talking. Knibbs is kind of your Fifth Avenue penthouse hobo talking. Henry Herbert Knibbs (1874-1945), who had such a profound effect on Edgar Rice Burroughs, was a year older while dying a few years earlier.
He came from a well-to-do family where he developed a feeling of romance for cowboys and bums back East, although he never really belonged to either. He may even have chosen the road for a couple years experience, for something to write about, as he intended to write being an English major in college. He certainly became prosperous enough writing for the slicks like The Saturday Evening Post, The American and even breaking into H.L. Mencken’s Smart Set, none of which his chum Edgar Rice Burroughs could ever break into.
Yes, so it’s up ‘Bo for a trip from Barstow to old Berdoo and back to LA for a hot bath and bottle of scotch. That’s my kind of life on the road.
Ta, ta, I’m getting away from myself.
Knibbs and Rodgers and Guthrie actually came after the peak of the phenomenon which was ending by 1903 when the ‘Boes and Tramps and Bums were organizing into their supreme effort to create the Big Rock Candy Mountain right here on earth; when they made their supreme attempt to snatch supremacy from those snooty executives who wouldn’t chum with them; yes, damn them, we’ll combine in the I.W.W. and then we’ll see.
For, don’t you see, the West is dead.
What path is left for you to tread
When hunger wolves are slinking near
Do you not know the West is dead?
The ‘blanket stiff’ now packs his bed
Along the trail of yesteryear
What path is left for you to tread?
Your fathers gold sunsets led
To virgin prairies wide and clear
Do you not know the West is dead?
Now dismal cities rise instead
And freedom is not there nor here
What path is left for you to tread?
Your father’s world, for which they bled,
Is fenced and settled far and near
Do you not know the West is dead?
Your fathers gained a crust of bread
Their bones bleach on the lost frontier,
What path is left for you to tread
Do you not know the West is dead?
Anon. As quoted by Ralph Chaplin (1887-1961) in his autobiography , Wobbly: The Rough And Tumble Story Of An American Radical (University of Chicago Press, 1948)
So that was the problem the bindle stiffs faced, it was work or die, no place to move on to, and which they began to attempt to resolve. Burroughs was stuck in the middle, he couldn’t become a bum which he romantically would have liked nor could he realistically aspire to a seat on the board. Nature’s gold was all taken so he could only aspire to the gold in his mind.
While he might have yearned to be the hobo Bridge of his ‘Out There Somewhere; when he married, he had to abandon that hope, although nearly twenty years later he wrote ‘Tarzan The Untamed’ which can be read as ‘Burroughs the Untamed’. He still yearned after his rough and rowdy ways.
The End.
Addendum To Springtime For Edgar Rice Burroughs
November 16, 2007
Addendum To Springtime For Edgar Rice Burroughs
An Analysis Of Chap. I, Tarzan The Untamed
By
R.E. Prindle
I hope I will be excused for submitting an analysis of only the first Chapter of Tarzan The Untamed. It seems to be very significant while justice couldn’t be done to its remarkable content within a full book review.
Tarzan The Untamed is unusual in that it took ERB a little over a year to write. A very long time for him. The book is also one of the longest Tarzan volumes.
The book was begun three months before Armistice Day on November 11, 1918. This was a tremendously busy period for Burroughs as in January of 1919 he severed his lifelong ties with Chicago forever, moving to Los Angeles. The evidence of the first chapter undoubtedly written by him in August of ‘18 is that this was an especially traumatic period of life for him.
He said he walked out on Emma several times during their marriage. The external evidence of Tarzan The Untamed, Tarzan The Terrible and Tarzan And The Golden Lion is that this period was one of them. At the very least this was a very stormy period for him in his marriage.
The Chapter in question can be divided into three episodes: The killing of Jane and Tarzans discovery of the deed, his reversion to a ‘great white ape’, and the confrontation with the panther. As David Adams has pointed out, whenever a leopard or panther is involved Burroughs is dealing with his sexual problems.
Writing in 1918-19 Burroughs antedates the story to the Fall of 1914 just after the Great War began. He seems to have been particularly aroused by the War. Much to the amazement of his publisher he wanted to become a war correspondent. He was unable to find a place. His writing during this period is replete with references to the War.
It seems possible to relate the death of Jane in the Fall of 1914 to Emma and the Mad King which was written between 9/26 and 11/2 in the Fall of 1914 when the Great War was in progress as reflected in ERB’s story. In the earlier story, ‘Barney Custer of Beatrice’, Barney had performed great services for the Princess Emma, done everything he could do to win her love and trust but she remained distant and distrustful. As the Princess Emma’s attitude refects that of Emma Burroughs this refusal to trust him must have infuriated ERB who at the time must have felt that he done everything a woman could expect of a man. He, in the character of Waldo in 1913’s Cave Girl Part I, actually tells Nadara, who had the same attitude as Princess Emma, that.
ERB’s and Emma’s relationship must have been strained over the intervening four years perhaps reaching a crisis at this time as ERB appears to have walked out at some time in this period although with the turmoil of moving and resettling it is difficult to tell when.
At any rate the brutal murder of Jane burned beyond all recognition except significantly her jewelry indicates the depth of ERB’s emotions. The jewelry may be especially significant in that ERB lamented that in his impoverished days he had to pawn Emma’s jewelry. That time or those times may have been especially bitter for him.
While it is true that he was persuaded to change the story bringing Jane back to life there seems little possibility for the reader to believe anything but that Jane was actually killed. The implication then is that Emma was dead to ERB. He had always regretted marrying Emma, or marrying at all, even going to the extent of saying that Tarzan should never have married which is to say himself. One wonders why, if he felt so strongly he didn’t seek a divorce at this time.
That is how ERB resolves that sexual problem of his wife. ERB then inserts a long paragraph explaining that now that Jane is dead Tarzan reverts to his original identity of the ‘great White ape’ or pure beast. It is explained that he never felt comfortable in his thin veneer of civilization. He assumed it merely because it pleased Jane and now that she is dead he no longer has any use for the guise. Hence as he stalks through the jungle in pursuit of the Germans he does so as a stalking beast no different than a lion or tiger. But more intelligent. He may revert to the beast but he doesn’t abandon the intellectual trappings of the veneer of civilization. Still got Daddy’s knife at his side.
Then in the last third of the chapter having resolved his heterosexual problem he turns to another serious aspect of his sexuality, that of his feeling of emasculation. That aroused homosexual feelings in him that he stoutly rejected.
ERB gave voice to this part of his psychology in Bridge And The Oskaloosa Kid, or otherwise, The Oakdale Affair of 1917, the previous year. Whether there are indications of homosexual feeling between Bridge and Billy Byrne in ‘Out There Somewhere’ is not clear to me at this time. I would have to read it again with that object in mind but they are probably there. As there are abundant indications of the sexual malaise in his subsequent writings it would seem clear that having solved one sexual problem by having others kill it he then turned to the emasculation problem that he had to deal with by himself alone, killing it.
In all other instances where the leopard or panther symbol appears women are involved except in one instance involving the male ape, Akut, in Beasts of Tarzan. There are definite homosexual overtones in that episode. As Tarzan confronts the male panther in this instance alone the beast must refer to Burroughs own sexual ambivalence. Especially as in this instance ERB combines the Panther motif with the terrific storm and extreme darkness.
The theme of storm and leopard is most dramatically portrayed in Tarzan And The Leopard Men of 1931 that opens with leopard men slashing victims, is followed by a terrific storm and succeeds to the confrontation between Old Timer/ERB and Kali Bwana/Florence.
Tarzan the Invincible of 1930 has the terrific storm as Tarzan and La come close to sexual consummation.
So, in this story almost separate from the rest of the novel, the story opens with the brutal murder of Jane followed by Tarzan’s confrontation with Sheeta in the terrific storm.
In this story we learn that Tarzan has some favorite trees. I can’t think of another instance in the oeuvre where Tarzan returns to a tree. In every other instance he merely selects a new tree for the night. In this instance having discovered the murdered Jane he goes to a tree he has often used. I don’t know what that means sexually. Perhaps if he had walked out on her before this he had some place he favored until reconciled.
Goro plays a prominent role. Unlike Greek mythology with which ERB was familiar where the moon is feminine in Burroughs mind the moon is masculine.
Thus it is night with the moon shining although a storm is building. Tarzan climbs the giant bole of the tree to find Sheeta sleeping on his mat in the crotch of the great limb. Thus the emasculation lurking in Burroughs’ subconscious haunts his nighttime bed. At this point the storm begins to break with gale force winds. Clouds obscure the moon and it gets dark, very dark, as dark, one might say as the tomb. It is a peculiarity of Burroughs’ heroes that they can see or find their way in the dark where you or I couldn’t. This is a very potent subconscious symbol. I’m not yet clear on Burroughs’ use of the symbol of darkness.
The Panther in this instance is a male as Burroughs refers to it as ‘he’. Thus in the night in his bed Tarzan comes upon a male sexual symbol. A quote:
Quote:
It was very dark now, darker even than it had ever been before, (see, we’re getting very serious) for almost the entire sky was overcast by thick black clouds.
Presently the man-beast paused, his sensitive nostrils dilating as he sniffed the air about him. Then with the swiftness and agility of a cat, he leaped far outward upon a swaying branch, sprang upward through the darkness, caught another, swung himself upon it and then to one still higher. What could so suddenly have transformed this matter-of-fact ascent (matter-of-fact ascent? What does that mean?) of the giant bole to the swift and wary action of his detour among the branches? You or I could have seen nothing- not even the little platform that an instant before had been just above him and which now was immediately below- but as he swung above it we should have heard an ominous growl; and then as the moon was momentarily uncovered , we should have seen both the platform dimly, and a dark mass that lay stretched upon it- A dark mass that presently, as our eyes became accustomed to the lesser darkness, would take the form of Sheeta, the panther.
Unquote.
As this is obviously a dream or subconscious sequence we don’t have to take into account improbabilities such as the moon breaking through the thick black clouds so conveniently.
Security for Tarzan is always being above things so that once his sensitive nostrils pick out Sheeta on his platform by a series of amazing acrobatics among the waving boughs in the rising gale Tarzan finds a secure place on a branch above the platform. He is now in a position to manage Sheeta. Tarzan always deals with Sheeta by descending upon him or leaping on his back.
In ‘Beasts’ he saves Akut by falling on Sheeta’s back as Sheeta descends from a tree on Akut. At the end of Leopard Men he does a standing leap onto Sheeta’s back. In this instance in a driving rain storm amidst lightening and thunder, on a whipping branch in a gale he does a somersault over Sheeta’s snout onto his back. These are acrobatics I would like to witness.
Now, in 1913’s Cave girl Part I Waldo killed the panther when it fell onto his upright spear. Spear equals penis as symbol. That pelt was given to Nadara after Waldo had worn it himself for some time. If the pelt is associated with both a homo and hetero sexuality homo in the sense of emasculation then there is a real sexual ambivalence indicated. In the case of Cave Girl Waldo assumed the masculinity of the Panther thus augmenting his own to its former state then having regained his masculinity he was able to invest Nadara with his love.
Jane is dead here so that it appears that Tarzan/Burroughs, still troubled by ambivalence as is also evidenced in 1917’s Bridge And The Kid where the Kid is a woman dressed as a man very ambivalently. In that story Bridge/Burroughs is very relieved to discover this boy he has fallen in love with is really a girl. Using his spear, a symbol of the penis, to goad Sheeta to an attack Tarzan retreats in gale force winds to the extremity of a large limb followed by the cat. Had the limb broken one assumes that ERB may have succumbed to his emasculation or latent homosexuality as he plunged back to earth. On earth he has to deal with realities. This is reminiscent of Heracles. Tarzan is a jungle Heracles. Having gotten Sheeta far out on the limb where his footing is insecure, it is at this point in the violence of the storm and wind that he somersaults onto Sheeta’s back.
Sheeta then loses his balance falling from the safety of the trees to earth with Tarzan on his back. Landing splay footed he is smashed to the ground by Tarzan’s weight. Unable to rise in time he is stabbed to death by Tarzan using his father’s knife.
Thus it would appear that so long as Tarzan is in the trees or his imagination he doesn’t really have to deal with earthly problems. But, once on the earth he has to deal with problems directly. As he has killed Sheeta on the earth one is to assume that he believes he has solved the problem of his sexual ambivalence. However the storm rages for a full twenty-four hours with whatever meaning that may have.
Thus in this traumatic day and night Tarzan/ERB’s heterosexual relationship is ended while we are led to believe he slays his emasculated homosexual ambivalence.
Having killed Sheeta Tarzan gathers an armful of fronds that in no way hinder his climbing the giant bole of the tree.
Quote:
Laying a few of the fronds upon the poles he lay down and covered himself against the rain with the others and despite the wailing of the wind and the crashing of thunder, immediately fell asleep.
Unquote.
Good thing the gale didn’t blow the fronds that covered him away. But this is a dream sequence, why would they?
Remember that these scenes of the killing of Jane and ERB’s dealing with his senseof emasculation are occurring in the Fall of 1914 at the time he was in fact writing the sequel to The Mad King, Barney Custer.
In that case Maenck was killing Barney’s alter ego Leopold while Emma/Emma stood round indecisively pondering whether to accept Barney/ERB in his new role as King. In other words ERB’s old loser self was dead while he was permanently assuming his new role as the successful ERB. In Untamed Jane/Emma is killed while Tarzan/ERB slays another troublesome alter ego or sexual problem.
In point of fact Emma Burroughs was quite right to insist that Jane not be killed. Had ERB let the death stand there would have been a gross inconsistency in the oeuvre as he already had Jane playing a prominent role in Jewels of Opar in 1915. Such a glaring inconsistency might have seriously compromised the on going story, actually a roman-a-fleuve, perhaps endangering its continuing success.
The Untamed in the title undoubtedly refers to ERB who is proclaiming his independence from Emma and the bonds of marriage. This theme too was explored in 1913’s Cave Girl which was concerned with the issue of marriage and free love.
Waldo in that story insisted upon waiting to consummate the love between he and Nadara until a minister was handy while she was puzzled as to why there was a need to wait when they were obviously meant for each other.
Untamed begun in Chicago would be finished in Los Angeles under very different circumstances than Burroughs’ life in the Windy City. As the story finished he would be the proud possessor of his own empire- Tarzana.
Burroughs just keeps getting more and more complex.
Pt. 4 Something Of Value I
October 30, 2007
Something Of Value I
by
R.E. Prindle
Part 4
A minor mythographer who emerged at the same time as Burroughs and his Tarzan was the famous character Dr. Fu Manchu of the Irishman Arthur H.S. Ward writing under the name of Sax Rohmer. While his subject is in disrepute at the present time, Rohmer was aware that the times were one of a world sea change. He sensed, along with a few others, now equally in disrepute, that the EuroAmerican tide had crested; its flow was now out.
Rohmer running counter to Western trends made careful ethnic identities even to the point of identifying Irish and Anglo sub-groups although some of the characteristics he attributed to them seem mistaken to my eye.
Nevertheless he sensed the world was entering a period of Mfecane, to use the African term, or a time of troubles to use the Western term.
The African Mfecane which occured among the Bantu tribes of South Africa during the first half of the nineteenth century, and recorded so ably by Burroughs’ major influence, Rider Haggard, was a time when rapdily expanding population pressed on available resources. This was the time when the Zulu chief Chaka organized the Zulu impis or military battalions so excitingly described by Haggard. They were used, in the Zulu phrase to ‘stamp the ememy flat’ which is to say, exterminate them.
Numerous Bantu tribes were either exterminated or driven out to find new lands which is to say stamp non-Zulu tribes flat or drive them off good lands into the desert. Such is the historical process which operates without respect to race. Now, historically all peoples consider themselves the true men while all others are an emasculated inferior sort. This was and is true of the Semites. We all know the legend of diabolical Jewish cleverness. As is well known the Jews consider themselves the Chosen People of not only their tribal god but they have made of their god a universal god that has been accepted by an astonishingly large number of people. The Chinese peoples, which Dr. Fu Manchu represented, consider themselves of the Celestial Empire or Middle Kingdom to which all must bend the knee. The Arab Semites pray: Praise be to Allah, Lord of Creation…Guide us in the right path, the path of those whom you have favored.
Thus both leading Semitic peoples believe they are Chosen peoples which explains that conflict. In the United States, of course, we believe we have god on our side. We are naturally right being unable to be wrong. Praise the Lord and pass the ammunition.
Strangely enough the contemporary world believes it is living outside the historical process, that evolution has ended leaving all species in stasis whereas nothing could be further from the truth. A mythographer like Sax Rohmer is in possession of the truth. This was made apparent with the success of the Bolshevik Revolution when Mfecane took definite shape.
In this long wave action by the Jewish people that began with the apostasy of Sabbatai Zevi in 1666 it seemed momentarily that the messianic years of 1913-28 would be crowned with success, that the Jews would achieve world domination by 1928. The Bolshevik Revolution created a storm of anti-Jewish reaction.
This period from the Revolution of 1917-24 when Lenin died was one of intense apprehensive literature about worldwide Jewish intentions. Not counting the new Nazi reaction in Germany there was a burst of literature criticizing the Jews. In the United States, usually so placid, a reaction was led by Henry Ford then at the crest of his reputation as an auto maker. He had his reasons.
Ford thought he was dealing with an intellectual problem. He wasn’t aware that he had involved himself in an emascualtion contest, or pissing match as they are vulgarly called. The Jews, of course, never let the problem be examined on its merits but immediately raised the spectre of anti-Semitism. Ford was accordingly branded an anti-Semite. Why he or anyone else shoud favor the manhood of Jews over his own is, or should be, open to conjecture but no one can withstand the charge of anti-Semitism and remain respectable in his community. Ford lost the fight on the grounds of anti-Semitism, not the facts, while the Jews now confess to his accusations.
Disregarding all the benefits Ford conferred on civilization, which are very, very many, his fellows deserted him and he has no reputation today.
Thus, as of 1924, it seemed to the Jews as though the millennium had come but then Lenin died. Stalin seized the reins of Soviet government while Hitler’s star was in the ascendance in Germany.
The pall of Freud’s vision of the unconscious spread over the world. All other interpretations of the unconscious had been suppressed. Men like Jean Genet were coming into their own. Then, a year before the messianic years ended when things didn’t look quite so rosy Freud wrote another book, calling this one the Future Of An Illusion. This is a difficult book to understand. To merely condemn religion in the abstract seems redundant, even puerile. Freud appears to be responding to the defeat of the Jewish revolution in the Soviet Union. This must be the illusion whose future concerns him. While Hitler had not yet crushed the Judaeo-Communist revolution in Germany matters were in hand.
Stalin was neutralizing, if not yet eliminating, the cadre that executed the Revolution. It would be another two years before Freud realized that his instructions in 1917 had been in vain. In fact his releasing of his negative vision of the subconscious was about to backfire on him in the hands of Stalin and Hitler in a spectacular way.
I think that it is also signficant that, in these later years of his life, the Castration Complex became more signficant in his thinking, almost displacing the Oedipus Complex in importance. His concentration on it has the sound of an hysterical shriek as the failure of the millennium would be a type of group castration.
For the mythographers, the Burroughs of 1911-17 had been a plateau. Burroughs had brought all the mythological strands together. Like the arrow shot in the air to land one knew not where now one knew where Burroughs’ writing had been leading. It was his turn to inseminate many minds. Those minds no longer had only books to disseminate their views but they had even more potent forms of communication. The nickelodeon of the eighteen nineties had evolved into movies shown in palaces. Looking back, the early movie theatres were a temporary but spectacular moment. In my hometown the chif theatre was appropriately called: The Temple.
The movie makers seized on the psychological projections of the mythographers which could be interpreted and manipulated quite independently of the intentions of the authors. This brought a number of projections which might have been overlooked into the forefront of world consciousness. The exploration of Bram Stoker’s Dracula began in earnest, soon bearing little relation to Stoker’s book. Another stunning projection that would have gone unnoticed except for the movies was Gaston Le Roux’s Phantom Of The Opera. While not a particularly good book, although arresting, the character was coopted by a Hollywood producer while the book was being serialized in a New York paper. Strangely, the Phantom has become a counterpart of Victor Hugo’s Jean Valjean among the Red/Liberals.
Radio had come along in 1920 to be a force from the thirties on.
Movies and radio appealed directly to the subconscious in the brain stem through the eyes and ears which are connected to the brain stem more or less bypassing the conscious mind. With the movies there is too much content to consciously assimilate while the speed with which it passes leaves no room for consideration. Books on the other hand are read into the brain stem but are immediately evaluated by the conscious mind.
At least until the emergence of video tapes beginning in the 1970s movies were an ephemeral form of entertainment. Memories of movies are extremely unreliable as the subconscious manipulates the material for its own uses. Today one can review this ephemera which had such an influence on you, understanding and correcting any misconceptions.
Even more ephemeral and now lost forever was the radio show. One that left the most indelible impression was influenced by Burrough’s work. That most mortal but penetrating pyschological projection was The Shadow.
Today he can live only in the minds of those who were there although abut 350 pulp novels were written about the Shadow of which 280 were written by one man, if you can believe it. He was Walter Gibson. One believed that the Shadow stepped through the creaking door of the Inner Sanctum.
I have never seen the pulp novels but, as Gibson was in charge of both the show and the novels, the results must be the same. The stories were unimportant, as indeed all stories are, the important thing was and is the attitude, the myth. What mythographers call the truth. Thus if you hear only the literal story you have missed the real story. All good writing is done in keys.
The shows could only have been written post-Freud as well as post-Burroughs. the images do not appeal to the conscious mind.
The Shadow had learned ‘the hypnotic power to cloud men’s minds so that they cannot see him.’ (p. 608 On The Air: The Encyclopedia Of Old Time Radio, John Dunning, Oxford 1998) This may sound like so much hocus pocus, yet if one reads Freud’s Group Psychology carefully one will see that what Freud is proposing is hypnotizing groups to achieve one’s ends unnoticed.
If you watch the movies of Hitler working up a crowd you are watching a master hypnotist at work. Perhaps he also had read Le Bon. He comes quietly to the fore after his introduction, stands quietly watching and listening, his hand drops down to manipulate some items on the table. The audience, in their thousands, sit waiting in anticipation. Hitler begins to speak, quietly, indifferently; then his pace picks up, his intensity increases, passion flows from his voice while he gestures wildly, dramatically bringing his huge audience into a trance which he is able to satisfy completely before terminating the seance in a wild orgy of screaming indignation and wildly flailing gesticulation. It may not look impressive viewing it with cool dispassion on film but he’s good, even an artist.
Watch him. You don’t even have to understand German. He was terrific.
Freud also, merely through the force of his personality and reputation was able, through his writing, to influence large numbers of influential people, through them the masses, just by telling them in abstruse terms what they wanted to hear. To wit: Let your unconscious rule, the more sex you have the better a person you will be, do not allow any fancy you may have to be repressed. It’s bad for you. The unconscious, sex and free expression of the libido are good. You like that don’t you? If you act on it you may as well consider yourself hypnotized.
The Shadow in the Freudian sense and the Burroughsian sense was a man of many identities. One becomes a personality of many facets in the unconscious, one might almost say multiple personalities. Indeed, the Shadow lived in the everyday world under a borrowed identity not even his own. “To two persons only is the Shadow’s true identity known- that of Kent Allard, internationally known aviator- and those persons are Xinca Indians, servants picked up by Allard during a stay among their tribe in Central America. A guise often used by the Shadow is that of Lamont Cranston, world renowned big game hunter and traveler, when Cranston is away on his travels. This is by leave of the real Cranston, a man of deep understanding.” (The Pulps: Fifty Years Of American Pop Culture, compiled by Tony Goodstone, Bonanza 1970, p. 228)
Cranston must indeed have been a man of deep understanding while Kent Allard was freed from responsibility for his acts. Nice situation if you can get it. Like all the psychological projections the Shadow was a man of many identities. Most of the projections were experts of disguise, being able to imitate a vast variety of human conditions perfectly from street sweeper to nuclear scientist. Real Urban Spacemen. In Burroughs’ case he created a number of alter egos including John Carter, John Clayton also known as Tarzan, Lord Passmore and other identities, David Innes and Normal Bean. Unlike Freudian/Liberals they were and are more aligned with a firm grip on morality. Jekyll to the core. As the Shadow said: Crime must go! He gave his mocking laugh and said: ‘Who knows what evil lurks in the hearts of men? The Shadow knows.’ Purge your hearts f0r there is no escaping the Shadow.
There was a lot of evil lurking in the hearts of men during the thirties. A very large part of it was centered in Germany and the Soviet union where the epic struggle between good and evil was taking shape that was to end in that catastrophic war. I know you will think that the evil was represented by Adolf Hitler and the good by Judaeo-Communism.
Hitler has been represented as the nadir of evil. He was certainly one of the bad boys of history but then his Freudian style subconscious had been released. Besides, as I have pointed out he was the antagonist and not the protagonist; in other words he could not have existed without Judaeo-Communism, possibly not without Freud: he was acting in self-defense.
Hitler was not outside history as some would have it. It is time to integrate him into the historical process so the period can be understood. The period from 1913 to 1945 was one in which the great goddess Kali danced merrily around the world while Shiva played the pipes. Death is the eternal dance of life in the deepest mythological sense. Nor do Shiva and Kali care how many or who die. Many go, many more come. Since 1913 mankind, not Hitler, but mankind has murdered its hundreds of millions but Nature has replaced the dead with billions. After the human destruction of seven decades the world population has grown to life stifling levels. If the world population is twelve billion by 2050 as has been predicted, mankind will see Kali dance more wildly than ever before while Shiva plays faster, faster and more madly still. Hitler an arch demon? What? Grow up.
From the point of view of Religious Consciousness and this holds true for Judaism, Christianity and Moslemism anything and everything that happens, is merely the will of god. God works in mysterious way his wonders to perform while his mind is beyond the ken of man. I mean…if you believe this religious stuff then you have to accept all of it or else. This is religious fact! Thus Hitler was merely peforming the will of god as he had no other choice. God had created set and setting. From the Religious point of view Hitler must therefore be blameless while god is accountable for all that transpired.
From the scientific Darwinian evolutionary point of view the great wars were inevitable. The wars were the inevitable consequence of natural selection. I know that the general consensus is that not only do we live outside the historical process but that all the evolutionary rules have been set aside in our case. To those people I say believe as you will. In point of fact the struggle for human special existence goes on today as it did in the thirties and forties. One species will triumph over the others if society as we know it is not ended by natural causes by c. 2050.
The period under consideration was a confllict between Slavs, Germans and Jews. It occurred adjacent to and was partially caused by Jewish millennial ideas. Germans and Slavs had been contending for centuries both along the Slavic German border as well as in Courland which ran around the southern and eastern Baltic and within Russian itself.
During the nineteenth century the Czars encouraged Germans to colonize the Ukraine as farmers. A large German colony was established at the mouth of the Volga River. An alien Semitic people, the Jews, resided in Germany and Russia. While the Jews claim to have been loyal German and Russian subjects this notion is nonsense which will not bear up to historical analysis. They were part of the international Jewish community residing in their respective States. Just as the Germans and Slavs wished them to accept their national identities, as Semites the Jews wished to impose their world view on them. Hence one has a classic example of Natural Selection, varieties and species in conflict. In addition Hitler and the Germans were suffering from Emasculation as a result of the Great War while in the new USSR the State was being administered by Emasculated formerly subject peoples.
While one may say this contributed to the savagery of the period from 1913 to 1945 what we have here is a classic Mfecane or Time of Troubles that is still developing. The only solution was to ‘stamp flat’ or exterminate rival combatants. This was merely a part of the historical and evolutionary process. A harsh reality but true. Kali don’t mind, Krishna plays on.
Had the Jews been powerful enough they would have stamped flat both the Germans and Russians just as they began to do with with the Crimeans and as they would do with the Palestinians if let loose today. As it was, both Hitler and Stalin set about exterminating the Semitic Jews. Stalin would have completed the job in 1954 but Kali beckoned to him first.
The Jews always preferred German culture so that in the nineteenth century when the Russians compelled them to take surnames a great many Jews resident in Russia chose German names. As Judaeo-Communists they moved back and forth between Germany and Russia creating the illusion from 1917 to 1945 of German collaboration with Russia. To have called them Jews would have opened one to the charge of anti-Semitism. Who needs that?
If the Czars had attempted to Russify the subject peoples it was as nothing compared to the effort of the USSR under Stalin. Nationality was outlawed under the Communists. Stalin made the resident Germans a special target. Unable to dent the Volga colony’s nationalism he merely exterminated them after WWII.
You could watch Kali dance and Shiva pipe.
Reverting to the Religious Consciousness what purpose of God’s will did Hitler serve? I’m sure His mind is too deep for me, but if you’re religious this point has to be considered. Well, at the time the Popular Front governments in 1936 that were all Red, Judaeo-Communism seemed on the verge of world conquest from China to the USA. Except for Germany, Italy, Spain and Japan Reds were in the ascendant. Even Germany and Italy had adopted variants of Red socialism.
While it may not appear to be so at first glance Hitler smashed the Red economy. The USSR never truly recovered from the war, limping along until its economic collapse during Reagan’s administration in the US.
The war also gave the democratic forces of the US time to organize their resistance to the Red Menace. Unfocussed and in disarray before the war the Scientific element seized control of the State Department and the armed forces so that with the death of the Popular Front president, Roosevelt, the United States actually assumed the role of Hitler and his Nazis as the bulwark against Communism forcing the Jews in the United States to reconsider their position vis-a-vis Communism. It was really at this point that many Jews became anti-Communist in the United States. Hence the Jews assumed their traditional good cop/bad cop role. The US position against Communism gave rise to Jewish charges of Fascism in their bad cop role.
If from a religious point of view everything that occurs is the will of god then god must have been a Red baiter. Today’s Reds take note.
Nevertheless as the mythographers to a man were opposed to Red totalitarianism they all came under attack from the Red/Liberal forces. Every attempt was made to abort established careers while stifling new ones.
If you remember a while back I described a scene in which Commissars were reading Tarzan to employees of the Worker’s Paradise. That fact made Edgar Rice Burroughs a marked man. A concerted effort was begun to interfere with his career. Unfortunately for the Reds this effort resulted in a dozen of the best novels of Burroughs’ career supplying him with a fresh batch of material.
At the same time publishing became more difficult for him while his editors at the pulps became hypercritical of material they had once begged for. Also at this critical time Burroughs changed secretaries. His new secretary, who became his business manager and de facto head of Edgar Rice Burroughs, Inc. was a man named Ralph Rothmund. Rothmund claimed to be Scotch although I’m sure the sept of Rothmund must have been lacking its own Tartan.
The name translates from the German to Red World. It may be coincidence or it may be a joke. Certainly when an organization is being infiltrated the most sought after post is that of secretary. All information passes through the secretary’s hands. Rasputin, for instance, not surprisingly had a Jewish secretary which led to the charges of his complicity with the Germans. You may be sure that Rasputin was not complicit while you may be equally sure that his secretary was. At least with the German Jews.
There hasn’t been much work done on Rothmund by Burroughsians nor do I have any new information to report but let us examine Rothmund’s record as secretary and business manager. What was the result of his twenty-five years of work? Was Burroughs further ahead or further behind when Rothmund went to his greater reward?
The man nearly brought the business to a halt.
He disrupted all relations with the publishers of Burroughs’ early novels, bringing the flow of royalties to a halt in 1946, they had been miniscule even laughable since 1940. Nor did he actively pursue the publication of titles owned by Edgar Rice Burroughs, Inc. The lucrative radio show was discontinued in 1936. In what some fancy as a coup Rothmund sold the movie rights to Tarzan to MGM for a flat fifty thousand a picture, no residuals. By 1940 Burroughs was so broke, or told he was by his business manager, that Rothmund advised him to leave the country for Hawaii where the great creator of Tarzan lived on the meager $250.00 a month that Rothmund allotted him. What was Rothmund’s salary at this time? How much was the corporation earning?
In addition this supposed business manager allowed Burroughs’ copyrights to lapse, never renewing them. By 1945 the most popular titles of Burroughs were available to whoever wanted to publish them. Amazingly no one did while Burroughs’ long time reprint publishers, who knew the copyrights were lapsed, Grossett and Dunlap, honored argreements they were under no obligation to do.
Burroughs’ bacon was pulled from the fire by an earlier more lucrtive movie deal he had nogotiated with a producer named Sol Lesser. When MGM tired of the Tarzan series they let Lesser assume the rights. The revenues from Lesser’s productions defeated Rothmund’s apparent purpose.
Still, after Burroughs died in 1950 Rothmund made no attempt to keep any Burroughs’ titles in print. From 1950 until 1963 at which later date publishers discovered that the copyrights had never been renewed, nothing was available but a few titles from Grossett and Dunlap.
Even then, Burroughs’ most famous book, Tarzan Of The Apes, had been out of print for twenty years or more. Some business manager.
Thus, as is probably true, as a Red infiltrator Rothmund had destroyed the career of the arch Americanist, Edgar Rice Burroughs. the greatest of the mythographers was almost silenced.
While Rothmund worked to silence the Master, the Freud/Hitler/Stalin confrontation in Europe broke out into the most destructive war the world had ever seen. Unlike the previous wars there were no rational minds seeking to ameliorate the damage. Freud had unleashed the Hyde-like destructive subconscious of the West. Hitler, who had always said if the Jews involved Europe in another disaster like the Great War, they would pay the price, meant it. He was no empty boaster. He had the will, he had the ways and means. In the coldest, most scientific way imaginable he systematically rounded the Jews up deeding them to the flames Wow! Not since the great Roman manhunt of 135. Here was new meaning to the Jewish concept of passing the enemy through the fires. Wow!
Hitler raged East and West but he raged beyond his power. As must have inevitably happened before the first shot was fired, after the initial surprise German forces were driven back on all fronts. Driven into isolation by his enemies there was no possibility for a negotiated terminus to the war. In the struggle between the revolution and counter-revolution the only end could be unconditional surrender. That sick madman in Washington, crippled in body and mind, Franklin Delano Roosevelt, working from his subconscious no less than Hitler, insanely persisted in the demand for unconditional surrender. What a different world it would have been if the West had accepted Germany’s surrender before the Russians entered Poland. Heck, Roosevelt wouldn’t have had to honor any deal he made with the Germans any more than his mentor Wilson did in the Great War. What kind of man was Roosevelt anyway?
So here we have a man emasculated by disease, a seriously emasculated man by circumstance and a politically emasculated man directing the affairs of the three most powerful States in the world. Wow!
In defeat Hitler acted in the self-destructive way of the emasculated. He knew he had to die so he wanted nothing left standing in Europe when he was gone. Stalin, Roosevelt and Churchill were nothing loath to help him.
Hitler ordered Paris wired for total destruction. The city was to be blown off the earth in the face of the advancing allies. Wow! However, with the intellectual superstructure of the City of Light destroyed it would have collapsed into the Sewers of Paris, that would have remained intact. Freud had destroyed Morality as D.H. Lawrence had feared:
Quote:
With dilated hearts we watched Freud disappearing into the cavern of darkness….He was making to the origins. We watched his ideal candle falter and go small. Then we waited as men do wait, always expecting the wonder of wonders. He came back with dreams to sell.
But sweet heaven, what merchandise!….What was there in the case?….Nothing but a huge slimy serpent of sex, and heaps of excrement, and myriad repulsive little horrors spawned between sex and excrement.
Unquote.
Wow!
Double Wow!
Yes, Freud hd destroyed the conscious mind and morality and reaped the Sewers of Paris. As the payback for the expulsion of the Jews from Spain the Jews had stultified Europe. What came out of the sewers as intellectual Paris burned?
Jean Genet!
Of course any right thinking person is appalled by the course of history from 1913 to 1945 (or from year one to the present not excluding what went before) but for every right thinking person there are at least two who aren’t. The Third Reich was a paradise for a significant minority. Jean Genet was one of those. Check out a French movie titled ‘Dr. Petiot’ if you want to see another. (The Varieties of Sexual Experience) Genet enjoyed the period. He was a man come into his own. As he has been quoted previously, he delighted in the union of the criminal mind with authority. Why wouldn’t he?
But just as the French Revolution allowed the Marquis de Sade scope for his personality, Napoleon, when he assumed the reins of government clapped de Sade into the insane asylum at Charenton. So the Post-war Fourth Republic sentenced the petty thief Jean Genet to life imprisonment.
Genet might very well have died in prison but for the fact that he, while lying in his bunk smelling his farts, composed the novel entitled: Our Lady Of The Flowers. (What scents are these?) While respectable non-Communist writers were being hounded out of literature this criminal, homosexual, severely emasculated creep found a publisher. Saint, indeed!
Not only that, he found a friend. Jean Paul Sartre had surfaced in 1936 with his novel: Nausea. From this novel he developed what was known in the post-war world as existentialism. This notion was supposedly philosophy. I have been called an existentialist by people who should know what it is but I have to say that I have never understood what Sartre means by it. I’ve even read his trilogy, Roads to Freedom. Still don’t know what he’s talking about; I deny all charges.
Nevertheless by war’s end he had a tremendous reputation within France and without. For some reason he and other literati felt that any criminal who can write a book shouldn’t be in prison, as though Genet had been sentenced for the crime of never having written a book. So they sprung Genet. He could now steal with impunity. Ain’t life just too funny for words. Sartre later wrote a book of some six hundred odd pages about this petty thief entitled: St. Genet: Thief and Martyr. The two must go together. Sort of Geminis perhaps.
Genet had Sartre’s numbers. He dedicated his autobiography, The Thief’s Journal to Sartre: a Sartre au Castor. To Sartre as Castor. If Sartre was Castor then his twin brother Genet, was Polydeukes. As we all know Castor was the mortal twin while Polydeukes was the immortal. Genet was prescient as well as mocking. Today his myth lives on while Sartre and his existentialism is all but forgotten.
The point is that Genet was instrumental in creating the cult of the homosexual. It was through him that the homosexual was allied to the post-war Red coalition. In this union of Emasculates that seized control of US culture, if not always the government, the criminal mores of the homosexual as taught by Genet formed the basis of Red morality, or immorality, as you would have it. Freud was wrong in thinking men can live without the notion of a moral code.
The great mythographers who had attempted to give mankind a positive approach to morality by a union of the conscious and subconscious minds with consciousness preeminent were driven underground as the Red/Liberals seized control of the media preventing any view but their own being expressed.
Freudian visions seem to have triumphed, still, though Edgar Rice Burroughs died in 1950 his great psychological projection Tarzan lived on. He still lives.
To recapitulate: In the course of evolution a new type of man came into being in mid-nineteenth century who required a new vision of psychology. Society, for our purposes here, was thereby split into two divisions. One of Scientific man and two factions of Religious man. One of the latter was the reaction of Christianity which refused to make any accommodation with the new reality while its fellow the Red/Liberal faction while in as violent a reaction as the Christians adopted pseudo-scientific modes while seeking to subvert the Scientific Consciousness.
On the literary level the cudgel of Science was taken up by a group of neo-mythographers who treated psychology and evolution according to the tenets of science.
The Red/Liberal faction developed a revolutionary program guided by the religious conception of science led on the literary level by Sigmund Freud.
Taking the various concepts of the unconscious developed at the end of the nineteenth and the beginning of the twentieth centuries Freud twisted them to his purposes to envision the unconscious as a bale of evil impulses; he then convinced the West to release their impulses under the rubric of liberating the unconscious. The immediate result was an orgy of hate, sadism and murder that lasted, for our purposes from 1917 until 1945 at which time the old order collapsed.
The mythographers who had been less assertive were eclipsed by the Red/Liberals who now led the post-war era. They continued their campaign to sabotage the Scientific Consciousness by instigating a subtle reign of terror from the released unconscious.
Having now completed a survey of the first hundred years centered on the concepts of psychology I will now consider the same period from the point of view of evolution as reflected in the writing of Edgar Rice Burroughs. In the final part I will entwine both the psychological and evolutionary strands in a survey of society from 1945 to the present.
I dreamed I saw Ed Burroughs
As live as live could be.
‘Ah, but Ed, you’re dead.’ Says I.
‘I never died.’ Says he.
‘I never died.’ Says he.
As he stood smiling at me he had Something Of Value in his hand which he gave to me. It was a copy of Tarzan. I became as a pillar of smoke leading the people through the desert to freedom.
End of Something of Value I
Something Of Value II follows.
Part 2 Something Of Value I
October 14, 2007
Something Of Value I
Part 2
by
R.E. Prindle
Back To Solid Ground, More Or Less
At the same time Stevenson and Haggard appeared, another of the great mythographers made his appearance. Arthur Conan Doyle brought his great psychological projection Sherlock Holmes onto the world stage. Doyle listed Poe as his second most influential author with whom he had been familiar since his youth. All the great mythographers were well acquainted with Poe. He was the great originator.
Holmes is the first great psychological projection of the Scientific Consciousness. He fulfills the role of Mastermind. His intellectual greatness fulfilled Poe’s dictum of the analytical mind.
As the two Dupins fulfilled the roles of ego and alter ego so Doyle gave Holmes Dr. John H. Watson as alter ego and foil. Holmes represented the future while Watson was a relic from the religious past. As the evil Hydelike representative of the subconscious Doyle provided us with the infamous criminal mastermind Dr. Moriarty.
With the introduction of Holmes the Scientific mythology began to take shape.
The new mythology was based on the new discoveries of science. The scientific mind was pouring out new technological wonders almost on a daily basis but it was the discoveries in the sciences of biology and psychology that would most undermine the Religious Consciousness.
Darwin had organized biology along the new scientific lines when his Origin Of Species appeared in 1859. There was no greater challenge to the orthodox belief system than this. When a few years later Darwin issued The Descent Of Man things really erupted. According to the religious viewpoint, since the origins of consciousness the notion had been that man was descended from the gods, later monotheistically amended to God. In a really inept choice of words Darwin states, or his followers did, that man was descended from monkeys. The idea of evolution might have met with less reistance had Darwin titled his book: The Ascent Of Man since, properly speaking, Homo Sapiens is an advance on monkeys and all that has gone before. Thus man could have been said to ascend the evolutionary scale from apes but descend from God meeting somewhere in the middle. Darwin wasn’t so farsighted.
At the same time great advances were being made in psychology. The Frenchman, Jean Martin Charcot, was proving the effect of the subconscious on our minds in his studies of hysteria and hypnosis. The sub or unconscious mind had been a topic of consideration since the days of the Enlightenment but discussion was carried on in vague terms. In 1886 the English psychologist FWH Myers identified the subconscious by the name of the Unconscious preparing the way for Freud who would set the world on its psychological ear the way Darwin had its biological ear.
The way was now prepared for one of the two greatest mythographers, H.G. Wells (1866-1946). Wells had a split personality. On the one hand he was a mythographer and on the other he was a Red/Liberal/Utopian. In 1920 the Utopian side won out and he became a whole-hearted Revolutionist.
Wells began writing about 1893. His early work was in the genre of scientific fantasias, as they were called at the time, of which genre he is said to be the founder. Wells noted quite correctly that about mid-century a new type of scientific man became increasingly apparent.
Let there be no mistake but that a few centuries earlier these scientific disturbers of the peace would have been murdered. The reaction by the beginning of the twentieth century was that science was evil and ought to be stopped. George Griffith, himself writing a scientific fantasia for Pearson’s Magazine, Stories Of Other Worlds, put these words into his heroine Zaidie’s mouth as she was on the way to Mars:
“They’re very ugly aren’t they?” said Zaidie; “and really you can’t tell which are men and which are women. I suppose they’ve civilized themselves out of everything that’s nice, and are just scientific and utilitarian and everything that’s horrid.”
And Zaidie was a sweet thing too. Against an even more hostile background Wells understood that tempers against science were running high but he came down on the side of the New Men. In his interesting fantasia The Food Of The Gods he postulates that the new men had perhaps been fed some new synthetic food which made them intellectual and physical giants.
Actually they had been around for centuries but had been suppressed by the Religious Consciousness in the form of the Judeo-Catholic religion. As their forces gathered in the sixteenth and seventeenth centuries they became strong enough to defy the Judeo-Catholics. Thus when the evidence of their emergence became evident in mid-nineteenth century they were already too numerous and too strong to be set aside. The two consciousnesses came into conflict with the Religious Consciousness splitting into the reactionary Devout group and the other the more forward leaning Red/Liberals.
Thus Wells on his Utopian side became the advocate of a form of the Religious Consciousness as he struggled with his Scientific Consciousness. After the Russian Revolution he wholeheartedly went over to the revolution.
While very influential on subsequent mythographers Wells was unable to create a psychological projection of his own while after 1920 he became a member of religious communism turning out politico-religious tracts.
Emerging at about the same time as Wells the Irishman Bram Stoker contributed the master psychological projection of the twentieth century in his masterwork, Dracula while E.W. Hornung (1866-1921) created the minor projection, the Amateur cracksman- A. J. Raffles. A cracksman was a burglar; Raffles was the archetype of the gentleman thief. While Raffles himself has virtually disappeared from the collective memory the notion of the gentleman criminal has taken hold on the mythological consciousness. Raffles is not to be confused as a version of the earlier Robin Hood who ‘stole from the rich to give to the poor.’ No, Raffles unashamedly kept and spent all the proceeds.
In the background all this time the greatest of the creative mythographers, Edgar Rice Burroughs (1875-1950) was waiting for his consciousness to mature. It matured in 1911 when he first created John Carter of Mars then followed up with the prodigious psychological projection of Tarzan Of The Apes. Shew, bigger than an A-bomb.
Burroughs was the plateau to which all other roads led and from which all other roads proceeded. He managed to consolidate all the mythological trends of the previous decades into his work where he refined and perfected them sending them on to new heights.
Edgar Rice Burroughs. To coin a cliche, Burroughs was an enigmatic figure. While himself a great original writer he managed to incorporate the various strands of the myth into his writing in such a way, either clumsy or tributary, as you wish, that he stands accused of being a plagiarist. This is nonsense of course. Like any mythographer he had to work with established materials. Myths are not original– they are cooperative efforts. The great Greek cycle, of which Homer is the center, was the work of many hands. The fact does not diminish Homer’s contribution.
Burroughs was able to incorporate the two most significant disciplines of psychology and evolution into his work in such an entertaining manner that the seriousness of his thought was lost in the glamour.
While the sources of Burroughs’ evolutionary ideas which will be discussed in Part II, are relatively easy to trace his psychological sources are more difficult. That he had already thought deeply on psychological matters before he began writing is obvious. That he continually added to his learning in psychology as well as evolution is clear from the development of his thought throughout the corpus.
Burroughs was especially concerned with the nature of the unconscious. He was an intelligent man who knew that his own behavior was controlled from his subconscious. I am certain that he was familiar with the 1886 work of FWH Myers, as well as Myers’ 1903 work Human Consciousness. As Freud was not translated into English before 1912 it seems certain that he had not had direct contact with the man’s work before then, however, by 1916 in his short story ‘Tarzan’s First Nightmare’ it seems evident that he had read at least The Interpretations Of Dreams.
Still, Burroughs had considerable contact with practicing psychologists as he indicated in The Gods Of Mars.
As the notion of the unconscious was discussed in various journals he very probably had read a number of articles, while as the notion of the Freudian slip was current in the second decade of the twentieth century he may have been familiar with Freud’s Psychopathology Of Everyday Life.
At any rate his writing of that decade drove relentlessly toward the goal of integrating his personality which is to say unifying the subconscious and conscious minds which he succeeded in doing by 1917 when he published The Oakdale Affair or, as alternatively titled, Bridge And The Oskaloosa Kid.
In his portrayal of the big Bwana, Tarzan has an integrated personality from his beginning in 1912. In his other works Burroughs constantly offers many portrayals of the subconscious.
The contrast between the conscious, or intelligent mind, and the unconscious, subconscious or ‘instinctive’ mind is one of the central tenets of the myth.
For Burroughs the study of the subconscious was to liberate, for Freud it was to subjugate the human will. Make no mistake, I consider Freud an evil presence while being the most destructive force of the twentieth century equal to any number of atomic bombs. Freud’s notion of the subconscious as a Hydelike repository of horrid repressed criminal needs was very mistaken.
One has the feeling that Freud learned much more about the human psyche than he told and that he told what he did with ulterior motives in mind. Those ulterior motives did not go unnoticed at the time. As D.H. Lawrence expressed it is his Psychoanalysis And The Unconscius of 1911:
And does it need a prophet to discern that Freud is on the brink of a Weltanschauung- or at least a Menschenschauung, which is a more risky affair? What detains him? Two things. First and foremost the moral issue. And next, but more vital, he can’t get down to the rock on which he must build his church.
Actually the unconscious was the rock but another rock was how to turn the basis of psychoanalysis, which is emasculation, into something palatable. Freud stumbled over his concept of castration which he was apparently sincerely unable to extend into the workable concept of Emasculation. The Castration Complex is only a symbol for Emasculation. And then there was the difficult moral issue. Lawrence again, same work:
First and foremost the issue is a moral issue. It is not here a matter of reform, new moral values. It is the life and death of all morality. The leaders (Freud, Ferenczi, Abraham) among the psychoanalysts know what they have in hand. Probably most of their followers are ignorant, and therefore pseudo-innocent. But it all amounts to the same thing. Psychoanalysis is out, under a therapeutic disguise, to do away entirely with the moral faculty in man. (My italics.)
Lawrence put his finger on the criminal intent. Freud was in fact running an Order in which one learned the true intent as one moved from initiate to adept. Freud in fact did wish to destroy the concept of Christian, that is to say European morality, and he had his reasons. But why the ‘unconscious’, why something which in his vision lies outside, even beyond, our minds, some alien evil force which controls our actions against our will. Lawrence persists:
It is obvious we cannot recover our moral footing until we can in some way determine the true nature of the unconscious (Percipient O!) The word unconscious itself is a mere definition by negation and has no positive meaning. Freud no doubt prefers it for this reason. He rejects subconscious and preconscious, because both of these would imply a sort of nascent consciousness, the shadowy half-consciousness which precedes mental realization. And by his unconscious he intends no such thing. He wishes rather to convey, we imagine, that which recoils from consciousness, that which reacts in the psyche away from mental consciousness. His unconscious is, we take it, that part of the human consciousness which though mental, ideal in its nature, yet unwilling to expose itself to full recognition and so recoils back into the affective regions and acts there as a secret agent, unconfessed, unadmitted, potent, and usually destructive. The whole body of repressions makes up our unconscious.
Here Lawrence states the obvious, there is no such thing as the unconscious. There is a subconscious that he rightly understands Freud to have rejected for ulterior motives. A subconscious is part of us which can be dealt with while an unconscious which is metaphysical cannot, it therefore follows that there cannot be an unconscious which would be a religious symbol, or in other words, supernatural.
However Lawrence while he scoffs seems to understand the function or a function that Freud gave to his unconscious which is in fact partially true of the subconscious. ‘The whole body of repressions makes up our unconscious.’ Not a fact because when the personality is integrated and fixations or what Freud call repressions disappear there is still a function to the subconscious which is unrelated to the fixations or repressions. I believe repression to be an inaccurate term. Rather what Freud calls repressions are fixations. A Challenge that the mind finds overwhelming is received and perpetuated as a fixation in the subconscious that in its control of the personality appeared to Freud as repression. Freud repeatedly reports the symbol as the fact whether through misconception or in intent to deceive is not always clear.
What is clear is that as Lawrence perceived so clearly in 1911 was Freud’s intent to destroy morality in a Jekylllike intent to release the Hydelike repressions on the world. In this he succeeded quite well. Much to his own injury. Just as Hyde brought destruction on himself so Freud brought destruction on the Jews in this Jewish millennial period.
At this point it might be instructive to examine an aspect of the intellectual milieu in which Freud developed. A large part of personal psychology is integral in one’s group psychology and general psychology as in, for instance, education. By education I do not mean schooling per se, but all the influences which constitue character formation.
Freud’s father came from the area of the Pale known as Galicia. This area is very close to the homeland of the ecstatic variant of Judaism known as Hasidism, and in fact his father was a Hasid. This sect arose out of the period of the last great messianic individual, Sabbatai Zevi. This man was active during the period 1640-66. As might be expected in group psychology when the Day approaches the faithful raise their expectations, growing elated, becoming forgetfull of niceties. This is what happened to the Jews of the southern Pale in 1648. As auxiliaries of the Poles who had conquered the Ukraine the Jews suffered the same fate as the Poles when the Ukrainians revolted. this massacre occurred at the same time as the expected millennium which was a complete contradiction in terms, or in other words, how mysterious can the ways of God be? Then in 1666 the whole millennial illusion collapsed when Zevi failed as a messiah.
One result of the failure was the attempt to regenerate Judaism by means of ecstatic Hasidism. By all rights Yahvey, not for the first time, having failed his people should have been renounced. The Jews couldn’t do this. There was also a second effect. Out of the wreckage of Zevi a man named Jacob Frank evolved another strain of Judaism in which he said that the age of the millennium would never appear until the Jews had exhausted their proclivity for evil. It was therefore necessary for Jews to indulge in whatever evil impulses they had to purge their systems to make way for the good or millennium.
Here also is where the Jewish notion of good arising from evil finds its clearest expression. Jewish ideas are never distinct from the ideas of the general community, in this case European. A European reaction to Judaeo-Catholicism had been going on for centuries passing through many manifestations such as the Beggars, the Free Spirtis, Anabaptists and others. All of these like the Frankists believed, like Freud, in the free expression of subconscious impulses.
Now joined by the Frankist notions after the beginning of the eighteenth century the basis of the Revolution was formed.
By mid-eighteenth century many of these groups, now styled Libertines, were functioning openly in England and on the Continent. Perhaps the most famous organization representing these beliefs which were integral to the Revolution which had been developing for centuries were clubs like the Hell Fire Club of England.
These groups of people were quite extreme. Their credo was startlingly expressed in Tobias Smollett’s 1748 novel Roderick Random. Note the date, which is just before the destruction of the notorious prisons, Newgate in England and the Bastille in France. Smollett’s novel is forty-one years before the outbreak of the French Revolution which was supported in England by members of these clubs.
Smollett’s hero, Roderick Random, was introduced into the home of one of these incendiaries to whom he attribute the following poem:
Thus have I sent the simple king to hell
Without or coffin, shroud or passing bell.
To me what are divine or human laws?
I court no sanction but my own applause!
Rapes, robb’ries, treasons, yield my soul delight;
And human carnage gratifies my sight;
I drag the hoary parent by the hair,
And toss the sprawling infant on my spear,
While the fond mother’s cries regale my ear.
I fight, I vanquish, murder friends and foes;
Nor dare the immortal gods my rage oppose.
Sound like any two revolutions you may have heard of? The above pretty much defines Freud’s intent in his use of the subconscious while forming the framework of his personal Weltanschauung. Whether Freud was consciously aware of these notions or whether they were part of his subconscious is open to question. Much of the education of this sort is absorbed on the subliminal level perhaps never being or becoming conscious. Most of this primal education is buried so deep that one is never aware of its source. I scoff at Freud’s claim that he was able to analyze himself in just one year at the turn of the century.
Now, the majority of Freud’s thought was completed by the time he published his Introductory Lectures In Psycho-Analysis in 1917 just before the Bolshevik Revolution. In order to explain the results of the Freudian ideas of the ‘unconscious’ let me provide a framework by moving ahead a little.
What we are talking about here is the context of Freud’s notion of the castration complex. Castration is a specific symbol while the generalized concept is Emasculation. the Castration Complex is not even an affect but only a symbol. If Freud was aware of the generalized Emasculation concept he nowhere lets us know. Emasculation is caused by an unresolved affront to the Ego from which all men and women suffer to some degree.
The scapegoat for our sins or arch-villain of all time as some would have it was and remains Adolf Hitler. Hitler was seriously emasculated. Having read all the major Hitler biographies while delving is some detail into the hisory of post-Great War Germany I was at a loss to explain the man and his time down to the Rock of his Church. Having folowed through on Freud’s notion of the Castration Complex exlucidating it into the Emasculation theory I came across the novels of that most horribly emasculated and repulsive figure in modern literature, Jean Genet.
For those not familiar with Genet, he wrote plays which I have not read and five novels I have which I list: Our Lady Of The Flowers, The Miracle Of The Rose, Funeral Rites, The Thief’s Journal and Querelle Of Brest.
Genet was a vicious homosexual and criminal which is to say he was completely emasculated. He wore women’s dresses but not as a transvestite. Any self-respect he had was totally negative. However, it is possible to recognize something of oneself in his hurt. He knew how to universalize his anguish. His degradation gave him some insight into his times and its personalities. He traveled in Nazi Germany between 1930 and 1940.
While not using these terms he understood and applauded the criminal annexation of Law and government to the uses of Freud’s concept of the unconscious or, in another word, criminality. The criminal nature of the regime was so in accord with his own perversions that he had no desire to thieve as such crimes seemed to him to be no insult to society in Germany.
It seemed to him that Hitler was one with himself in his desires.
I don’t believe Hitler was a practicing homosexual but he was emasculated to the point of deformity. Which is what I suppose revolted his contemporaries so. However, as all emasculation is expressed in a variant homosexual manner, self hatred being a form of homosexuality, one may believe that he was a ‘latent’ homosexual. One wonders about his relationship with Hindenburg; what exaggerated respect and smoldering resentment must have been there.
In may ways Genet forms a link between the ante and post WWII worlds. In his own goals and aims he was peculiarly related to Freud.
Shortly after the Great War Freud wrote ‘Group Psychology And The Analysis Of The Ego.’ The essay is applied Freudianism; it doesn’t do you any good to have the scientific knowledge if you don’t apply it. Man has his individual ego while sharing it in one or more group egos. The question then becomes how does one engineer the individual ego into a group ego so that the individual within an artificial group can achieve your desired political ends will he nil he, hypnotized as it were.
Freud tackles this problem in Group Ego. The book raises several interesting questions. Freud based this work on an 1895 study by the Frenchman Gustave Le Bon titled: The Crowd: A Study Of The Popular Mind. Le Bon’s was a seminal work still in print after 110 years. He might be said to have originated the concept of group psychology which Freud appropriated.
‘Group Psychology And The Analysis Of The Ego’ is virtually the Crowd rewritten with better organization and definition. At the risk of quoting too extensively I have abstracted several quotes from Le Bon used by Freud in Group Ego which form the basis of Freud’s essay. Le Bon’s book may be illustrative of the manner in which Freud built several of his
The most striking peculiarity presented by a psychological group is the following. Whoever be the individuals who compose it, however like or unlike be their mode of life, their occupations, their character, or their intelligence, the fact that they have been transformed into a group puts them in possession of a sort of collective mind which makes them feel, think and act in manner quite different from that in which each individual of them would feel, think and act were he in a state of isolation. There are certain ideas and feelings which do not come into being, or do not transform themselves into acts except in the case of individuals forming a group. The psychological group is a provisional being formed of heterogeneous elements, which for a moment are combined, exactly as the cells which constitute a living body form by their reunion a new being which displays characteristics very different from those possessed by each of the cells singly. (p. 29)
It is easy to prove how much the individual forming part of a group differs from the isolated individual but it is less easy to discover the causes of this difference.
To obtain at any rate a glimpse of them it is necessary in the first place to call to mind the truth established by modern psychology, (1895) that unconscious phenomena play an altogether preponderating part not only in organic life, but also in the operations of intelligence. The conscious life of the mind is of small importance in comparison with its unconscious life. The most subtle analyst, the most acute observer, is scarcely successful in discovering more than a very small number of the conscious motives that determine his conduct. Our conscious acts are the outcome of an unconscious stratum created in the mind mainly by hereditary influences. The substratum consists of the innumerable common characteristics handed down from generation to generation, which constitute the genius of a race. Behind the avowed causes of our acts there undoubtedly lie secret causes that we do not avow, (The issue is not issue, Mark Rudd) but behind these secret causes there are many others more secret still, of which we ourselves are ignorant. The greater part of our daily actions are the result of hidden motives which escape our observation. (Ibid. 30
A necessary transition note from Freud. (Page 8, Group Psychology). ‘Le Bon thinks that the particular acquirements of individuals become obliterated in a group, and that in this way their distinctiveness vanishes. The racial unconscious emerges, what is heterogeneous is submerged in what is homgeneous. As we should say, the mental superstructure, the development of which in individuals shows such dissimilarities is removed, and the unconscious foundations, which are similar in everyone, stand exposed to view.
In this way individuals in a group would come to show an average character. But Le Bon believes that they also show new characteristics which they have previously not possessed, and he seeks the reason for this in three different factors.’
Freud quoting Le Bon again:
The first is that the individual forming part of a group acquires, solely from numerical considerations, a sentiment of invincible power which allows him to yield to interests which, had he been alone, he would perforce have kept under restraint. He will be the less disposed to check himself, from the consideration that, a group being anonymous and in consequence irresponsible, the sentiment of responsibility which always controls individuals disappears entirely. (Ibid. 33)
The second cause, which is contagion, also intervenes to determine the manifestations in groups of their special characteristics, and at the same time the trend they are to take. Contagion is a phenomenon of which it is easy to establish the presence but which it is not easy to explain. It must be classed among those phenomena of a hypnotic order, which we shall shortly study. In a group every sentiment and act is contagious, and cantagious to such a degree that an individual readily sacrifices his personal interest to the collective interest. this is an aptitude very contrary to his nature, and of which a man is scarcely capable, except when he makes part of a group. (Ibid. 33)
A third case and by far the most important, determines in the individuals of a group special characteristics which are quite contrary at times to those presented by their isolated individual. I allude to that suggestibility of which, moreover, the contagion mentioned above is also an effect.
To understand this phenomenon it is necessary to bear in mind certain recent physiological discoveries. We know today that by various processes an individual may be brought into such a condition that, having entirely lost his conscious personality, he obeys all the suggestions of the operator who has deprived him of it, and commits acts in utter contradiction with his character and habits. The most careful investigations seem to prove than an individual immersed for some length of time in a group in action soon finds himself– whether in consequence of the magnetic influence given out by the group, or from some other cause of which we are ignorant– in a special stae, which much resembles the state of ‘fascination’ in which the hypnotized individual finds himself in the hands of the hypnotizer.
…The conscious personality has entirely vanished; will and discernment are lost. All feelings and thoughts are bent in the direction determined by the hypnotizer.
Such also is approximately the state of the individual forming part of a psychological group. He is no longer conscious of his acts. In his case, as in the case of the hypnotized subject, at the same time that certain faculties are destroyed, other may be brought to a high degree of exaltation. Under the influence of a suggestion, he will undertake the accomplishment of certain acts with irresistible impetuosity. This impetuosity is the more irresistible in the case of groups than in that of the hypnotized subject, from the fact that, the suggestion being the same for all individuals in the group, it gains in strength by reciprocity. (Ibid. 34)
We see, then, that the disappearnce of the conscious personality, the predominance of the unconscious personality, the turning by means of suggestion and contagion of feelings and ideas in the identical direction, the tendency to immediately transform the suggested idea into acts; these, we see, are the principal characteristics of the individual forming part of a group. He is no longer himself, but has become an automaton who has ceased to be guided by his will. (Ibid. 35)
The remainder of Freud’s Group Psychology is the application of Le Bon’s observations as a manual for psychologically manipulated groups through hypnosis and suggestion to achieve an agenda. I will repeatedly refer to Group Psychology in Freud’s plan hereafter. While it is clear that Freud read Le Bon’s 1895 book absorbing much, the book was immediately translated into English in 1896 where it became accesible to a world public, it is therefore probable that a number of other people read the book taking what they needed for their purposes.
One of these may very well have been Edgar Rice Burroughs. I know of no way of determining the fact that he read the book but one asks is there any evidence in his novels that would indicate that he had. I’ll be darned, there is. As I said, because of the frivolous nature of the novels one dismisses Burroughs as an uneducated fantasist. He himself said that he would take a political or social idea and highly fictionalize it into something else. If one reads his 1914 novel Thuvia, Maid Of Mars one finds a story suspiciously like Le Bon’s ideas in The Crowd but highly fictionalized.
Burroughs’ psychological ideas are difficult to trace but well developed. Throughout his corpus Burroughs is well informed about hypnosis. It appears to be a subject he gave special attention to. Le Bon’s ideas are based on group hypnosis. In Thuvia the hero finds his way to the Martian kingdom of Lothar. He engages his invaders in a battle with the Lotharians. The city walls of Lothar are manned by innumerable bowmen firing arrows on the Green Men of Mars. The field is strewn with dead Green men killed by the arrows of he phantom bowmen.
The fight ending the hero looks away for an instant breaking eye contact with Lothar. When he looks back the field is strewn with dead Green Men but the arrows are gone. Wondering about this he looks back at Lothar to find the bowmen are gone too.
As it turn out the Lotharians no longer exist in physical form but are merely psychological projections who have learned to mass hypnotize their enemies into believing that they do exist and are shooting real arrows. Their enemies believe they are real arrows and so die by them.
Thus it is quite possible that in Thuvia we have a fictionalization of Le Bon’s ideas which Burroughs must have picked up from the 1895 book converting them into fiction in 1914 well ahead of Freud and Hitler.
Oh yes. Him again. Hitler. Whether historians would agree that Germany was ‘stabbed in the back’ or not, it was universally believed by Germans, especially by Hitler, and they and he acted on that belief. Thus the psychic injury suffered by the privations of war, the loss of the war, and the belief that victory had been taken from them by traitorous means made a curious form of group emasculation of the collective ego shared by each individual creating the conditions for a group psychology which under the influence of a hypnotizer they would not be responsible for their acts. The group ego is where the emasculation occurs being then relegated to the group subconscious where it surfaces under various names and impulses. As the American Jew Mark Rudd was to say in respect to his group’s post-WWII emasculation: The issue is not the issue. In other words, their complaint was the disguise for their emasculation which is what they were really trying to address.
Jean Genet was not a philosopher or a politician so that he did not understand that Hitler was not the protagonist but the antagonist. He was not acting but reacting. What was he reacting to? Let’s go back to Freud.
End of Part 2. Go To Part 3
A Review: 1921’s The Sheik by E.M. Hull
October 12, 2007
A Contribution To The Edgar Rice Burroughs
Library Project.
A Review
The Sheik
by
E.M. Hull
by R.E. Prindle
The Sheik by E.M. Hull is found in ERB’s library. The novel published at the beginning of 1921 was a runaway bestseller going through thirty-0ne printings by October. My copy is of the thirty-first printing. How many more it may have gone through I am not aware.
The book was quickly made into the movie of the same name starring Rudolph Valentino and released on November 20th of the same year. Thus the impact would have been redoubled on ERB reading the book and seeing the movie.
Having troubles in his relations with Emma, he was somewhat bedeviled by what she wanted as Freud was by what women wanted. The Sheik presented one woman’s solution to the problem of what women want. The Englishwoman E.M. Hull examined the problem in some detail. Her solution would find expression in ERB’s Tarzan And The Ant Men of 1923 in the story of the Alalus women.
2.
While Mrs. Hull’s novel is invariably reviewed as a soft core porn novel it is actually quite a serious attempt to explore what women want. Not a potboiler, the story is well thought out and carefully constructed.
The story falls into the category of the desert nomad thriller.
The scene is somewhere between Biskra and Oran in Algeria. Biskra is the southernmost point on the railroad from the coast to the Sahara in the East of Algeria. It is an oasis area and was a winter resort for Europeans. This area was also the scene of Robert Hitchen’s The Garden Of Allah and the Sahara scenes from Edgar Rice Burroughs’ The Return Of Tarzan.
As with Hitchens’ the desert serves as a symbol for self-realization and redemption. The story was written as the career of the rebel Abd El Krim was reaching its apex in the Rif. Krim’s story was terrifically romantic for women of the era. I had a high school history teacher in the fifties who was still capable of gushing about Krim thinking him the most manly and desirable of men.
As with Hitchens the story revolves around a man and a woman. The woman an Englishwoman and the man a Krim like sheik of the desert.
3.
The woman is appropriately named Diana. Diana was the virgin huntress of Greek mythology who spurned all relations with men thus putting her in enmity with Aphrodite. She is somehow related to the Lady Of The Lake of ancient Lacedaemon which name means Lady Of The Lake and in a line of progression to the Northern European archetype of the second half of the Piscean Age. This is a rather strange female archetype to represent the Northern European psyche. She is a cold unloving symbol that may have something to do with the European character.
Whether Mrs. Hull knew these things or not she represents them perfectly in her story. This is quite extraordinary.
Thus her Diana was raised by her brother as a boy. She is represented throughout the story as an ambiguous girl-boy, nearly a hermaphrodite. She is herself a skilled huntress who has no use for men. As the story opens she has yet to be kissed. Mrs. Hull skillfully represents the respect that Northern European men have for their women which in itself may be conditioned by the Diana image. They are easily put off. When one man asks Diana for a kiss he accepts his rejection with equanimity asking only if they can at least be pals.
The Sheik as the wild man of the desert knowing no law but his will offers quite a contrast. By the time of Mrs. Hull’s novel ERB had already explored the same literary territory in the Return Of Tarzan and The Lad And The Lion as well as The Cave Girl. I would hesitate to say Mrs. Hull had read Burroughs but the Sheik is portrayed as a Tarzan like superman in a decidedly pulp manner.
The Sheik does not observe any civilized niceties. At one point Mrs. Hull refers to his civilization being less than skin deep. As the Sheik, Ahmed, says, if he wants something he takes it. Having seen Diana in the marketplace of Biskra he sets out to kidnap and rape her. There are no other words for it and Mrs. Hull does not mince them.
His plan worked out so that he buys off Diana’s desert guide to deliver her to him on the first night out of Biskra. Prior to that he surreptitiously serenaded her on the night before even entering her room in the dark while she is there to replace the bullets in her pistol with blanks to prevent her from shooting him in the desert which she did attempt to do.
4.
Now, Mrs. Hull is presenting an allegory so the novel is filled with symbols. The key symbol is the horse. The horse is, of course, a symbol of the female associated with the Greek god Poseidon. In ancient times the symbol of the bull was associated with the missing y chromosome of the female being replaced in Patriarchal times with the horse. Thus the Patriarchal goddess Athene is sometimes represented as horse headed.
When the guide brings Diana a horse to ride it is a magnificent creature much better than she might have expected from a commercial enterprise. The horse has actually been provided by Ahmed the Sheik so as Diana leaves Biskra she is already mounted on the Sheik’s horse- a powerful sexual symbol. The horse is trained to respond to signals from The Sheik.
The story is filled with horses and horse races between she and the Sheik. In one race the Sheik gives her a minute to stop or he will shoot her horse dead which he does. He then places Diana in front of him on his horse (these horses are all magnificent and beyond magnificent) at which point she realizes that she is not only in love with the Sheik but has been for some time.
Previous to this time she had noted in the camp
…but it was the horses that struck Diana principally. They were everywhere, some tethered, some wandering loose, some excercising in the hands of grooms.
So everywhere is the symbol of the female. At this stage Diana has been sexually subordinated to the Sheik but she is intellectually resisting. The Sheik puts on a demonstration of how useless her resistance is as he fully intends to break her.
A man eater is brought out who has killed a man earlier that morning. The horse obviously represents Diana. Some two or three men attempt to break the horse but they all fail. Then the Sheik mounts. The result is a thoroughly exhausted and beaten horse. She stops fighting with her legs splayed while the Sheik jumps off. Then the horse rolls over left with no will of its own.
This is exactly Diana’s situation. Earlier she had boasted to her brother: I will do what I choose, and I will never obey any will but my own.
That is now proven an empty boast as the Diana riding in front of the Sheik chooses to obey the Sheik’s will.
Perhaps Mrs. Hull has prophesied the submission of England’s will of today to the desert Sheiks. As of now the Moslems have all but assumed religious control of England. Thus England as Diana has submitted its sexuality to the sons of the Sheiks.
However Diana’s Sheik still has to prove himself as the dominant male of his society to retain her allegiance. One hesitates to say that she perversely tests him nevertheless having been cautioned to take care on her desert rides she insists on going too far afield. Naturally she and her seven man escort are ambushed by the fat swarthy greasy rival sheik’s men. Six of the seven escorts die joyously defending their sheik’s property. The seventh, the sheik’s European manservant gets the classic bullet crease alongside the head. Diana disappears into the fat greasy sheik’s tent. This guy is everything an Arab sheik should have been in contemporary European eyes. Fat, greasy, swarthy, unbelievably smelly, uncouth to the nth degree. There’s no doubt there’s the fate worse than death for the boyish, sylphlike, slender, lithe Diana. Yes, it seems pretty certain, unless…
Here comes the Sheik with a small but loyal and dedicated band of followers eager to die for their leader. Just as the greasy, swarthy sheik has got it out and ready in crashes Ahmed in the nick of time. Rather than shooting the bastard and getting it over with he wants to dispatch El Greaso by hand. As we all know strangling a a struggling strong man takes a little time. Enough time for El Greaso’s vile Ebon followers to burst into the tent. Right behind them come Ahmed’s men. Shades of Tarzan! Ahmed takes a severe blow to the head and a couple long blades in the back.
Will he live? After muttering a couple pages similar to the last words of Dutch Schultz the matter is in the hands of Allah and the European surgeon. As much as I like having god on my side, in certain situations a good surgeon is even better.
Nevertheless if Ahmed lives he has proven himself to be the right man for Diana. Interestingly the virgin huntress has submitted to the law of Aphrodite. The European archetype has accepted the dominance of the Moslem Arab.
Well, almost. In the first place the tribe of Ahmed is very interesting according to his French friend who arrived in time for the big battle. It seems that Ahmed’s tribe is different from the rest of the desert greasers. It is inferred that his tribe is one of the legendary White tribes supposed to be living in the Sahara. Undoubtedly a surviving remnant of Atlantis that moved South when the Mediterranean flooded.
Why, in addition, it turns out that Ahmed isn’t even an Arab. It seems that he’s actually English. Well, an English Spanish blend. His English father when in his cups did some unspeakable thing to Ahmed’s mother when she was pregnant with him and she was found by Ahmed Sr. Ahmed Jr.’s adopted father wandering dazed and confused beneath the broiling desert sun.
Taken in she dropped Ahmed Jr. and died. The baby was raised as the successor to Ahmed Sr. But he developed an uncontrollable hatred for England, its people and all things English. That’s why he captured and raped Diana over and over. But it’s OK, they both realize they love each other now.
The lesson seems to be that that’s what woman wants: a man who can earn her repect by dominating and controlling her while at the same time being the dominant male in his society, being able to provide all her wants and desires while being able to defend her from the El Greasos of the world. So all the necessary elements come together here and we have a marriage if not made in heaven perfect for terrestrial travails.
If nothing else ERB learned where he had failed Emma in the beginning but who now wondered in his own role of sheik where the rewards from Emma were.
I’m going to speculate that ERB read the story in 1921. He might have enjoyed Valentino in the movie but I think it improbable that the silent film came near capturing the nuances of the novel. I’m sure the signficance of Diana as female European archetype didn’t come through on celluloid.
Was it even in Mrs. Hull’s mind one may perhaps ask. Is it possible I’m projecting my beliefs on Mrs. Hull’s story? It is possible but consider this passage in The Sheik:
He was so young, so strong, so made to live. He had so much to live for. He was essential to his people. They needed him. If she could only die for him. In the days when the world was young the gods were kind, they listened to the prayers of hapless lovers and accepted the life they were offered in the place of the beloved whose life was claimed. If God would but listen to her now.
So we know that Mrs. Hull was read in Greek mythology. It would seem inevitable that she was familiar with the stories of King Arthur to some degree. Certainly she knew the story of Merlin and Vivian. She was a writer. Knowing little about Mrs. Hull it is impossible for me to know for certain exactly what she read or understood. And yet, there it is in the pages of her novel if one has eyes to see. The Sheik is as much a work of mythology as is that of Burroughs’ Tarzan. It is possible that neither was conscious of what they were saying but the information taken into their minds was transformed subconsciously, at least, into the form in which it issued forth from their pens. It works that way for writers. I am often astonished at the subliminal message of what I write. Did I intend it? Must have. There it is. Still, I do put myself into a mild trance when I’m writing so that I concentrate on words rather than ideas. So the words are more conscious while the content is more subliminal. We know ERB wrote from a trancelike state and Mrs. Hull’s story has that quality. I think we have enough evidence to know that she had read the mythological material so that whether she had consciously formulated her ideas they come out in her writing. In short, I don’t think I’m projecting much if anything. Tra la.
There is no doubt that The Sheik made a big impression on ERB. The question is how did he understand it. His first reaction appeared in 1923’s Tarzan And The Ant Men in the weird parody of the Alalus people in which he reverses the male-female roles with the women being stronger and dominant. As Ahmed figures the women brutally dominate the men. Using them for sexual pleasure then discarding them. ERB’s story seems to be tongue in cheek but without a reference point the ridiculous story is hard to follow. With E.M. Hull’s The Sheik I believe we have the reference point.
It seems clear that Mrs. Hull was influenced by Robert Hitchens’ The Garden Of Allah. What is not clear is whether she was influenced by Edgar Rice Burroughs and if so by what novels. The Sheik follows a pulp format. So, if Mrs. Hull read the pulps on a regular basis there is no reason to believe that she was not familiar with some of his work as Burroughs certainly by 1920 when she probably began the novel was already the premier pulp writer.
If that was the case it seems likely that she might have read The Return Of Tarzan and The Lad And The Lion, perhaps The Cave Girl. If she read Lad then she reversed the roles of the chief male and female characters making the Woman English and the man Arab.
I haven’t read the magazine version of The Lad And The Lion so I am not sure of the specific changes ERB made between the 1913 version and the 1938 rewrite for book publication. The rewrite shows clear evidence of influence from The Sheik unless of course Mrs. Hull was reflecting the influence of the Lad on herself. In any event the two books reflect an influence from one to the other.
So, as with Trader Horn and Burroughs it is possible that Hull was influenced by Burroughs and with both of these authors Burroughs reading of them was reflected in his subsequent writing.
Our list of reciprocal influences is growing when one adds that of H.G. Wells. What once seemed simple grows more complex.
Postscript: I have since learned that Mrs. Hull was a student of mythology.
Part VII Springtime For Edgar Rice Burroughs
October 6, 2007
Springtime For Edgar Rice Burroughs
by
R.E. Prindle
Part VII
The Sequels
The return from San Diego in March-April 1914 was a turning point in Burroughs’ life. In a sense it was a childhood’s end. The past was now the past. ERB’s future lay ahead.
The fact that he had won the gamble of the stay in San Diego being able to spend recklessly and still have his back financially covered must have been a tonic to his self-confidence. He was able to do nearly anything he wanted to do. One was to begin his library. A key book in his library was Edward Gibbon’s Decline And Fall Of The Roman Empire. He recorded its purchase date in 1913 and the day he completed the work just after his birthday in 1915. One imagines that by the time he wrote his three sequels in mid-1914 he had read a few of the volumes of his twelve volume set.
This is important because reading Gibbon is a life changing event. In the language of the sixties the history is consciousness expanding. In a sense it is a transition from childhood to maturity.
It is impossible to stress sufficiently the changes that ERB is going through or the rapidity of the changes. Already just returned from San Diego he is purchasing a new automobile, a Hudson. It is perhaps no coincidence that The Mad King opens with Barney Custer/ERB careening down the road in a new Roadster. That it is gray is of very little significance because the only colors available in 1914 were probably grey and black. Or perhaps as the Hudson appears to be grey in black and white photos Barney’s car for that reason was grey.
One can only imagine the exhilaration ERB experienced as he climbed behind the wheel of big new touring car. It was Hudson not a cheap Ford. Nineteen fourteen was also a turning point in the history of Ford Motors. ERB always disparages Fords in these years proud that he’s driving a more expensive automobile. The woes of not being able to afford a car from 1903 on must have melted away.
Not only did ERB buy a new car but he and his family of wife and three children moved into luxurious new quarters in the affluent Chicago suburb of Oak Park. So ERB began a new life on his return to Chicago.
Shortly after his return Tarzan Of The Apes was released in book form by A.C. McClurg. Magazine and newspaper response to his stories had been terrific so there was no reason for Burroughs not to anticipate large sales. One can imagine him sitting up nights calculating the number. A hundred thousand? Too low. A million? Well, if he got really lucky. We’ve all enjoyed the anticipation of some sort along those lines.
The book was released in May, 1914 but there is no indication that McClurg’s even sold through the fifteen thousand of the contract or, indeed, that they even ever printed that many. The title was turned over to the reprint house of A.L. Burt early the next year in 1915. Burt was so uncertain of the books reception that they made McClurgs guarantee the first printing. When Burt turned the title over to Grossett and Dunlap they claimed to have sold less than seven hundred thousand copies at fifty cents each. Royalties were only four and a half cents a copy of which McClurg’s got half so Burroughs realized a mere pittance.
So what then?
He was thrown back almost wholly on his magazine revenues. He began to receive some money from newspaper syndication but this was relatively a pittance given his expectations. Within a few years movie money would begin coming in but for the time being Burroughs had to keep writing bcause as usual he was spending in advance of receipts.
I believe one can detect a change in the style of his writing at this point.
Whereas prior to the return from San Diego with the energy of the bloom of Spring relying perhaps on stories that had evolved in his mind as he daydreamed in the lean years stories just flowed from his pen. It seems likely that he exhausted that reservoir in San Diego so that now he had actually to work at dreaming up stories. In all three of the titles the sequels are significantly longer than the first halves while changing from personal revelations more toward formal stories.
The editorship of Munsey’s had also changed from Metcalf to Bob Davis- Robert H. Davis. From the available evidence Metcalf seems to have been the more tolerant and indulgent of Burroughs’ writing. When Davis was assigned Burroughs in 1914 the latter was an established star of the Munsey stable of writers. Davis wrote an autobiography c. 1940 that I haven’t been able to obtain but which should have much information on his dealing with ERB.
Davis appears to have been much more critical of Burroughs, even bullying him, pushing suggestions on him that the vulnerable writer couldn’t resist. Davis was the one who suggested that Tarzan have a son something Burroughs always regretted doing. Davis seems to have been of the opinion that ERB used a number of trite situations, situations that have subsequently been amply exploited by the movies. Not having grown up in ERB’s milieu and being sufficienctly underread in the various literatures of the times I am unable to say whether or not Burroughs presentation of Barney Custer’s execution by firing squad was trite or not as Davis states. Why Davis should have accepted the grazing of the head by the bullet that has become so commonplace in the movies and rejected the first episode is beyond me.
That Davis accepted Barney’s escape through the sewer without a demur when the episode is a blatant plagiarism of Jean Valjean’s escape through the sewer in Les Miserables is beyond me also. Burroughs even duplicates the upturned face as the filth rises about Valjean. ERB does provide the original twist of Barney being completely submerged in the sewage. Gruesome enough.
So Davis’ intent seems to have been a contest for control and dominance. It seems then that there were large variations between the magazine stories and the published books as ERB reinserted deleted passages and changed details back to his original writing. Overall, from the available evidence, I hold an unfavorable opinion of Davis’ interference.
On the home front, while ERB may have thought to find acceptance for his success as a writer and his newfound prosperity he was to be bitterly disappointed as his writing was disparaged and his topics made him a literary clown in his contemporaries eyes. To my undertanding he has never been accorded the respect that is his due to this day either in Oak Park or Chicago.
The fact is that he was able to please his audience in the pulp fiction genre mightily not only in 1913-14 but for at least a quarter century until his medium, pulp fiction, began to flounder in the thirties and forties. Having now read so many of his novels four to six times I am beginning now to have a much greater respect for ERB’s writing abilities.
The sequels of all three novels under consideration show an extreme focus on exactly what the story is and told with great economy yet with words so well chosen that the reader learns everything that he has to know. I am especially impressed with the single minded drive of The Mad King.
While obviously desiring acceptance and even importance in Chicago’s society ERB made an effort to be accepted by the newspaper columnists he had so admired from young manhood on. These men were very much admired by ERB. Indeed the columnists occupied a position analogous to the drive time radio commentators of our day. Chicago had some of the best.
Burroughs had collections of Eugene Field and George Ade in his library so that it is clear that he was much influenced by them. He does not seem to have cared for Peter Finley Dunne and his Mr. Dooley Irish dialect stories. Now as man he began to contribute to the successors of Field and Ade. Bert Leston Taylor’s column A Line Of Type Or Two in the Chicago Tribune printed some of Burroughs’ verse submitted under his pseudonym, Normal Bean, as well as another column in the Tribune, In The Wake Of The News by Hugh E. Keogh also known as HEK. (source: Porges) Both columns were prestigious so that the acceptance of ERB’s verse would indicate that it was high enough quality for the columns. After all it isn’t that easy to get into such columns or even have a letter to the editor published. Burroughs also joined the White Paper Club that sounds like a catchall scribblers club. He was ignored and shunned by the prestigious clubs.
A note on cars and then to the books on review. In 1913 he had and sold a Velie. In 1914 he bought and drove a Hudson while he drove a Mitchell in 1915.
The Velie is of interest (see http://www.angelfire.com/mt/velie/ )
The Velie was a low priced model bought second hand so it probably didn’t put ERB out too much. Willard Velie attended Yale at the same time as the Burroughs Boys graduating in 1888. One wonders if the Brothers knew of Velie at Yale. Perhaps such a knowledge may have influenced Burroughs choice or perhaps not.
The choice of the Hudson was undoubtedly influenced by the fact that ERB’s hero, L. Frank Baum, who ERB almost certainly visited in 1913, drove one.
If there is a possible story behind the Mitchell I haven’t learned it as yet. Also it shoud be noted that the movie industry did not affect Baum’s decision to move to Hollywood. Cecil B. Demille and Jesse Lasky didn’t step off the train in LA until 1914 when they introduced Hollywood to the movies.
2.
So now ERB began to organize his life around his future rather than his past. The first burst of writing in which he released his pent up emotions was now spent. On the return to Chicago his writing becomes a vocation in which he had to turn out stories every year for the pulps so that he became a professional writer rather than a quasi-amateur.
Tarzan Of The Apes was published in May upon his return but it would seem to disappointing sales. It was even difficult for McClurg’s to get the reprint firm of A.L. Burt to take it however it did well for Burt although apparently not in the spectacular numbers so often reported. Nevertheless money began to come in from that source.
Burroughs’ writing would also be influenced by the political situation presented by the Wobblies or I.W.W. as well as the outbreak of the Great War in August. That conflict became the subject of the sequel to The Mad King that was written after the war began.
The tone of the three sequels then changed from the first halves becoming less personal in their presentation but still concerned with ERB’s relationship with Emma.
The opening sequence of The Cave Girl-The Mad King-The Eternal Lover was changed to The Cave Man-Sweethearts Primeval (Eternal Lover)-and Barney Custer Of Beatrice (Mad King).
Barney Custer of Beatrice seems to display some first hand knowledge of Bert Weston’s business so it is possible that ERB and family visited Weston and Beatrice on the way back from California. In the only letter in the Weston correspondence near the 1914 date, that of June 14, ERB does not allude to any such visit which may or may not mean anything.
The Cave Man then was written first of the sequels as was The Cave Girl of the original stories. There are very significant elements to the story. ERB would later use the Nadara as the White Goddess in Tarzan And The Leopard Men. That in turn links Nadara to La and thence to Florence. In this story Nadara has been captured by some aborigines and made their goddess as will be Kali Bwana. Just as Nadara was wearing the Panther pelt so Kali Bwana would be associated with the Leopard as goddess of the Leopard Men. So both women are invested with ERB’s symbol of female sexuality.
Just as the long temple here was on a river so would be the Leopard temple. Waldo as Thandar uses the roof as does Tarzan. ERB thus duplicates the story. As Florence entered his life he began to associate her with this early dream of Nadara as well as her successor, La. Signficantly La makes her last appearance in 1930s Tarzan The Invincible transformed to reappear immediately as Kali Bwana of Leopard Men. That would indicate that by 1930 ERB had decided to leave Emma for Florence.
Another interesting twist is the similarity of Nadara and the temple to those of Trader Horn. We know that Trader Horn read Burroughs so it is probable that he somehow picked up a copy of the magazine version of Cave Man gestating the story for a decade or so when it came out of his head in 1927. Thus the close association of Burroughs and Horn before and after the publication of the latter’s story. Keeps getting more and more interesting, doesn’t it?
A second major issue seems to be ERB trying to reconcile himself and his parents. The second half of the Cave Man is very concerned with portraying Thandar/ERB’s father as a fine old man in contrast to the crazy deaf mute of Lad And The Lion. In this story the father figure is sympathetic while the mother figure is more harsh. She does become reconciled to Nadara in the end when she learns the girl is a French Princess. French again. One wonders if ERB’s mother was opposed to his marrying Emma.
Nadara herself who waffles between a representation of Emma/Jane and La in the Cave Girl begins Cave Man as more Ema but becomes morel like La/Kali Bwana as the story progresses ending strongly as the latter which would indicate that ERB already preferred his dream Golden Girl to Emma. He finally settled for the rather commonplace Florence as his version of the Wild Thing.
The story opens with the usual adventures. Getting Nadar back to her people it is necessary to kill King Big Fist to keep her. Thus we have a series of male images that reflect ERB’s conflict with Frank Martin.
Big Fist dead the people appoint Tandar/Waldo as their king. Thandar is in the process of converting the tribe to American Democracy when the earth quake strikes. In addition to head bashing one is astonished at the role earthquakes play in these early stories along with memory loss.
In this one Thandar/Waldo is creating a new society somewhat in imitation of the bizarre improvements Jules Verne made to his Mysterious Island when the earthquake strikes ending Thandar’s experiment.
The earthquake separates him from Nadara who is then pursued by another neanderthal type; perhaps this is a varation on the theme of ERB’s ccontest with marank Martin for Emma’s hand.
In a bizarre episode Thandar puts to sea in a bobbing strange little boat finally falling in with Pirates. From then on the story resembles Pirate Blood. Pirate Blood appeared at the same time as his relationship with Florence developed so the two are proable related to his Anima fantasies.
All comes out right in the end as the Pirates restore the belongings of Waldo’s father and mother whose yacht they had captured. Thandar rescues Nadara, all are reunited and Thandar/Waldo and Nadara are able to consummate their natural union with the marriage rites of civilization. An odd little story overall.
ERB next turned to the sequel of The Eternal Lover, Sweethearts Primeval. I just like this story. Nu and Victoria return to the Niocene. ERB missed some opportunities here. While Nu left the Niocene to go to the present Nat-ul never did. So when Victoria made her first trip to the Niocene both she and Nat-Ul should have been there. It would have been well if ERB had explained how their two being meshed after the munerous rebirths of Nat-Ul that produced Victoria.
In this story Nat-Ul who is a variation of La, and Nu become separated. The story is their attempt to reunite. Once again a character who may represent Frank Martin attempts to abduct Nat-Ul but she escapes him to fall into the clutches of another cave man only to escape finding her way to a small island.
The imagery is quite wonderful. Burroughs at his best. The scenery is quite reminiscent of Pellucidar with its coasts and islands. The pirate theme is also prominent in the Pellucidar stories of this time.
Nat-Ul manages to be abducted a number of times escaping each time.
Nu is hampered in his search for Nat-Ul by the appearance of a woman named Gron the wife of Tur of the Boat People. She attches herself to Num who has a difficult time getting rid of her. In the end Nu goes off in seach of the tiger OO this time dying while Victoria/Nat-Ul returns to the present leaving a hole in Space and Time.
In the end we learn that the whole story of Nu took place in the three mintues Victoria was unconcious.
Burroughs then turned to the sequel of The Mad King. The reversal in sequence of The Mad King and The Eternal Lover was necessitated by the fact that after the first part of The Mad King Barney had gone to Africa so that it was now necessary to get him back to Lutha.
Thus the Mad King and The Eternal Lover are actually one novel of the History of Barney Custer. The two books could be combined and titled something like The Adventures Of Barney Custer in Lutha and Africa.
The proper way to read the two books then is Part I of The Mad King, both parts of The Eternal Lover and then the sequel to The Mad King.
After losing Emma in Mad King Part I, Barney goes to Africa to ‘forget’ along with Butzow. Leaving Africa we next find him and Butzow in Beatrice, Nebraska visiting Bert and Margaret and their grain mill.
If Peter of Bletz had lost rack of Barney in Africa he relocates him in Beatrice (I am informed that Beatrice if pronounced Be-at-trice). After a failed murder attempt by Peter’s henchman Maenck Barney and Butzow return to Lutha.
As the story was written after the beginning of the Great War Austria is now attempting to annex Lutha. Apparently ERB was opposed to Austria as he sides with the Serbs.
Having been unable to forget Emma in Africa Barney now attempts to win her hand from King Leopold.
Barney and Leopold are yet another variation on The Prince And The Pauper then. Barney is captured trying to enter Lutha and put before a firing squad. Miraculously escaping death he escapes the Austrians by a direct borrowing of Jean Valjean’s escape through the sewers of Paris.
He is temporarily reunited with Emma but then captured by Maenck. Taken to Leopold he is sentenced to death but contrives to escape by exchanging identities with Leopold. In the guise of Leopold Barney manages to save Lutha from the Austrians. He dressed in Royal and Leopold dressed in rages the two are impossible to tell apart which replicates Twain’s story.
Barney is more seriously injured than Leiop[old so more vulnerable and also stupidly trusting. It should be clear that Barney and Leopold are doppelgangers of ERB. The crux of the problme here is the struggle for Emma. She had been promised in marriage to Leopold so that she is unwilling to disengage fromt he agreement without Leopold’s consent.
ERB writes this remarkable passage about his tow identities, the one the loser of yesteryear, Leopold, and the other the success of his present, Barney.
Quote:
‘What do you intend doing with me?” (Leopold) said. “Are you going to keep your word and return my identity?”
“I have promised,” replied Barney, “and what I promise I always perform.”
“Then exchange clothing with me at once,” cried the king, half rising from his cot.
‘Not so fast, my friend,” replied the American. “There are a few trifling details to be arranged before we resume our proper personalities.”
Unquote.
One of the trifling details is the release of Emma from her obligation to Leopold. Barney extorts the letter releasing the king placing it under his pillow. Exhausted from his wound he then falls asleep. Not so tired Leopold waits until Barney is asleep than recovers his clothes takes back the letter and leaves Barney to his fate.
Up to this point in 1913-14’s output ERB has been struggling to make amends with for his dismal performance in the first thirteen yers of marriage and regain her confidence. Thus Leopold represents the old ERB and Barney the new. As Emma has been married to ERB and is familiar with his loser persona it is difficult for her to transit from Leopold to Barney in her affections. As they are so similar in appearance she had difficulty telling them apart. This has been ERB;s dilemma for the last year and a half, convincing Emma that he is trustworthy and will continue to be a good provider.
ERB has confidence in his ability to continue his writing and finanical success but his future was not so clear to Emma as he continued his wastrel ways. As she could not share his optimism she continued to be wary refusing to accord him the trust and actually the respect he desired.
Leopold in possession of the letter identifying him as Barney races to Lustadt presumably with the intent to present Emma with the letter identifying him as Barney, the man she really wants, the marrying her quickly under the false pretense thus foiling Barney.
His own plan is foiled when upon arriving at the castle in Lustadt he is shot dead by Maenck who mistakes him for Barney . Barney then shows up claiming the hand of Emma.
He is then proclaimed king. Emma says to him:
Quote:
“There is no other way, my lord King,” she said with grave dignity. “With her blood your mother requeated you a duty which you may not shirk. It is not for you or me to choose. God chose for you when you were born.”
Unquote.
Thus with the line: God chose for out ERB unites the stories of Little Lord Fauntleroy and The Prince And The Pauper. The Little Prince of ERB’s early years returns to his God appointed place. He and Emma are united.
One believes that the story and its ending was intended for Emma to observe ahd heed. Apparently she didn’t because in the next Tarzan story, Jewels Of Opar of 1915, Tarzan and La flirt again.
Anyway The Mad King sequel rounds out the stories of 1913 bringing Burroughs’ springtime to an end. The tragedy is that Emma couldn’t foresee that ERB had tapped into the Mother Lode. No matter how improvident ERB would continute to be the money would always be there to continue their new life style. Perhaps if she had surrendered to fate and Made ERB her king in fact both she and La would have been united in one figure.
It seems that the Cave Girl, The Eternal Lover and The Mad King explored ERB’s relationship with Emma fromt he beginning to the point aht ERB was minded to replace her with an ideal woman.
The notion would develop in his mind until in 1927 he actually did so.
The three sequels ended the quest of his Springtime. His youthful enthusiasm was exhausted. From this point on he would compose more formal novels searching for story lines.
Personally I find his post 1914 to 1920 work some of his best. The two sequels to The Mucker yet to come are outstanding.
Female problems continued to dominate his work. Then in 1921 he read a work on male-female relations by E.M. Hull that had a profound effect on him. that was the novel of The Sheik. I would like to do a review of that next before I return to the Tarzan series.









