The High Brow And The Low Brow

The Mucker And Marcia Of The Doorstep

Part VI

Living On Tulsa Time

by

R.E. Prindle, Dugald Warbaby and Dr. Anton Polarion

Livin’ on Tulsa Time.

Livin’ on Tulsa Time.

Gonna set my watch back to it,

‘Cause you know that I’ve been through it,

Livin’ on Tulsa Time.

– Danny Flowers

     During the ’60s a lot of energy was put into the notion that one live in the HERE and NOW or someone else’s impression of the NOW.  There used to be a big San Francisco poster with nothing but a black background with the giant word IS in white.  NOW IS NOW.

     They didn’t know how much they were asking.  It is impossible to actually live in the NOW; No one can do it.  Rather the past is a drag on NOW preventing a full involvement with the present.  The period of time it takes to digest the previous NOW and update to an approximate notion of the current NOW is excruciatingly slow.  The sharper the break between the past and present the more traumatic the reaction.

     In the song Living On Tulsa Time the singer, no matter what time zone he is in sets his watch to Central Tulsa time.

     I know where that one is at.  One of my shattering breaks with the past was when I went active in the Navy in ’56.  Sent from Eastern Standard to Pacific Standard I kept my watch set to Eastern Standard time nearly the whole three years of my enlistment.  I only switched to PST in 1959 when I accepted the fact that I would never return East; that California was my new home.

     Brought into contact with a new NOW I was still not ready for the present.  I continued to dress as we did in ’56 well into the sixties.  Got hard to find some new duds.  I only ceased dressing that way when I became a Hippie in ’66 and adopted fantastic Hippie garb.  I was an urban spaceman:

I’m the Urban Spaceman

I’ve got speed,

I’ve got everything I need.

I don’t feel pleasure,

I don’t feel pain,

If you were to knock me down

I’d just get up again.

I wake up every morning with a smile upon my face.

My natural exuberance spills out all over the place.

-Neil Innes

     I was really NOW there for just a little while but I wasn’t alone.  As Bob Dylan said, everytime I looked back the past was just behind.  When the Hippie era ended I reverted to a modified 1956 style.  The past came back again.  All those screaming about living in the NOW in ’67-’69 are still back there claiming they’re still living in the NOW but time has passed them by.  I didn’t wait around, baby, I slid out into limbo and I’m doing fine now, thank-you.

     Thus when ERB began writing in 1911 he was not so much concerned with his NOW as he was in vindicating his past from 1896 to 1905.  His reality in those early novels from 1911 to 1915 continue to reflect his earlier travails.  Thus in the group of novels embraced by The Girl From Faris’s he is trying to vindicate his past to his present and hopefully to his future.

     After nineteen-fifteen he was released from his past to a large extent and began to concentrate on adjusting to the NOW of his altered circumstances.  Change is NOW and ERB was going though a lot of ch-ch-changes.  His nerves were jangling as he was jerked from time frame to time frame but he didn’t enter the Promised Land of NOW.  Oh Lord, he might have prayed, if he could have seen the future- Deliver me from NOW.

     Ten years after and a world of different NOWs the Mucker far in a distant past that had disappeared behind a cloud where he couldn’t see he tackled almost the identical theme in a different world, a fast moving world, a world where NOW was so strange it was unrecognizable from day to day.  The political situation he had grown up with was no longer recognizable; it had been replaced by a new reality.  He was almost living by two different clocks in some strange Einsteinian time zone where the guide posts had been removed and renamed and everything was relative to another reality that couldn’t be recognized by any clock ticking.

     Living on Tulsa time in another time zone.  There I was in ERB’s sunny Southland with my watch running three hours ahead of everyone else’s.  It didn’t matter.  I was on the water where time stands still for everyone.  The crisis came in ’58 when I stepped back on land to journey through the time zones back to Eastern Standard Time.  I was all alone out there, you know, cut off from a past I was soon to learn couldn’t be retrieved.  Wolfe was right, you can never go home again.  The only secure place, as dangerous and that was, was my ship.  My terminal place was also a realtively secure harbor but I was stuck in the middle for six days between the time zones in which I had no place and no identity except the tenuous one of my leave papers.  A queer cop threw them into the wind and let those blow away in Illinois.  After that I was naked to the universe.  I’ve hated cops ever since.

     I wouldn’t recommend hitchhiking to anyone.  My life was on the line for twenty-five hundred miles and six days.  Twenty-five hundred miles and six days on the road without food or sleep.  I’d add without drink but in a gas station in Gary I downed six seven ounce bottles of Coca-Cola in a row.  Created a minor sensation.

     After surviving a lunatic who picked me up on the western edge of the Mojave who wanted to kill me because he was convinced I had two hundred dollars on me, which by a strange coincidence I had, I was picked up Mountain Standard in the Panhandle of Texas by a couple homosexuals who wanted a different treasure I possessed and dropped off Central Time in Tulsa.  My watch was only one ahour ahead by then.  I was getting close to some kind of NOW or was I?  No.  Time is much more relative than that.  I was soon to be living a strange combination of NOW and THEN.

     Tulsa was a tough town.  I don’t need to see Tulsa again.  I wasn’t about to start living on Tulsa Time.  I was an hour ahead which couldn’t have been better.  I had to walk through Tulsa, hungry and thirsty.  I spied a place across this great expanse of grass between it and the freeway.  As I approached the place began to glitter.  Fancy, but I could see a coffee shop at the top of a long flight of stairs to the left.  I didn’t want to spend money so I thought I’d just get a glass of water.

Oh Dan, can you see

That great green tree

Where the water’s running free

Just waiting there for you and me.

Water…cool…clear…water.

     But between me and the water was this big cowboy in high heeled boots, a tuxedo and ten gallon hat.  Fancy goings on as I noticed ladies entering to the right in ball gowns escorted by tuxedos.  I came prepared or thought I did.  I was in my dress blues and my Uncle Sam told me I should never be ashamed of my uniform, it could pass for a tuxedo anywhere.  Anywhere but Tulsa.  That cowboy had never discussed the issue with my Uncle Sam.

     I was bold but the problem was he had the advantage being on the landing at the top of the stairs and I had to climb the stairs to get past him.  He had his fist doubled and these high heeled boots with those silver plates on the toes.  That was a mean looking business proposition.  I had a lot further to fall than he did.  Get my uniform messed up and things.  Then where would I be out of time and place?  Whew! Why does one have to face tough choices?

     I’m getting a drink of water, I said, trying to combine thoughness with masculine geniality a al the cowboy ethic.

     Not here you ain’t.  He said, making a move to kick me down the stairs.

     Hey buddy, this is a tuxedo I’m wearing.  I faltered.

     His reply was not one of which my Uncle Sam would approve.

     I left Tulsa still thirsty not liking cowboys any better than I liked cops.  NOW has its perils.

     A day or so later I was still in Central Time.  Tulsa was a tough place and the rest of Oklahoma was no California.  I was heading North now which kept me in the same time zone.  Then I made the mistake of crossing the Mississippi into East St. Louis.  After just a couple minutes I really liked Tulsa.  Wished I was back there.

     I don’t know what evil forces made me want to hitchhike across country, damn Jack Kerouac, but I was within a hair’s breadth of being sliced and diced on the streets of East St. Louis.  Whould have tossed me in the river as so much driftwood.  Three Black guys with switchblades in their hands kept inching toward me while I kept inching closer to the middle of the highway.

     That morning some guy got in his car for a pleasant drive to Louisville.  He decided ot go through East St. Louis for some mysterious but critical reason.  He arrived in East St. Louis just as these three knives were deciding to make their move.  This guy sized up the situation from a couple blocks away, slammed on his brakes throwing open the passenger door at the same time shouting ‘Get In’ for God’s sake get in, NOW.’ Novel experience for a hitchiker.  I wasn’t sure I wanted to rush because if I made a break for it those three knives might move faster than i could.  I hopped in casually casting a smiling glance over my shoulder.  The driver peeled out of there nearly separating a hand from the wrist on the door handle.  I was saved from that particular NOW and END but I was on the road to Louisville which was still a far cry from Eastern Standard which was the time zone I so ardently desired.

     It took me another day or so as I had a lot of North to make up but I did get into Eastern Standard.  Now my watch matched the time zone but there was a mismatch between the present and the past.  Rather there were two different presents and pasts going on at the same time.  Mine and theirs.  I don’t think Einstein is right but well, maybe, time wasn’t that relative but the uses they and I were making of past and present sure were.

     That’s where memory comes in which makes time and space so relative.  I had been absent for two years and what I had been experiencing was much different than what they had been experiencing.  They had actually been living on Eastern Standard Time while I was just pretending.  I knew I was out of time.  For me time had been rapidly changing but for them time had more or less stood still or, rather traveled in a straight line.  To me they were still living in the past.  Oh, they had aged a couple years but their trajectory was different and slower.  Relatively they had stood still while I had rocketed away.

     It was as though I had been a gamma cloud burped from some collapsed star in some galaxy a billion light years away.  As is known once set in motion an object will travel in a straight line at the same speed unless some other agent interferes with it.  It was as though I had been careening through space ripping apart the fabric of time and space or disregarding it completely as though it wasn’t there; at any rate completely unaffected by this fabric which apparently has no tensile strength, there was no gravity of any force that deflected my course in a curve while if space is curved I was traveling so fast I careened right off the curved track.

     Who knows how many black holes i passed over without being drawn into the vortex; who knows how many puny suns I swept across without having one atom deflected by the puny gravitational pull of the strongest sun; who knows how many planets I depopulated.  One billion light years and running, my speed and trajectory were the same as when I was emitted from that distant star.

     Now, as though by some miracle here I was back where I began but in two different time zones at one time.  Theirs and mine.  Obvious I must have passed through a worm hole or fallen into a memory hole.  We stared at each other blankly each unable to comprehend the other.  They thought I have become weird,or perhaps weirder, because they had stood still while I had been careening through time and space in timezones they would never know.

     I smiled and got on a bus, enough of the adventures of hitchhiking.  One the way back to Standard Pacific Time I abandoned Eastern Standard adjusting my watch as I passed through Central Standard and Mountain Standard.  I was not exactly living in the NOW but I was in the correct time zone.

     Minor but vital adjustment.

     So, when ERB caught up with himself in 1914-15 he was no longer living on Tulsa time.  He was trying to adjust his watch to his current time zone.

     But as he was careening through space and time, space and time was moving at an even more frantic pace so it was difficult for him to get his bearings.

     Science was changing his world at a rate faster than the mind could follow.  Events in the far off Detroit that he had known and loved as a young fellow were going to affect his life just a few years hence.  In 1914 Henry Ford had shocked the industrial, moral and social world by ‘unilaterally’ doubling the wage for unskilled labor.

     This was a violation of ‘natural law’ which is to say religious sensibilities.  At the time a natural law of labor was believed and incorporated into religion.  The law was that if only one man can do a job he can command his price.  Skilled labor can demand more than unskilled labor but when anyone can do the job as in unskilled labor they will have to take what is offered.  Thus Ford pitted science against serious religious beliefs.

     At about this time a Judge in a labor dispute asked the strikers if they didn’t know they were going against God’s will on earth.

     This was at the time when the Liberal Coalition was forming and there were strangers in the land, to use John Higham’s expression, who believed they truly represented God’s Will.  There is no greater enemy to God’s Will on earth than Science and the Scientific Consciousness.  If you recall the so-called Christian Scientists reject scientific medical cures preferring to depend on the Will of God.  Apparently it has never occurred to them that a case of a ruptured appendix means God’s Will is death while a simple operation means life.

     Nevertheless Ford upset the natural or religious order of things and had to be stopped.  Ford himself believed he had discovered a universal law in mass production so that he was actually a prophet of his own new religion.  Believing himself in the possession of the truth he acted accordingly seeking to apply his method to each and every problem.  Thus when the Great War began it was deemed possible to negotiate with the participants on a personal level to get them to cease hostilities.  Ford believed he could do it.  The Strangers In The Land who were living on Babylon Time saw their opportunity to pit their religion against Ford’s science and they took it.  The Man of Science was in their pocket.  They convinced Ford to take a horde of well meaning but naive people to Germany for a confab with the Kaiser.  Ford fell for it.  This was the famous Peace Ship episode that shredded Ford’s reputation two short years after he had made it.

     Ford always maintained that after the ship was at sea the Strangers revealed themselves telling him that only they could change the course of the war.  They began it and only they could end it.  When he returned home he found the Strangers in charge of the War Industries Board and they and the Wilson Administration were telling him how to run his business.  Babylon Time had met the Twentieth Century and found it could make the clock run.

     Ford with his universal panacea was not the kind of man to take this sort of thing lying down.  Ford Motor Co. had as much cash laying around as Bill Gates and Microsoft does today.  Ford put his money to use.  These are complex times so I am going to edit out all information that doesn’t pertain to my moral.

     Ford believed in his method.  By applying it properly he saw no reason he couldn’t solve the age old problem of the Jews here and now.  He thought reason would work, poor man, so he bought himself a library of Jewish studies, put his man Bill Cameron on the job to study the library and publish the results in his newspaper, the Dearborn Independent, that he bought to disseminate his reasonable solution to the problem.  He made the Dearborn Independent a national newspaper, perhaps the first of its kind.  He even had a distribution system handy.  He made all his Ford dealers distribute the papers, even out in Hollywood, California.

     The Independent made such a noise that the papers couldn’t be given the silent treatment.

     The independent appealed to a very large number of people although Liberal historians have given the impression that the paper went unread.  The paper didn’t go unread.  Out in Hollywood a man named Edgar Rice Burroughs apparently read the paper assiduously.  As, why not, even if you don’t agree with the premise of a movie like The Passion Of The Christ that doesn’t mean you don’t go to see it.  I used to read The Christian Science Monitor and I’ve never been a Christian Scientist.  I used to read the Daily Worker and I’ve never been a Communist.  A lot of people did go see the Passion making it one of the most lucrative films in history and lots of people read the Dearborn Independent, even devoured it.

     Each week the paper issued a new article exposing the true nature of the ‘Jewish Problem.’  The articles were well researched, reasonable and accurate, but as they criticized a religion, no religion will stand any criticism if they can help it, they were necessarily labeled heretical, infidelic, bigoted, anti-Semitist.  In this case you can check anti-Semitist.  From this particular religion’s point of view they were anti-Semitic but from a reasonable scientific viewpoint they weren’t and aren’t.

     The Jewish reaction was strong and violent.  As a member of the Liberal Coalition they called in their allies who branded Ford an anti-Semite and ostracized him.  Then Ford was out there all alone.  A major campaign of vilification and defamation was conducted against him.  All the hypnopaedic media were called into play against Ford.  William Fox, the Fox part of the later Twentieth Century-Fox, used his Movietone News shorts to portray every Ford that was in an accident as at fault and unsafe.  Now that’s defamation with a capital D.  By 1925 it was clear that Ford could use some allies.

     Enter Edgar Rice Burroughs and Marcia Of The Doorstep.

     As we know Marcia was never published so ERB’s aid was hypothetical.  A reasonable question is what evidence do I have for ERB’s intent.  I offer Marcia Of The Doorstep as my evidence and certain articles from the Dearborn Independent.  As I’ve said before ERB in Marcia exhibits a seemingly involved knowledge of the theatre.  I  have been puzzled as to where he got it.

     I think I may have his source.  The original Ford articles were issued weekly beginning in 1920-21 later being collected into a series of four volumes entitled ‘The International Jew’.  What I am dealing with here is literature and history.  I have no concern in the nature of the Ford articles.  My only interest is what Ford and Burroughs understood and how they expressed it.  Leave it at that.  (It wasn’t left at that.  As of 10/27/08 this essay has been censored by being left out my catalog of essays and not mentioned under any of the tags;  Old habits are hard to break, I guess.)

     Like Burroughs believed, or as Burroughs understood Ford there are two types of Jews.  The ordinary Jew who goes about his business and the international Jews who is causing all the mischief.  Thus the title International Jew excludes the mass of ordinary Jews and refers only the the International trouble makers.  For Burroughs there was the ‘type’ of Max Heimer corresponding the the International Jews and the type of Judge Berlanger representing the ordinary of ‘Good Jew.’

     In Volume II of the Interntional Jew there is a series of four atrticles on the American Theatre.

     The books themselves have long since been stolen from the libraries and destroyed in an informal kind of censorship but due to the wonders of modern technology they’re available on the internet.  The relevant theatre chapters can be fund at the URLs below:

     http://www.jrbooksonline.com/Intl_Jew_full_version/ij28.htm

http://jrbooksonline.com/Intl_Jew_full_version/ij29.htm

http://jrbooksonline.com/Intl_Jew_full_version/ij31.htm

http://jrbooksonline.com/Intl_Jew_full_version/ij32.htm

     The first is entitled Jewish Control of the American Theatre of 1/121; the second: The Rise of the First Theatrical jewish Trust of 1/8/21; the third:  Jewish Aspect of the Movie Problem; and the fourth Jewish Supremacy In The Motion Picture World of 2/19/21.  I believe all the necessary theatrical information is contained in these four atircles.  All were written in 1921 giving ERB plenty of time to involve himself by 1924.

     As you may remember ERB was sent a copy of the Jewish Bill Of Rights in 1919 and it was demanded that he endorse them.  Thus there are an additional three articles from Vol. II that may be applicable.  They are found at:

http://jrbooksonline.com/Intl_Jew_full_version/ij34.htm

http://jrbooksonline.com/Intl_Jew_full_version/ij35.htm

http://jrbooksonline.com/Intl_Jew_full_version/ij36.htm

     While the last three do not reflect on Marcia to a great degree they will provide a better backgrund to ERB’s thinking on the issues as he must have studied them carefully.

     —————–

     It is very probable that ERB coded information into the novel to let Ford know this one was for him.  For instance Clara Sackett was probably named after Clara Ford.  Could be coincidental but the engineer of the Lady X was named Sorenson while Ford’s Chief Engineer was Charles Sorenson.  Given ERB’s obvious connection to the Dearborn independent which Ford would easily have recognized, if he would ever have read the book, I think the references are conclusive.

     While on this topic I would also like to point out that when the ban on Tarzan movies was broken in 1926 it was done by the arch ‘anti-Semite’ Joseph Kennedy who owned FBO Studios at the time.  FBO was a little later bought by David Sarnoff of RCA who formed RKO.  Radio-Keith-Orpheum thus editing Kennedy and FBO out of the picture.  Punishment?

     Also if you want a lively account of these proceedings check out Upton Sinclair’s self-published Upton Sinclair Presents William Fox.  Sinclair’s is a nice first person I Was There type thing plus when William Fox was driven out of the movies, this is really exciting stuff, he went to Sinclair with his story.  so Sinclair not only lives through this from a distance but is told part of the story first hand.  I just love this stuff.

     I am not particularly concerned here with whether the Dearborn Independent articles are true and accurate, although I am sure they are, but my concern is that Burroughs read them, believed them and acted on them.  Bearing in mind his contact with the AJC he had no reason to disbelieve the articles.

     In the first article ‘Jewish Control Of The American Theatre’, after an introduction that relates Jewish activities in Russia to Jewish activities in the United States a general statement on the theatre is made:

     The Theatre has long been a part of the Jewish program for guidance of the public taste (hypnopaedic media) and influencing the public mind…it is the instant ally night by night, week by week of any idea which the ‘power behind the scenes’ wishes to put forth.  It is not by accident that in Russia, where they now have scarcely anything else, they still have the Theater, especially revived, stimulated and supported by Jewish-Bolshevists because they believe in the Theater just as they believe in the Press; it is one of the two great means of molding popular opinion.

     Cameron should have mentioned movies and song publishing and he would have had the major elements of hypnopaedic conditioning so brilliantly illustrated by Aldous Huxley in his Brave New World.

     As we all know Burroughs was opposed to the Bolsheviks; he undoubtedly believed as did any knowledgeable observer that the Bolsheviks were predominantly Jewish.  We may believe that he endorses the premises of these article.

     Further down (a shortcoming of the internet is that there are no page numbers) the article says:

     Down to 1885 the American Theater was in the hands of Gentiles.  From 1885 dates the first invasion of Jewish influences.  It meant the parting of the ways, and the future historian of the American stage will describe that year with the word “Ichabod.”

     Second paragraph below:

        About the time that Jewish control appeared, Sheridan, Sothern, McCollough, Madame Junuschek, Mary Anderson, Frank Mayo, John T. Raymond began to pass off the stage.

———————

     All that remained after the Hebrew hand fell across the stage were a few artists who had recieved their training under the Gentile school- Julia Marlowe, Tyrone Power, R.D. McLean and a little later Richard Mansfield, Robert Martell.  Two of this group remain, and along with Maude Adams they constitute the last flashingsof an era that has gone- an era that apparently leaves no great exemplars to perpetuate it.

     There you have the premise of ERB in Marcia and enough history to flesh out the fiction.  The old school was gone.  ERB then names several players as here.  The last surviving exemplar of this tradition is Mark Sackett.  But even for Mark there are no plays worthy to perform in.  As a member of Abe Finkel’s troupe he condescends to perform in problem plays and the new sex comedy.

     The article continues:

     “Shakespeare spells ruin”: was the utterance of the Jewish manager.  “High brow stuff” is also a Jewish expression.  These two sayings, one appealing to the managerial end, the other to the public end of the Theater have formed the epitaph of the classic era.

     So there you have the complete story of Mark Sackett.

     He was the last of the breed, a fine old Gentile actor of the old school of pre-1885.  Corrupted by the Jewish influence on the theatre he accepts demeaning roles.

     When he comes in to money he tells Max Heimer that he is going to perform Shakespeare.  Max takes the position that ‘Shakespeare spells ruin’ arguing for a Ziegfeld Follies type show, a problem play or a sex comedy which he feels is a surer hope of success than the ‘high brow’ stuff.  Straight from the Dearborn Independent.

‘…the rage is for extravaganze and burlesque.’

     Now,

     In this manner was laid the foundation of the latter day Theatrical Trust.  The booking firm was that of Klaw and Erlanger, the former a young Jew from Kentucky who had studied law, but drifted into theatrical life as an agent; the latter a young Jew from Cleveland with little education but with experience as an advance agent.

     Thus Abe Finkel is probablly the Klaw of Klaw and Erlanger.  It may be coincidence but Judge B-erlanger is Erlanger prefaced with a B.  thus those two would reprsent Klaw and Erlanger.  Another version would be Finkel and Heimer in Hollywood also patterned after the Potash and Perlmutter movies of Samuel Goldwyn.

      The trust was resisted just as Mark Sackett resisted.

(From The Rise Of The Theatrical Trust)

     The opposition offered by the artists was prolonged and dignified, Francis Wilson, Nat C. Goodman, James A. Herne, James O’Neill, (Eugene O’ Neill’s father) Richard Mansfield, Mrs. Fiske and James K. Hackett stood out for a time…

      Mark Sackett held out then in defiance of theatrical wisdom forming a Shakespearean company.  This might be seen as a form of the Little Theatre movement which Cameron says developed in reaction to the first Theatrical Trust.

     So the basis for the New York and theatrical end of Sackett’s career may be said to have been inspired by the two theatrical articles of Cameron in the Dearborn Independent.  ERB probably read them in newspaper form shortly after publication in 1921.  Because of the AJC approach to him as well as heightened anxiety over the immigrant question caused by loyalty concerns in the wake of the War Burroughs was especially receptive to Ford’s concerns.

     If the germ of the story was conceived in 1921 the concern over Ford’s struggle was becoming difficult by 1924 may have inspired Burroughs to come to his literary aid.  Thus we have this story of Marcia which when examined more closely is very involved in post-war Revolutionary and Jewish problems.

     While the novel was universally rejected for publication this was undoubtedly because of ADL censors closely watching the publishing industry.

     One can’t be certain but it is possible that Burroughs would have been finished in Hollywood but for Kennedy’s FBO Studios breaking the blacklist on Burroughs in 1926.  Jewish movies of Tarzan began again in 1927.  After 1932s MGM film which in itself may have been a parody to discredit the Big Bwana, the property became so lucrative especially in a Depression Era climate, that movies continued to be made saving Burroughs from complete ruin.

     The war on Ford continued.  Henry Ford is an interesting figure who, like Burroughs, would continue to be a Judaeo-Communist target into the thirties and forties, to the end of his life and beyond.

     Ford zipped into the NOW in the years around 1914 when his Model T transformed America.  But then he slipped back into Tulsa Time.  The Model T was so successful for him that he failed to keep up with developments in the industry.  The Model T remained essentially the same until 1925 when a better Chevrolet overtook the Ford as the best seller.

      Ford then did an extraordinary thing that baffled conventional minds.  He shut down production for over a year as he designed the new Model A.  For this model he revolutionized the industry by designing the V8.  The Model A was an instant success reviving Ford’s fortunes but the present and the future were now so commingled, things were changing so fast that the NOW was gone before you sat down to dinner.  Constant model changes were now necessary.  The world that Ford had created had gotten away from him.

     He realized that he had lost his battle with the Jewish establishment.  He capitulated in 1927 when Louis Marshall of the Jewish government demanded an ‘apology’ to call off hostilities.  Ford told him to write one out and he would sign it.  Marshall wrote an abject apology which Ford signed without edits or reading.  Marshall then had the ‘apology’ published, bound and sent to every library free of charge.  The apology is easier to find than the Dearborn independent articles.

     The fracas came to a humiliating end for Ford and the Scientific Consciousness.  ERB’s reaction isn’t known, however on December 10, 1929 (ERB Bio Timeline 1920-29) in a letter to his son Hulbert he made these observation on Religion and Science:

     A man can be highly religious, he can believe in God and in an omnipotent creator and still square his belief with advanced scientific discoveries, but he cannot have absolute faith in the teachings and belief of any church, of which I have knowledge, and also believe in the accepted scientific theories of the origin of the earth, of animal and vegetable life upon it, or the age of the human race…(Religious) enthusiasms and sincerity never ring true to me and I think there has been no great change in this all down the ages, insofar as fundamentals are concerned.  There is just as much intolerance and hyprocrisy as there ever was, and if any church were able to obtain  political power today I believe you would see all the tyranny and inustice and oppression which has marked the political ascendency of the church at all times.

         You can’t be any more clear sighted than that.  Here ERB has clearly and succinctly stated the religious problem of the twentieth century and beyond.  His is an objective analysis of facts; religion is a subjective projection of desires and wishes.  As he notes science and religion cannot be reconciled.  As he goes on to note in the conflict between the objective and subjective, the conscious and unconscious, the tyranny of the unconscious is an unavoidable fact.  The question of which religion he fears would impose all the tyranny, injustice and oppression was clearly the Liberal Coalition and more especially the Jewish element of its multi-cultural diversity.

     We now come back to Richard Slotkin and his charges against Burroughs as the ‘mastermind’ of My Lai.  that an objection was lodged against Burroughs because he was interested in Eugenics can be discarded.  People of all political persuasions were interested in Eugenics.  If any abuses of Eugenics were made, Burroughs didn’t make them.  Besides, it’s a matter of how you interpret Eugenics.  The half man, half beast of Stalin is obviously an objectionable use.

     On the score of whether Burroughs was an anti-Semitist, which is what Slotkin really means, from a subjective religious point of view that may be so but it is not a question for the religious to decide; they are not competent to do so.  Sigmund Freud himself said that religion is a neurosis.  (That means a departure from mental health.) If he is to be respected as a scientific genius why shouldn’t we respect his opinion?  If religion is a neurosis then it should be treated as a mental disease.

     On a Scienfitic basis then is it possible to call Burroughs an anti-Semitist?  Clearly not.  The man was a clear minded rational human being of great achievement and should be honored as such.

     Should his scientific opinions differ from those of a religious bent it is they who must take a back seat not Burroughs.

     Slotkin is clearly wrong in his interpretation of Burroughs.  Slotkin represents the unconscious rather than the conscious.

     For the foregoing reasons then I think that Marcia Of The Doorstep and 1924 was the pivot of ERB’s career.  After 1924 it was no longer possible for him to live on Tulsa Time.  He came under attack from the Liberal Coalition which was as formidable for him as it was for Henry Ford.

     His novels after Marcia reflect this attack.  Those novels are perhaps his greatest.  Certainly one of the high points where he meets his enemies head on is Tarzan The Invincible that he was forced to publish under his own imprint.  The title says it all.

     I may be sentimental but I like Marcia Of The Doorstep.  I only wish he had had the patience to flesh out the ending.

     ERB wrote well in any time zone there was from Babylon Time to Tulsa Time to the NOW.

You know that I’ve been through it

But I just can’t go back to it.

There is no living on Tulsa Time.

 

NOW is the time.

 

End of Review

    

    

 

The High Brow And The Low Brow

The Mucker And Marcia Of The Doorstep

Part V

Marcia Explicated

by

R.E. Prindle

 

     The contrast between The Mucker and Marcia Of The Doorstep can be seen as a response to two different challenges united by Burroughs’ personal psychological development.

     He took the whole of 1924 to write this story so it may have been a real struggle.  Unlike his other novels he doesn’t record a beginning and ending date in Porges so we have no accurate idea of how long it took him.  It is possible that he had taken so much time, felt the need for money so intensely, that he rushed the ending through to try to sell the story.  One the other hand he usually scamps his endings.

     An indication that Emma may have been an influence in the planning and organization of the story is that it concerns matters that were very familiar to her.  Just as she was a voice student as a girl, so Marcia.  As Emma had to give up the studies so does Marcia.

     The milieu of the stage would have been more familiar to Emma, although having gotten involved with the movies ERB might also have familiarized himself with the stage somewhat.  I would have to opt for more involvement from Emma though.  (For further thoughts on this read Part VI)

     Unlike the other novels which feel as though they were written from the top of the head, Marcia has indications of more careful plotting.  If that is true I don’t think ERB would have been capable of it so that would argue for more involvement by Emma once again.  This is also a fairly complex plot that differs from ERB’s usual style.

     Unless I’m mistaken the novel, even though unpublished, landed him in hot water with the AJC and ADL.  I’m sure the reason would have been a mystery to ERB.  If you’ve read Part II, Section II what I have to say will be clear, if you haven’t read the Parts I recommend it.

     According to the Religious Consciousness there is no freedom of speech concerning the specific religion.  The Religion will control who is speaking, what is said and how expression is to be allowed.  ERB was not a member of the Jewish religion and as he was speaking unacceptably he was perforce an anti-Semite as the religion he was discussing was Judaism.  Had he been discussing Liberalism he would have been pathologized as a crazy bigot.  As Judaism was part of the diversity composing the Coaliton, Liberals would have considered him a bigot anyway.  Bigot is the Liberal equivalent of anti-Semite.

     The character in question is the shyster Jewish lawyer, Max Heimer.  Max is an expecially well drawn character from the viewpoint of the Scientific Consciousness, which is to say, Max is accurately drawn.  Whether from life or not is not yet known.

     Max is the protagonist of the story.  That anything happens at all is because of him.  He is not an admirable character but on the other hand he is neither truly malicious or evil.  The only thing that matters to Max, and would especially offend  the sensibilities of the AJC and ADL, is the bucks.  Max would probably stoop to outright thieving but he is a blackmailer, a swindler and a cheat.  While what he does is criminal it is done in such a way as to escape detection.  Even if you know he’s guilty the chances are you could never get a conviction.

     But, he’s not really a bad guy at heart and by his lights he’s darn near a philathropist.

     Max is always on the qui vive.  One has the impression that he never lets an opportunity pass.  Thus, one night he came across a drunken gentleman on the street, John Hancock Chase II.  Chase II for some reason was totally incapacitated.  Heimer took him home sensing an opportunity.

     Max had been living with a woman, out of wedlock, named Mame Myerz.  Although Mame wasn’t at home Max conceived the notion to tell the married Chase II that he had had sexual relations with Mame which he did nine months later when he showed up to tell Chase II he was a proud papa.  Max would keep this a secret for a fee.  Unable to sustain the blackmail Chase II shoots himself ruining a perfectly good source of income for Max.  This is no skin off Max’s nose as he blithely goes about his and other people’s business for the next sixteen years.

     That fine old gentleman, John Hancock Chase I bears the loss of his son stoically.

     As it happened Della Maxwell bore her child and left it on the Sackett’s doorstep on 4/10/06.

     If Max is finely drawn, no less can be said about Marcus Aurelius Sackett and his wife Clara, the long suffering wife of the air headed Mark, who is especially finely depicted.  Just a few deft strokes but she is always in the background worrying over her man.  Either I’m projecting from knowledge or ERB is able to portray a large loving woman who accepts the foibles of her husband, tolerating him and perhaps even loving him for them.

     Both she and Mark are overjoyed at the child left on their step.  They are no less overjoyed when Della shows up next day to move in with them.  Della Maxwell is a well chosen name.  Max-bad, Max-well.

     Mark Sackett is ably portrayed as an actor of the old school who while he fumes at the modern trash of the stage is nevertheless the kind of trooper who doesn’t leave his fellows in the lurch.  At this time in New York City he is working for Abe Finkel.  Abe is obviously another Jew modeled on the producers Klaw and Erlanger.  This is at the time of the development of movies from 1905 to 1914 or so.

     In 1919 ERB moved to Hollywood where he would have been privy to all the stories of the origins of the studio owners who with few exception were Jewish.  Most were from New York while Carl Laemmle was from Chicago via Wisconsin.  They all had risen from mundane occupations to real wealth.  Samuel Goldwyn had been a glove salesman.  Harry Cohn had been a street car conductor, Louis Mayer had had a string of jobs worthy of ERB himself so it will be historically accurate for both Max and Abe to turn up in Hollywood as studio owners.

     ERB was very good at weaving real life stories into his writing.  There are probably real life models for many of these characters and their stories may be based on true stories as they say in Hollywood.  For instance, Marcia’s first boyfriend Dick Steele goes to Hollywood as a stunt pilot where he meets his death, some mgiht say committed suicide, in a spectacular airplane stunt.  As it turns out ERB didn’t make this story up from scratch but merely, fictionalized an actual event that occurred on a movie lot in 1920.  William K. Klingaman tells the story ERB used in his popular history ‘1919’ of 1987.

     Lieutenant Ormer Locklear moved to Hollywood in February 1920, where he originated many of the airplane stunts used in the movies.  (He was the first aviator charged with reckless driving in the air, when he looped the loop over a public park in Los Angeles in April.)  In the summer of 1920 he was working on a film called, “The Skywayman”; the last stunt was supposed to be a shot of a pilot plunging to his death with the plane in flames.  Just before he ascended to film the sequence on the evening of August 3, Locklear turned to friends and said: ‘I have a hunch that I should not fly tonight.’  Spectators on the ground watched and marveled at the stuntman’s skill.  Then they suddenly saw the plane only two hundred feet from the ground, struggling to right itself.  It crashed in flames.  Locklear died instantly, the farewell letter to his mother that he always carried with when he flew was found undamaged.

     As ERB had no experience with the theatre and as his stage stuff seems fairly authentic and knowledgeable he may have borrowed stories like the Locklear tale and adapted them for his uses or else Emma had a fund of stories which she supplied for the novel.  At an rate these first 125 pages are full of charming detail about the theatre.

     Now safe in LA ERB even takes a loving poke at hometown Chicago.  Della Maxwell explaining her breaking of an engagement in Chicago says on p. 30:

“I couldn’t stand (Chicago) any longer, Uncle Mark…It’s a hick town, filled with coal dust, wind and tank town talent.  And slow, say, if I’d smoked a cigarette on the street I’d a been pinched for sure.”

     Max Heimer keeps the story moving along when he visits the Sackett household as the legal representative of some unpaid actors.  While there he notices the sixteen year old Marcia.  Learning that she is sixteen his mind clicks back to 1906 when his and Mame’s plan fizzled when Chase II committed suicide.  Ever on the qui vive he learns that Marcia was left on the Sackett’s doorstep on 4/10/06 which conincidence he can put to use.

     Ever shameless and brazen, they call it chutzpah, he contacts Chase I to advise him that he has found Chase II’s illegitimate daughter.  He’s picked the wrong man because the Senator, that fine old example of early American manhood, refuses to have anything to do with him however he has his Jew, that fine old examplar of the race, Judge Isaac ‘Ike’ Berlanger contact Heimer for him.  If his son’s daughter is out there the fine old gentleman feels obligated to take care of her.

     Probably already in deep for selecting a chosen person for a villain ERB begins here to really compound his error in the confrontation between ‘Ike’ Berlanger and the wily Max Heimer.  Woodrow Wilson during his first administration appointed the first Jew to be a justice of the Supreme Court.  This was Louis D. Brandeis of Louisville, Kentucky.  Just as the Liberal Coalition propaganda machine remorselessly pilloried its victims so it equally exalted its favorites.  Brandeis has been depected as a wise old saint for so long no one questions it.  FDR in his administration referred to Brandeis as our ‘Isaiah’ whatever that might mean.

     ERB doesn’t usually go far to find his models so I’m suggesting that Louis D. Brandeis was the model for Judge Berlanger.  Alright.  ERB probably thinks he’s going to get away with portraying ‘a Jew of the type; of Heimer by presenting a ‘fair and balanced’ picture of a ‘Jew of the type’ of Brandeis/Berlanger.  Doesn’t work that way as Charles Dickens, who was accused of being an anti-Semite, found to his dismay when he balanced a Jew of probity against the villainous Jew, Fagin, of Oliver Twist.

     One should always bear in mind that the very worst of a Chosen People is better than the best of the rest.  Thus all heroes must be from the Chosen while the villains must be from the rest.  So it is that all the villains currently have Anglo-Saxon/Teutonic names while all the heroes are of the Liberal Coalition.

     Thus ERB was very ill advised to meddle in these proto-Politically Correct matters.  Even though the entertainment industry of the twenties had been thoroughly Judaized he should have made Heimer an Anglo-Teuton while he was on track by making Berlanger an element of the Coalition.

     The exchange between Berlanger and Heimer very likely sealed ERB’s fate for the next several years while he confessed his error in his portrait of the wise old Jew in The Moon Maid in attempt to do his penance.  I can’t recall any more references to Jews in the corpus after this period.  If you know of any, let me know.

     The result of the conference between the two Chosen ones is that Senator Chase I is to settle twenty thousand on the Sacketts while providing Marcia with an income of a thousand a month.

     Here ERB goes into some interesting ruminations on the effect of coming into money when you’ve never had any.  Probably by 1924 he was wishing he had his finances to do over although he does say of Mark Sackett that he would never learn the value of money.

     The intention of Heimer was to receive the twenty thousand from Chase, keep fifteen for himself and give five to the Sacketts.  Berlanger is ahead of him giving the twenty directly to the Sacketts.  Don’t rule out Max yet though; he’s one canny Scot.

     Watching Mark come into money provides some amusing moments and an insight of how it had been with ERB.  Mark goes out and buys a car which allows ERB to work in his accident with the taxi in Chicago.  Charming passage though.

     The old ham Sackett decides to use the money to bring back the glories of the stage; he wants to organize a touring Shakespearean company.  There is some really nice wordplay as he attempts to inform Max of his plans.  Max on the gui vive.  He had not been denied that twenty thousand he had only been forestalled.  He appoints himself the tour’s business manager so not only will he embezzle the tour’s profits but the original capital.  But I get ahead of myself.

      Bear in mind that all along Della Maxwell is aware of what a shyster Max is as she knows for a fact that Chase II wasn’t close to being the father of Marcia and she is also absolutely certain that Mame Myerz isn’t the mother.  She keeps trying to warn Mark of what a shyster Max is without giving herself away to Mark.

     As far as Max and the Sacketts go in the first 125 pages of the book, that covers it.  The first third is of very nice quality, notwithstanding the ‘Politically Incorrect’ aspects.  If ERB could have sustained this level of concentration throughout the book he would have had a truly excellent story.

     Marcia is the other story line which has to be followed.  When this precocious girl comes into her money, and twelve thousand dollars a year was nothing to sneeze at in 1922, her life changes also.  Prior to the advent of her wealth she had been virtually betrothed to young Dick Steele.  Marcia is troublesome as a character becasue ERB portrays her with such incredible maturity for a young girl.  She’s barely legal, completely inexperienced but handles herself so well.

     Dick with quick prescience realizes that this is the end of the line for his hopes but he’s going to hang on as best he can.  He immediately quits school and gets a job in an airplane plant to make lots of money fast because he knows he’s going to need it.  This employment leads to his job as a stunt pilot.

     Marcia had been taking voice lessons for some time where she had met a wealthy young socialite named Patsy Kellar.  When Patsy learns that Marcia is worth twelve thousand a year she invites her to join her circle.  Marcia snaps into place like a memory stick in a digital camera.  Personally I think ERB is pushing his luck here.  The only thing that makes Marcia’s ability to fit in plausible is that she comes from a family of actors who may have aped the manners of the well-to-do.  Indeed, ERB has speeches coming out of Sackett’s mouth that prove his ability to use the King’s English just in case anyone thought ERB was an illiterate, fantasy writer.  ERB shows ’em how to in this one.

     The Ashtons to whose circle Patsy belongs are about to take a cruise into the South Seas in their yacht, the Lady X.  They think this sixteen year old flower of youth would be a delightful addition to their party.  Which, in fact, she turns out to be.

     Patsy takes her on a buying trip for clothes during which Marcia finds out how little a thousand dollars is.  This also allows ERB to build some female interest a la Zane Grey to appeal to the lady readers of the Saturday Evening Post.  So, the crew splits for Hawaii via San Francisco.

     Now, when Chase II chose to exit rather than face the music he had a little son, Chase III.  J.H. Chase III is now a twenty some odd Lieutenant in the US Navy and is stationed in- ready?  Hawaii.  Does he know Patsy Kellar and the Ashtons?  Darn right.  Old buddies.  Welcome aboard.  Chase III could have used his leave to go back to NYC to visit Grandpa but he opts for those soft South Sea breezes instead.  Who can fault him except Grandpa and Grandpa doesn’t.  Alright.  So now he’s on board the Lady X with Marcia.  All sixteen lovely years of her.  Now begins the action of the middle part of the book.

     ERB begins to fall back into his old ways although he has two stories to keep going.  In the story of the Sacketts everyone considers Mark’s dream of bringing quality theatre to the heartland of America the height of foolishness but, I’ll be darned, the Heartland flocks to Mark’s performances to lap up the Bard.  A little touch of culture really finishes off the man, you know.  The tour is a huge success playing to SRO houses everywhere.  The fly in the ointment is Max.  The guy just can’t keep his hands off the money.  He embezzles everything except for pocket cash of 300.00 for the Sacketts.

     Stranded in San Francisco again, Max got the loot while the Sacketts got the hotel bill.  The question is where did ERB get the story?

     I had the haunting feeling the story was familiar.  ERB didn’t have any theatre experience, nor did Emma, so he must have gotten the story, or combination of stories, really, from somewhere.

     By 1924 he had been in LA for four years so he’d plenty of time to pick up theatre lore.  The story of the tour sounds very close to the tour that brought Charlie Chaplin West.  Chaplin wasn’t doing Shakespeare on that tour, that tour may have been another one ERB heard of.  As I recall the Chaplin tour went bust in Salt Lake City also with Chaplin hoofing it to Hollywood.

     In Salt Lake Max tells Mark that the jig is up, the show has gone bust, financially that is.  Mark is incredulous as he has been playing to sold out houses but Max tells him there is no money and that is a fact difficult to argue about.  Mark accepts the fact and, indeed, even if he knew Max had embezzled the money whatever records Max kept he said he had sent back to New York while as Mark was broke he couldn’t afford to sue anyway.

     Now, let’s look to see if we can relate this to ERB’s life.  ERB had had his best year ever after the move to LA in 1921 in which he earned approximately  one hundred thousand dollars which might equate to the twenty thousand Mark received.  While Mark lost his money in this improbable Shakespeare tour, or rather it was embezzled, ERB lost his on his pig farm.  Who knows what was going on there? ERB had his income from 1919, 1921 and 1922 which must have amounted to from 200,000 to 250,000.  Multiply that by fifty or so for inflation and that is a tremedous expenditure.  It seems improbable that anyone could spend that much on a pig farm.  Perhaps ERB thought someone had embezzled from him.  Probably could use some investigation if for no other reason than to clear it up.

     OK.  Why Salt Lake City?  If ERB is following Chaplin’s story then Salt Lake City would logically follow.  However Salt Lake is one of ERB’s critical geographical locations.  His interest in the Mormons hasn’t been properly examined although Dale Broadhurst made a stab in that direction.  ERB made a special visit to Salt Lake in 1898 just after he purchased his stationery store.  That was his first visit.  Then in 1904 he and Emma resided there for several months during a very crucial period in his life, even a terrifying, desperate, excoriating one.

     One that had him at his wit’s end shaking in his boots.  While it is difficult to accurately pinpoint when his attitude toward Emma turned sour the several months in Salt Lake as a railroad shack may have been it.

     Thus the tour breaking up in Salt Lake City may represent the beginning of the breaking up his marriage in 1904.  The city certainly held a lot of memories for him.

     Mark and Clara are left high and dry in SF.  While Clara is out Mark turns on the gas and sticks his head in the oven.  I’ve read that exact story before too but I can’t remember where.  Or, perhaps, it is standard theatre fare.

     From the Land of Fogs Mark and Clara wend their way down the coast to the Land of Smogs, the mecca of all actors.  Mark is still too proud to work in the movies…but, we’ll leave the Sacketts in Hollywood while we follow out the story line of Marcia.  This one is pure Burroughs.

     While ERB has written Emma and himself into the story as Mark and Clara Sackett, Chase III and Marcia also represent his Anima and Animus.  This central section is essentially a retelling of The Mucker ten years after.  ERB no longer feels like the low brow scuzzy Billy Byrne, who was nevertheless ‘all man’, but is attempting the high brow Chase III.  ERB has changed back from the Pauper to the Prince.  His Anima presents a different problem.  He didn’t feel up to Barbara Harding so he married her off to Byrne in Out There Somewhere.  In Bridge And The Kid   he scaled down from a New York socialite to the daughter of a big man in a small town.  Gail Prim was apparently too much for the beat up hommy he was so now he scales down even further to a girl who is an orphan left on a doorstep to be brought up by strangers.  Thus the role of Harding and Byrne are reversed.  The Animus, Chase III, now has social standing while the Anima, Marcia does not.  However everybody loves her and she is acceptable wherever she goes.  There is some competition for her between the foppish socialite Banks Von Spiddle, the humorous name is a giveaway, and the military officer Chase III while the latter wins as might be expected given ERB’s prejudices.  This very likely reflects the competition between ERB and Frank Martin that ERB won and is a recurring theme in his writing from his unpublished first story, Minidoka, and this one.

     Just as there was a shipwreck in The Mucker so there is one here.  Here ERB produces a new variation in that there are two life boats in one of which the best people were to go while in the other the muckers.  In the turmoil of the storm and sinking Chase III and Marcia are separated from the first boat ending up with the muckers including the terrible Bledgo who obviously represents John the Bully as the storm represents the encounter on the street corner.

     After the usual interval of several days adrift on the sea the crew spots the inevitable desert island.  Going ashore the better people separate themselves from the worst of the muckers forming two parties which sends Bledgo searching for Chase III and Marcia.  As the Animus represents the spermatic side of the body while the Anima represents the ovate Bledgo is really searching for the two aspects of Burroughs’ personality- the one he wishes to kill and the other to rape.

     As the rest of Chase’s party realize that Bledgo only wants Chase III and Marcia they urge the pair to flee which they do.  Bledgo doesn’t give up the search but pursues the pair up the mountain.  There is a fight during which Chase III brings the butt of his revolver down on the forehead of Bledgo, reminiscent of ERB’s bashing in Toronto.  The pair then continue their flight up the mountain.

     In this sequence Burroughs takes vengeance on John the Bully by defending himself and his Anima as he felt he should have on the streetcorner while retaliating the horrific blow to the head he received in Toronto on his ancient enemy.

     Thus as Chase III and Marcia continue up the mountain in a torrential downpour ERB’s Anima and Animus are reunited.  He is a whole person again.

     Reaching the top of the ridge they discover the best people singing, playing on the beach on the sunny side of the mountain.  Thus ERB rejoins the people he was supposed to be among but was separated from by his encounter with John.  How well this squares with real life is uncertain.  It may just be wishful thinking especially as ERB is teetering on the edge of bankruptcy.

     Incest and cannibalism are two recurring themes in ERB.  The latter was a concern on the boat, the former now rears its ugly head.  Chase III and Marcia reach the Philippines where they are to be married the next day however Marcia opens the mail waiting for her which includes a letter from Judge Berlanger.  The letter advises her that Jack Chase is her half brother.  Horrified and chagrined Marcia steals away in the night to take ship for San Francisco.  SF and disaster again.  It always happens that way for ERB in Baghdad By The Bay.  Wonder why.

      Aboard ship an entertainment is organized for which Marcia agrees to sing and act in a skit.  She’s emaciated but that can’t mask her loveliness.  Also aboard is a famous Hollywood producter.  Needless to say Marcia is ‘discovered.’  A movie contract awaits her in Hollywood.

     As I pointed out earlier there was a hiatus in the production of movies from Burroughs’ books from about the time he wrote Girl From Hollywood  until 1927.  Part was probably due to ERB’s writing on Jews in this novel but part was also due to his very negative portrayal of Hollywood in ‘Girl’.  Thus just as he portrays a venerable Jew in The Moon Maid  to atone for his portrayal of Heimer et al., here in this novel he lauds Hollywood as the home of the most wonderful people in the world.  He reverses his portrayal of the director Wilson Crumb in the character of the kindly upright director Otto Appel, who also sounds Jewish.

     ERB has now told two thirds of his story and is at page 295 of 351.  He’s got a lot of story to go that he crams into the remaining fifty of so pages.  Honestly, he needs at least two hundred to flesh out his story properly.  Perhaps he had been at work on the story for most of 1924 during which he had generated no new income and wished to get the story off to the Saturday Evening P{ost for that fifty thousand dollar paycheck plus book rights.  The amazing thing is that ERB doesn’t seem to have received advances from his publishers at any time.  Also at this time things were getting strained between McClurg’s and himself.  It won’t be too long before he breaks with them.  We need more information on this aspect of his career.

     So, Jack and Marcia are separated again while Jack has no idea where she may be.  In the interval between their leaving and returning the world as they knew it had broken apart.  No one was where they had been except Grandpa.  Chase III runs into Pilkins, one of the sailors in SF.  Pilkins had taken the same ship back with Marcia so he advises Chase III that she has gone to LA to be in the movies where Chase III follows.

     I can’t think of a positive reference to SF in ERB’s writing.  Either he just didn’t like the city or something happened there.  If so, it would be good to know what.

     At this time we have a whole crew in LA:  The Sacketts, Marcia, Dick Steele, Banks Von Spiddle, Chase III, Max Heimer and Abe Finkel with Ike Berlanger to follow.  This may be the alternative version of how the West was won.

     I wish ERB had put more effort into this ending.  Fleshed out this would be a pretty good story of the exodus of the entertainment industry from New York to Hollywood.  This would be good first hand history of Hollywood at least, of which ERB was actually a fairly significant figure.  I get kind of excited trying to piece together how it may have been.

     ERB at one time had been allowed on the lots so we may assume that his production scenes were authentic as well as his depiction of Poverty Row.  the latter was real where the more impoverished companies had their quarters.  Mack Sennet had his quarters on Poverty Row.  Sennet’s autobiography is well worth reading.  Poverty Row is where F&H Studios set up business.  Yes, after embezzling that thirty thousand dollars from Mark Sackett Max Heimer ran into his old acquaintance Abe Finkel.  The two combined to form F&H.  They are the one’s who give Dick Steele his start as a stunt pilot.

     Max is about town where he runs into Mark Sackett frequently.  Max is not a bad guy, in the same circumstances many another who had injured a man would hate him contriving to injure him further.  Not Max.  Once he’s got the money he’s a congenial fellow.  He presses small loans on Mark who after all is only receiving his own again.  Max, who undoubtedly has developed some pull, gives Mark leads to jobs that if Mark had taken them would probably have led to decent prosperity if not more.  As Mark is too proud to accept movie roles he doesn’t follow up but Max does his best by him.

     As I pointed out in Part III,  Sam Goldwyn had revived the Potash and Permutter stories of Montague Glass filming the Broadway play in 1923 which was a great success.  In 1924 he filmed In Hollywood With Potash and Perlmutter that was an equal success while probably charming ERB so much that he based the F&H Studios of Finkel and Heimer on the movie.

     Here ERB compounded his error of the first part of the book by making the two Jews humorous and despicable.  The inference is that because of their cheapness they were responsible for Dick Steele’s death.

     Remember Mame Myerz?  No sooner does Max make a few dollars than he takes up with a gorgeous starlet.  Mame gets wind of this back in the Big Apple where she goes berserk.  She immediately tramps into Judge Berlanger’s office attempting to sell him the true story of Marcia.  The old Judge doesn’t give in that easy so Mame spills the beans that she isn’t Marcia’s mother and she wasn’t anywhere near Chase II.

     Thus the way is cleared for Marcia and Chase III to marry; no danger of incest.  Max hears of this putting the screws to Mame to retract her statement which she does.  Now there’s enough doubt in Marcia’s mind that the marriage is off once again.

     In Max’s last scene, I kinda hated to see the little guy go, Judge Berlanger, also now in LA confronts Max with the theft of Mark’s money.  Chutzpah deserts the wily little attorney.  Unable to brave it out with Berlanger Max accepts defeat turning his assets over to Mark.  He was forbidden LA and New York in which places he hasn’t been seen to this day.  By stories end I kind of liked Max Heimer although it would be best to go the other way if you saw him coming.

     Marcia was lost track of after the Philippines.  She has lost track of everyone else.  She becomes a star but as she had taken another name no one knows where she is.  They don’t go to her movies, apparently.  Mark and Clara’s fortunes continue to decline becasue of his bullheadedness until finally their landlady turns them out into the street.  This was probably how ERB and Emma felt when they had to leave Tarzana after only four years.

     ERB’s situation must have created a lot of gossip.  After all a famous author comes to town buys a huge estate, c;mon 540 acres? and within two years is in financial difficulties and after four a virtual bankrupt forced from the estate.  Tongues must have wagged.  I’d sure like to know what they were saying.  Just exactly how ERB’s Hollywood contemporaries thought of him.

     In the meantime, completely destitute, Mark accepts movie work.  He is sitting on a lounge on the set when the star, Marian Sands, walks on the set.  She sees Mark who recognizes her as Marcia and the family is reunited again.

     Chase III arrives in LA in search of Marcia.  He apparently never goes to the movies so he doesn’t make a connection between Marian Sands and Marcia Sackett.  He enters a career of dissipation turning to drink and gambling.  Too proud to contact granddad he runs through his money. 

     He has some amusing encounters with oilmen which probably reflect ERB’s own as he floundered around trying to find ways to make money fast.  There’s a lot to be done here in researching ERB’s business doings in LA.  Later in the decade he will get involved in the Apache airplane engine and airport development so it seems unlikely that he wasn’t trying to be a business success in the early and mid-twenties.  Dearholt showed up a couple years later with movie schemes that ERB bought into so what was he doing in the business sense?

     Chase III who has been hanging around the studios looking for Marcia rather than studying theatre marquees gets into the movies finally locating his loved one.  Some direct borrowing from Merton Of The Movies here.  Moving very rapidly and sketchily ERB throws in a couple suicide attempts as the couple get together.  Resemblance between Edith Wharton and Scot Fitzgerald here.

     Together again there is still no hope of marriage because of possible incest, even though Marcia will never love another or marry.

     OK.  Della Maxwell.  Remember her?  She’s back in Chicago in the hospital dying a slow death.  Well, you know, she is Marcia’s mother.  On her death bed, I mean, the pen falls from her fingers as she signs the letter to Marcia, she makes a clean breast of it telling the story, sending the bigamist marriage license, birth certificate, everything so there will be no doubt that Marcia is semi-legit and not related to Chase III.

     We’re almost there do you think?  Not by a long shot and there’s only ten pages left.  The mail train with Della’s package is held up somewhere in Arizona.  The bandits disappearing over the border with the swag that contains Della’s letter and little metal box.

     Wow?  What next?  OK, ERB’s got a twist or two still hidden up his sleeve.  Banks Von Spiddle- yes, he’s out there, too- has a ranch down in Mexico that the Revolutionaries of 1914 failed to expropriate.  A guy with a name like Banks Von Spiddle ought to get lucky once in a while I should think.

     He and his vaqueros go out coyote hunting.  They have a good day, getting a full bag.  The last coyote tries to hole up in a small cave where Von Spiddle blasts the life out of him.  While he’s drawing the coyote from the cave he notices a decayed leather mail pouch kind of thing.  What do you suppose that might have been?  Yeh, right.  Della’s letter and little metal box intact.  Von Spiddle can be small or he can be big.  He chooses to be big giving the info to Chase III and Marcia so they can be married and live happily for however long marriages last in Hollywood.

     Thus ERB manages to compress a marathon into a hundred yard dash in the last fifty pages.

     Over all a good enough story.  Neither Collier’s, Saturday Evening Post nor anyone else wanted it so ERB lost a year with no income, or income from new work anyway.  If he was living on edge at the beginning of the year he was still on the edge at the end.  Whew!

     How did he get out of that financial bind?

Part VI and End is the next post.

 

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.

The Deconstruction Of

Edgar Rice Burroughs’

America

by R.E. Prindle

Part IV

The Red Triumph

How long, how long,

Has that leetle old evenin’ train

Been gone?

How long, how long,

Oh baby,

How long?

Trad.

     A pall fell over the world when the Communists assumed power.  Joy left the planet in favor of the sour envy of that ilk.  There were no happy Communists.  They knew no contentment.  They were as disaffected, dissatisfied with life, civilization and themselves, especially themselves as psychologically possible.  Misfits, envious with no prospects in life they were.  They were incapable of generating wealth; they could only appropriate and waste what others had created.  The spirit of vengeance which had been their dominant characteristic in the French Revolution would remain their goal throughout their existence.  There has been no Red government from the France of 1793 to the present that hasn’t believed in wholesale massacres of ‘enemies’ at the the least, genocide at the worst.  Quite frankly they can only think in terms of crime no matter how they rationalize it and they can rationalize like nobody’s business.

     Murder is part of their psychotic nature.  I do not exclude Hitler  and the Nazis as Red organizations.  Placed in the context of Redism Hitler and the Nazis are perfectly understandable.  The Nazis were National Socialists.  One can’t be socialist without being Red; one can’t be Red without believing in mass exterminations.  History speaks the for the truth about Reds; I merely repeat history.

     No one Red faction can be held  less accountable than others.  All participated equally and as joyously as their sour temperaments allowed.  Mild mannered college professors and sanctimonious ministers of the social gospel wholeheartedly supported the murders and atrocities of Communist regimes just as today they raise no outcry against the genocide and crimes against Whites taking place in Africa because they think the ‘right side’ has the upper hand.  Reds never did and never will have a disinterested concept of morality.  The Red idea of law and morality is merely a projection of their subconscious desire.

page 1.

     In the giddiness of the Russian success the Revolutionaries believed that the world revolution had arrived so that it was a matter of a few months before they assumed control of the world.

     Post-war success in Hungary encouraged them on.  Revolutionaries flowed back into Germany from Russia intent on bringing to fruition the ‘German’ revolution.  Success in Germany eluded them.  There the world revolution stalled.  It was going to a tougher job than anticipated.  The United States especially was not as ripe for their plans as they had projected.

     Resistance was prompt if somewhat flaccid.  Wilson’s program, while Red was opposed to that of Bolshevism.  Some have said that Wilson was merely envious of Lenin as the leader.  His Attorney General, A. Mitchell Palmer, to whom we all owe a debt of gratitude, cracked down hard on the Red cadres deporting a very few while putting the rest in disarray as a law was passed that outlawed the Communist Party temporarily.

     But all the Parlor Pinks, Fellow Travelers and Liberals interested in their form of ‘social justice’ and the ‘true American Way’ had the ban repealed.  As usual they misrepresented their motives.  The task now became one of subverting the ideals the country held sacred.

2.

Heroes And Villains

     We must now delineate the sides in the American struggle for supremacy as it stood in the aftermath of the Bolshevik Revolution.

     The Liberal Coalition had gained the power of the Presidency in 1913 when Woodrow Wilson was inaugurated.  Although not appreciated as such this was an occurrance for the both the Jewish and World Revolution as significant for America as that of the 1917 Bolshevik Revolution in Russia.  The Wilson administration began the ‘partnership’ between America and the Jews as celebrated by Irving Berlin in his song, God Bless America, while this year of 1913 was the inaugurating year of the Jewish Revolution.  Off on the right foot.  At this point in 1913 for the first time the Jews became influential in the US government.  In 1916 Wilson created the ‘Jewish seat’ on the Supreme Court when he appointed the confirmed Zionist, Louis D. Brandeis, to the bench.

     During the War the Jews played an ambiguous or perhaps duplicitous role.  So long as Czarist Russia was in the War they refused to support the Allies.  This refusal led the British to attempt to buy their cooperation with the Balfour Declaration involving Palestine.  This was unnecessary as  after the Spring Revolution the Mensheviks dethroned the Czar effectually taking Russia out of the War.  At the time of the October Revolution of the Bolsheviks the Jews threw their support to the Allies against Germany.  As they had no troops to offer one wonders what this support was worth.  Perhaps a cessation of sabotage?

     In the US the Socialistic Wilson administration used its window of opportunity to attempt to impose it version of ‘equality’ on the American people.  The key agency was the WIB- War Industries Board- headed by the Jewish financier- the bear of Wall Street- Bernard Baruch.

     I’m not sure that the ultimate or secret plans of Wilson have ever been revealed but Baruch in his autobiography drops a few helpful hints.  The plan depended on the continuance of the War so that when that ended prematurely in 1918 the plan was aborted.

     At that time Wilson, through the WIB had orders ready for execution that would have limited the styles of shoes and clothing to just three or four styles within a definite price so that everyone would be dressed alike without distinction.  Wilson deemed inequality to be based on differences in dress.  Obvious, hey.

     If you think the Liberals discarded the plan just because the war ended all you have to do to look around you today and observe everyone in jeans or sports outfits of one kind or another.  The plan is about seventy per cent or so implemented.  It was done through infiltration of the fashion industry.

     Most troublesome for the leaders of industry was that the WIB required all businesses to submit financial and other data to the WIB for their evaluation.  Most significantly a center of resistance came from the auto industry of Detroit.  Noting all the Jews on the board who essentially had the industrial base of the US in their hands the auto makers demurred.  Of course the Masters of Denial deny that Jews were that involved but if the matter was noted who are you going to believe the Jews or the auto makers?  One of the other must have it wrong.  I’m betting on the auto makers against the Masters of Denial.

     The resistance of Detroit would have consequences.  The Jews never forget.  Significantly Henry Ford was not in thrall to the Eastern bankers thus being independent.  Now, Henry Ford and the Dodge Brothers, accurately noting the number of Jews on the WIB correctly divined their purpose.  Remember, if the War had gone on for another year or two Wilson would have been able to complete the revolution in toto changing the American character in one stroke while Jews would have assumed the role of Commissars or the role they had enjoyed in pre-expulsion Spain, that of middlemen under the crown administering to the general populace.  This is the ultimate cultural dream.

page 2.

     Objecting vociferously to the Wilson plan some intemperate remarks concerning the nature of Jews were made by the Dodge Brothers allowing the administration to play the race card with AS for anti-Semite up there in the corners.  Both the Dodges subsequently died in mysterious circumstance in 1920 while a strenuous effort was made to destroy Ford by bringing his company under the control of the New York bankers, that is to say, the Jews.  Thus there was very little cranky about any of Ford’s supposedly eccentric beliefs.  Such a characterization is mere defamation by his enemies.  Failing to break Ford the anti-Semitic race card was played against him that resulted in his excommunication from society.  They haven’t been able to flush him out of history yet but that may be just a matter of time.  I wouldn’t be suprised to see the marque changed to something other than Ford.

     The Jewish culture shifted the onus from themselves to the ‘anti-Semites’ in a clever damage control move to exonerate themselves.  Internationally the damage controllers also shifted the onus from themselves to ‘anti-Semites.’

     The Liberals, continuing the Reconstruction policy, now set the Jews, Negroes and immigrants over what we may call the Conservatives precisely as they had set the Negroes over the Southern Whites during the Reconstruction after the Civil War.  This was extended to the international field where the Liberals self-righteously adopted an anti-colonial policy.  As European colonialism was equated with Southern slaveholding in Liberal minds they took the side of the colonials, that is to say the colored Third World peoples against the Europeans.  Thus as Charles De Gaulle despairingly noted that America while a White country behaved as though they were a colored or Third World country.  Europeans then were classed with the Southern Whites and Conservatives of the United States.

     The Jewish Culture continued the ultra self-righteousness based on their projection that they were an exceptional people chosen by god to administer the affairs of the people of the world.  Although patently absurd and scientifically impossible the Jews were able to impose this notion on both the Liberal and conservative religious cultures of the US.  Thus although the Anti-Defamation League of B’nai B’rith was organized in 1913 as a terrorist organization and the NAACP came into prominence as a terrorist organization as members of the Coalition these patently racist outfits were considered virtuous.

     On the other hand Nativist organizations in reaction such as the APA- American Protective Association- or the the KKK- Ku Klux Klan- were considered kranky or actually terrorist.  In reality there was no difference in intent between any of these organizations.  You may call them protective or terrorist as you wish but they all functioned with the same goal in mind but for different sides.  That intent was to intimidate all others into submission.

     These were cultural wars, in other words, Cold Wars, not shooting wars so the battles were for the control of the dissemination of information, opinion and institutions.  In this the Jews were particularly effective having a clear idea of their objectives effectively seizing control of the key publishing units, the film industry and the emerging radio-television industries.

     Thus the Jews in the US were uniquely positioned to implement Freud’s program of cultural domination.  Now, all of this was done in the light of day so that it was impossible for the program to pass unperceived.  A firestorm of indignation against the Jewish culture ensued after the Russian Revolution.  It might be noted here that culturalism is merely latter day nationalism.  Its defense is patriotism.  So let’s keep the meanings of the terms straight.  The damage controllmen went to work successfully silencing all opposition while censoring the entire media over the next few years except in Germany.

      I will here examine a few literary voices that saw the nature of things but in different ways.  One novel, three movies and one short story that was turned into a TV show.

page 3.

     The short story was by Charles Beaumont published in 1959 then made into a TV script for Rod Serling’s Twilight Zone.  In the TV script the time is set just after the Great War.  A traveler while staying at a monastery unintentionally releases Satan whom some monks were holding captive.  Among various possible interpretations one is that the Bolsheviks represented Satan.  An allegory was necessary as a more direct representation would never have been published as Edgar Rice Burroughs found to his chagrin in 1919.

     The horrors of Communism immediately presented themselves to that writer’s mind who quickly composed an anti-Communist polemic.  Politics was nothing new to Burroughs who sniped at various political affairs from the time he began writing.  About the time he took up his pen in 1912, the Socialist convention of that year took umbrage at the nascent IWW- Industrial Workers Of The World- booting them out of the congress.  The Socialists were led by Jews while the IWW, also known as Wobblies, were Americans of the true working class, the people the Socialists were supposed to represent.  Must have been a culture clash when American workers met European style Jewish intellectuals.

     Now, the Wobblies were the Real Thing compared to the Socialist ‘labor fakers.’  Under the leadership of Big Bill Haywood  the Wobblies took direct action in an attempt to shut down industry and bring the government to heel as the United States was entering the Great War.  These guys meant business.  Their role in this period as well as the whole period has been misrepresented and distorted by Liberal control of the media.

     Burroughs whose anti-Left attitude can be traced back to his boyhood cast the IWW as villains in several of his novels from 1915 to 1924.  Nothing was more natural than Burroughs pillorying the Bolsheviks.  As publishing was controlld by the Reds his effort came to nothing in 1919.  He rewrote the theme in his dystopian novel, The Moon Maid, that was published in 1926.

      The third and most interesting examination of the Red assault on civilization was made by the Jewish-German film maker, Fritz Lang.  While the notion of conspiracy is derided by the conspirators nothing can be more obvious than that events from 1913 through this period were not merely spontaneous.  I doubt if there ever has been a period of history that has not been directed by a cabal or any number of cabals and conspiracies.  Check out your own neighborhood.  You just don’t call them conspiracies, that’s all.  Even the Trojan war was a conspiracy headed by Agamemnon.  You don’t think Ulysses wasn’t coerced by the cabal do you?

     One can call anyone who disagrees with you, bigots or anti-Semites as Liberals do but that doesn’t change the facts.  There is no one group of people more sensitive to subterranean movements than artists.  Paranoia rightly channeled is a gift of the gods not a curse as Freud himself discovered.  He thought he succeeded where paranoiacs failed.  Does that say something?  Lang being himself a Jew from Austria might be expected to be a little more aware of what Freud was up to.  It might be interesting to check to see  if Lang was a member of B’nai B’rith.  Hitler himself was an Austrian who had lived in Vienna at the time Freudianism was being formulated while he was highly critical of  ‘Jewish psychology.’  Hitler was at least as intelligent and aware as either Freud or Lang.

     Lang first tried to land the directorship of the 1919 movie titled The Cabinet Of Dr. Caligari.  Although silent this is a great film and great art.  As great art the movie must be allegorical.  As with Lang’s films there is a war being directed against civilization from a mysterious source.  Civilization is represented here as a fair or carnival, a common device of the artist.

     Dr. Caligari is some sort of showman who doubles as an agent of the conspiracy or is the ‘unknown superior.’  He is obviously intended to be Jewish as he has a Golem, a sort of Frankenstein’s monster, to carry out his dirty work.

     When he would be exposed by the injured party it turns out that Dr. Caligari is also the director of an insane asylum, in other words a psychoanalist not unlike Herr Doktor Freud.  In the denouement rather than he being exposed his accuser is committed to the insane asylum.  Obviously an ‘anti-Semite.’  An unexplained crime wave directed at civilization continues.  One believes that Dr. Caligari is responsible.

page 4

    Lang didn’t get to direct this picture but having fought for it he was familiar with the story line which had on influence on him if he, indeed, wasn’t part of this particular cabal.  He converted Dr. Caligari into Dr. Mabuse.  Dr. Mabuse was based on a novel by Norbert Jacques.  I haven’t read the novel so I can’t compare how Lang adapted the character for his uses. 

     While depicting a gambler, which in a way I suppose Freud was, Mabuse is nevertheless a psychologist and master hypnotizer not unlike Freud.  Like Caligari and Freud he is at war with civilization doing everything he can to undermine it.  In this case that favorite dodge of counterfeiting money is used.  He is able under cover of a gambler (one of many guises) to direct several people to destruction by his use of hypnotism.  It will be remembered that Freud was a master hypnotist.  In a stunning scene Mabuse, presenting his act on stage, mass hypnotizes the audience into believing they are seeing a parade not unlike the episode of the Lotharians in Burroughs’ Thuvia, Maid Of Mars.  In the end Mabuse is captured, but his ravings are such that unlike Caligari he himself is committed to an insane asylum.

     He, one imagines, pined there until 1932 when Lang chose to make his masterpiece and the first Mabuse sequel, The Testament Of Dr. Mabuse.  During the intervening several years Mabuse has been catatonic sitting up in his pajamas in bed saying and doing nothing.  And then one day he takes up his imaginary pen simulating writing on an imaginary pad.  The astute head of the asylum, one Dr. Baum, realizes what he is doing giving him a real pen and paper.

     The master criminal Mabuse/Freud then writes out his manifesto or testament for the destruction of civilization non-stop.  As a master hypnotist he is able through his writing to hypnotize and take control of Dr. Baum’s mind who then sets in motion an incredible series of crimes including the counterfeiting of money meant, naturally, to undermine civilization.

     Mabuse having delivered his testament dies.  His ghost then merges with Dr. Baum who becomes in effect Dr. Mabuse executing his Testament.  In the end Baum certifiably insane is incarcerated in Mabuse’s room with all his papers taking his place as head of the conspiracy.  One assumes that another will eventually replace Baum and once set in motion the plot will continue of its own accord, so to speak.

     So, we have a neat allegory of Freud’s goal of destroying civilization.   That Lang chose 1932 to revive the character would correspond neatly with the direction of Freud’s writing at the time which included his attack on Christianity ‘The Future Of An Illusion’ and Civilization And Its Discontents.  While Lang would later say that Mabuse was an attack on the National Socialists when the same character with the same goals was introduced in 1922 there was no National Socialist Movement of consequence to pin the crimes on.

     No.  Both films of Dr. Mabuse were about someone and something else.  The use of psychology points more directly to Freud than it does to Hitler.  How involved Lang was in the conspiracy I leave to your conjecture.  That he made a copy in French and that that French copy was smuggled into the US in 1943 when the Nazi defeat became not only apparent but certain would imply that he too was one so discontented with civilization that he wanted his blueprint for destruction brought to the attention of the American Communist cadres.  By 1943 Lang had been in the United States for about ten years.

     As a footnote Dr. Mabuse became a franchise with many sequels including one by Lang, The 1000 Faces Of Dr. Mabuse.  There is a Mabuse/Tarzan  connection.  The former Tarzan, Lex Barker, who spent the rest of his career making movies in Europe was involved in Mabuse sequels himself.  So, in that way Mabuse and Tarzan are connected.

     Freud’s intent then was divined by many people including Fritz Lang.

     The question then was how to go about undermining European Civilization.  Ostensibly the most ‘pacifistic’ culture in the world while having neither numbers, territory or means for a frontal attack, just in case the disaster of the Great War didn’t present an object lesson, Freud and his culture would have to use surreptitious or clandestine means, in other words, an international conspiracy.

page 5.

     Even on a cultural level Freud was shrewd enough to understand that a mere frontal attack on the cultural traditions would be met with stern resistance so that first the effort must be made to deconstruct the culture according to the desires and needs of the minority culture.  Freud was a master of reduction.

     One doesn’t know whether the signal failure of the Anglians in the South when they merely tried to impose their will on the Southern Whites influenced Freud or his culture but the failure was certainly an object lesson before them of what not to do.

     As I say the Coalition was already in possession of the publishing and news apparatus of the United States.  Through the Jews it controlled the movies and would control Radio.  Thus they controlled access to the media.  Only those writers who met their apporval stood a chance of being published.  As the Red slogan had it:  All things are permissible to Revolutionaries, all others are to be denied.  This while they availed themselves of the freedoms of the Constitution which they claimed to respect.

     While the older authors posed a problem the editorial function can be wielded in such a way that content can be substantially altered while publication of a novel might no longer be able to be taken for granted.

     Overnight, almost miraculously, the nature of the authorial community changed.  While the percentage of Jews and homosexuals was relatively small prewar, after the War non-Jews and heterosexuals seem to have lost the talent to write while Jews and homosexuals miraculously acquired it.  As the editors explained it:  All the best new writers seem to be of the Left.  Thus what people were allowed to read tended to shift their opinions from Right to Left.

     The Social Gospel was preached from the pulpit while college professors subtly rewarded Left thinking students while punishing those of the Right.  Of course it would take time to turn the universities into the Red seminaries they are today but from 1917 to the present is only ninety years.  Once can judge the indredients from the pudding so there is no reason for the Left to deny the results as they did the process for at least seventy of those ninety years.

     Make no mistake the Cold War began with the October Revolution of 1917.   It broke out into a shooting war only because the National Socialists refused to accept the Judaeo-Communist yoke.  It matters not what anyone else says, the reason for WWII was the German volkist refusal to accept Jewish volkism under the religious guise of Communism.  That the leaders of the resistance turned out to be Hitler and the National Socialists may be only coincidental.  They understood the problem and had the will to resist.  It was inevitable that there should be casualties but the extent of destruction was truly phenomenal.

     Only after WWII when the American Right had regrouped under cover of the War essentially exercizing a hegemony over Western Europe did the West acknowledge the Cold War.  The American resistance only solidified after the death of FDR when his less ideological successor Harry Truman took the helm.  What took place before FDR’s death was maneuvering in the Culture Wars.

     The maneuvering took many forms, all of which tended to undermine or destroy the existing culture.  While Jews and Liberals were the key elements in the Coalition each was in competition with the others to impose its culture as supreme.  You can read culture as nationalism by another name.  The contest was both temporal and spiritual.  While I am primarily concerned with the spiritual or culture aspect one may look at the temporal event of the Crash of ’29 and its resultant Depression as the work of the Liberal Coalition.

     While I’m sure there were many reasons for the Crash there were also many ways to make it worse than it need have been.  The restraints that were thrown off the Stock Market are worth investigating.  For instance it was at this time the Jews invented the Holding Company.  Now, I will not tolerate charges of anti-Semitism.  I attempt a scientific analysis of a religious culture, one of only a great many in the US, and refuse to kowtow to any cultural projection.  If Christianity which is a Semitic religion is thought to be ridiculous then how much more ridiculous must the other two Semitic religions, Judaism and Moslemism, be?  One must have at least a modicum of consistency.  So, as I say, the Jews, as an instrument of their particular cultural revolution invented the Holding Company.  A holding company owns a number of producing companies.  Therefore the value of the stock of a holding company is dependent on the dividends it receives from the producing companies.  If there are no dividends  the holding company has no source of income.  then the Jews invented Holding Companies of Holding Companies whose stock was based on value at all.  But these stocks were traded and purchased with bonafide capital.

     Now, when the market crashed if you owned your stock outright you may have taken big paper losses but you weren’t wiped out.  Your stocks still had considerable value.  If you bought on margin that is to say if you put a small amount down when your margin call came you couldn’t meet it and you were wiped out.  The Holding and Holding Holding companies were a total loss as it was all phony money.  And the bankers called Henry Ford a fool!

     I don’t know if a study has ever been done on winners and losers but a survey of those left standing might provide some interesting insights.

     But to return to culture.  The Freudian attack was primarily centered on sex, that is, the destruction of Euroamerican morality.  It is important to bear in mind that Freud was a despicable person, a master hypocrite.  He was a homosexual, Libertine and dope addict.  It should hardly come as a surprise that the ‘morality’ he wished to impose on civilization was precisely the morality of homosexuals, Libertines and drug addicts.

     The key to such morality is sex.  Western morality from the time of Homer was based on the control of sexual apetites or, at the very least, channeling sexual energy into productive habits.  The sexual story of Homer’s Odyssey is Odysseus’ conquest of his sexual nature.  First he resisted the wantonness of Circe, then the allure of the Sirens.  He stayed for some time with Calypso who was the most complaisant of females but who demanded his full attention and finally a vision of the peacful home before his return to Penelope.  Even then he immediately left his wife after taking twenty years to get back to continue his wanderings or his search for salvation, meaning or whatever.  The Roman Catholic Church reinforced these sexual attitudes.

     The ruling attitude then was what Freud wanted to overturn.  In the destruction of the goyim’s culture to be reconstructed on the Semitic cultural model was the most important step.  First the ‘prudish’ ‘Puritan’ attitude toward sex had to be dismantled.  Censorship of explicit sexual material had to be removed.  Hence a campaign ensued to impugn anyone who ‘didn’t appreciate the beauty of the nude human body.’  Sounds reasonable doesn’t it?  But what does it mean?  It means the legitimization of pornography.  ‘There shouldn’t be any shame connected with sex.’  The Freudians said.  Well, that’s an opinion not a fact.

     The first effort was to legitimize literary works of questionable morality or, at least, which contradicted the prevailing morality.  So, books such as Madame Bovary, Lady Chatterly’s Lover and James Joyce’s Ulysses were promoted as the highest form of literary attainment, whatever exactly that might be, rather than as salacious novels.  Literary,  well there’s a thought to be considered.  Eventually they were all legalized.  ‘They started out on Burgundy but soon hit the harder stuff.’  The standards of society had been breached.   Then came the Marquis de Sade whose ‘literary’ value was said to override his sadistic psychosexual content.  Literary, hmm?  From thence we passed through Esquire Magazine to Hugh Heffner’s Playboy.  The latter magazine opened the floodgates of pornography which of course legitimized homosexuality; but, Playboy published stories of the highest literary quality.  Literature, yup, but everyone looked at the dirty pictures.

     So that, as of today we have this peculiar, need I say disgusting, homosexual and Libertine sexual morality.  One judges the tree by its fruits.  What the Satan Freud cut loose which has come to fruition today must have been his intent.

     The driving wheel for this transformation was the film industry of Hollwood.  The very essence of the film is hypnotic suggestion.  While it is true that poetry and novels also serve as suggestion there is a great quantitative and qualitative difference.  One’s intellectual distance and guard are always present while reading while with movies the opposite is always true.  Since one could maintain distance in the silent era being always able to discuss the movies with others while viewing them without disturbing people the suggestive power of any film required the same degree of consent as ‘literature.’

page 7.

     This was not true with sound movies.  Talking was not tolerated as it disturbed concentration.  Thus the mind was left open in a hypnoid state to visual and audio stimulation.  What goes in the mind stays in the mind.  Nothing is forgotten.  During the thirties and forties suggestion was employed but without the effectiveness of the technical changes that began in the fifties.  Huge wrap around screens began to fill the entire visual field enveloping the viewer in the suggestion.  Huge, powerful surround sound speakers filled any void left by the screen.  The volume was overpowering, virtually blocking out critical attention, actually placing the viewer very deep into the hypnoid state, almost the same as the feeling of terror wherein the suggestion becomes implanted in the subconscious somewhat on the order of a fixation.  Then the movie going audience was being hypnotized without being aware of it.

     Realizing that young minds were somewhat more malleable than older ones movies were directed at the ‘critical audience of from twelve to twenty-five.’  this age group also has the most leisure for movies.  Yeah, I know there were good reasons to direct movies at the age group but I’m interested in the real reasons.

     As the Jewish culture had a near hammerlock on the making of movies it could control the content.  Thus while having to ‘pander’ to the dominant culture, especially in the thirties and forties, the Jewish culture could subtly condition the viewers to their own cultural goals.

     Naturally this had to be done openly if not obviously  so that there was always a sizable minority who understood what was being attempted; voices were raised in objection.  Once again the Jews and the Coalition denied this was so deriding any objections as anti-Semitism or in violation of the Constitutional guarantee of freedom of speech and conscience.  The dissidents allowed themselves to be silenced too easily although the charge of anti-Semite was and is indefensible.  Unless you just dismiss it as a joke like I do.

     Thus by the process of gradualism control was established so that no movie not passing a very strict Jewish censorship could be shown.  Christian movies depicting Jesus were absolutely forbidden hence the huge flap over the Mel Gibson movie led by the Jewish culture who, that’s right, denounced Gibson as an anti-Semite.   The key word here is culture, not individual Jews but the entire culture denounced Gibson.  That’s why they call them culture wars.    

     In the thirties and forties the studio heads abjured movies with Jewish themes even in some cases refusing to employ actors because they looked too Jewish.  That’s the legend anyway.  Gentlemen’s Agreement broke that taboo although the lead characters were all goys playing goys but posing as Jews.  Interesting ploy.  Elia Kazan directed.  During the fifties movies that Jews considered purely reflected Jewish culture although the goy audiences were too oblivious of the fact were successful.  Two big films of this genre were A Funny Thing Happened On The Way To The Forum and Cabaret.

     Gradually what Jews called ‘Christians’ were made the butt of the jokes while Jewish characters became heroes.  Then as in the Adam Sandler movies he as a Jew although it was never made clear he was acting as a Jew put down ‘Crhistian’ characters, treating them as buffoons and fools while abusing goy women who were portrayed as sex crazed sluts and bimbos.

     Of course criminal behavior and sleazy approaches were used to condition the viewers mind in the direction of Freudian criminal and sex crazed morality.  The ‘Christian’ family was always attacked, fidelity, honor and uprightness demeaned.

     This attack was paralleled by a similar attack made on TV and also significantly in recorded popular entertainment.  First Vinyl records and then more openly on CDs.  Thus the public mind was constantly bombarded by propaganda reflecting the desires and needs of the Jewish culture. 

     So that, if in 1918 you had stood up and said that it was the intent of Freud and the Jewish culture to hypnotize the entire American population they wouldn’t even have had to call you an anti-Semite to discredit you, you would have been laughed to scorn.  Yet here it is.  You are all hypnotized. Except for a small disregarded and vilified minority, a small body not unlike the excommunicated heretics of the Middle Ages, everyone has been conditioned to accept the value system of the Jewish culture.  Of course when you abandon control of your culture to another you can’t expect anything else.

     As a side excursion let us consider the field of pornography.

page 8.

3.

     Let me say that while I deplore the Jewish culture’s methods I vastly admire their chutzpah.  it is the same as the admiration I have for the great Midwestern bandits like Jesse James, the Youngers, the Daltons or Pretty Boy Floyd The Outlaw.  Well, let’s exclude Pretty Boy, he has a special place in my affections.  While their careers were based on a false premise yet there was a dauntless courage and actual justification for the Outlaws’ choice of means to redress their grievances.  While I am aware that it was necessary for society to terminate their careers in one way or another, still I have that secret admiration for their attempt.  So it is with the Jewish culture.  While I can’t endorse their ideals and feel their methods will always doom them to failure, much as those of the Outlaws did,  like the Western train and bank robbers there is something thrilling in the attempt.

     But the return to the question.  Freud in his essay ‘The Aitiology Of Hysteria’ which is certainly approriate here, said:  Collected Papers Vol. I, p. 194:

     Quote:

     (I) am prepared to let my belief outrun the evidential force of my discoveries for the present time.  Besides, I am influenced by another motive, which for the moment is merely subjective value.

     Unquote.

     I am not quite so ready to allow my beliefs to outrun my evidence nor am I willing to abandon objectivity as was the good Herr Doktor Professor Sigmund Freud.  No. No.  We must adhere more closely to our science than that.  While Freud doesn’t tell us what his subjective motives were I think I can guess.

     As a Libertine and homosexual Freud would have been a proponent of the distribution of pornography.  We have seen that Freud made advanced studies into the nature of emasculation.  Well, pornography is what emasculation is all about.  It seems certain that Freud misinterpreted the nature of the Anima following rather the lead of his friend Fliess, of nose fame, that there was an inherent bisexuality.  In other words in keeping with his homosexuality he believed that a man desired sexual relations with either men or women.  Any port in a storm, or even fair weather.

     In fact an affect of emasculation is the estrangement of the Animus from the Anima.  In the process of emasculation the Animus apparently has the understanding that the Anima failed in its duty therefore wishing to punish it.  Indulging his or her hatred then the homosexual is attracted to pornography with is attendant sadomasochism.  Indeed the mainstay of the pornography business is the homosexual by which I include Lesbians.

     In use then terms from individual psychology to group psychology the same Freudian rules apply.  Freud realized his own emasculation, probably that of the Jewish culture, and therefore sought to emasculate the Euroamerican culture in return.  We have seen through the media of movies, TV, radio and recordings how successful he was.    There is a French film entitled Dr. Petiot.  Dr. Petiot was a real person who realized his full potential under the Nazi occupation of France.  A bonafide psychotic as well as a physician Petiot lured those seeking to escape France to his home under the pretense that he would smuggle them out of France.  Instead he murdered them but before he did he mocked and ridiculed them deriving full enjoyment from their humiliation.

     Now, in the Winter 2004 edition of the European magazine The Jewish Quarterly an essay was published by a lecturer of American History at the University of Aberdeen, Scotland by the name of Nathan Abrams.  His bit is entitled Jews In The American Porn Industry.  What this essay shows is the divorcement of the cultural or group Animus from the Anima of the Jews.  This should come as no surprise because Semites in general suppress the role of women, or the Anima in favor of the Male Animus which is an expression of the Culture’s unhealthy Anima-Animus relationship.  Here Mr. Abrams mocks and ridicules Euroamerican civilization.

page 9.

     Mr. Abrams begins his essay thus:

     Quote:

     A story little told is that of Jews in Hollywood’s seedier cousin, the adult film  industry.  Perhaps we’d prefer to pretend that the ‘triple exthnics’ didn’t exist, but there’s no getting away from the fact that secular Jews have played (and still continue to play) a disproportiate role throughout the adult film industry in America.

     Jewish involvement in pornography has a long history in the United States as Jews have helped transform a fringe subculture into what has become a primary constituent of Americana.  These are the ‘true blue Jews.’

     Unquote.

     The most virulent anti-Semite couldn’t have expressed it more succinctly.  At the same time we have a cultural confession of emasculation.  I haven’t been able to discover the exact meaning of ‘triple-exthnic’ but the term is probably just another obfuscation  in terminology.

     While everyone has known of the Jewish role in the ‘sex industry’, where they are as over represented as they are in Hollywood itself, for a hundred years, only Jews have been permitted to write about it.  The goys have been so thoroughly emasculated in their turn that they would rather leave it alone than be denounced as anti-Semites thereby being excommunicated or thrust out of society so Mr. Abrams has the field to himself.  However one is free to criticize the content of the essay.

     When Mr. Abrams identifies pornography as the seedier cousin of the Hollywood film industry he tacitly admits that Hollywood itself is seedy to which conclusion I heartily assent.  All, or nearly all films, are pornographic in intent.  The only area in the world in which the production of pornography is legal is right here in these United States Of America and that place is within a twenty mile radius of Hollywood where you know who is over heavily represented.  Not American but Israeli, Jewish.  Hollywood is an Israeli colony in the United States.

     Mr. Abrams says that Jews have helped transform a ‘fringe subculture’- read criminal- into what has become a primary constituent of Americana.  Further he says that this legitmization of crime has been the work of the Jewish culture.  Mr. Abrams is projecting badly when he believes that pornography has anything to do with Americana, rather by his own admission he should say Judaica.  He further states that these pornographers are ‘true blue Jews.’  In other words, the best that Judaism has to offer.  If so, then the Jewish culture must be analyzed with this notion in mind.

     Pornography is essentially an extension of prostitution.  That is to say, the degradation and exploitation of the Anima, let alone women.  To keep the business running there must therefore be procurers and procuresses.  Men may volunteer but women by and large have to be dragooned.

     As an expression of emasculation one finds a disproportionate number of homosexual also involved which means sadomasochism and drugs.  Sadomasochism is an affect of emasculation.

Thus the seedier cousins of seedy Hollywood itself are governed by a psychotic state of mind.  In fact Hollywood movies are psychotic visions of a psychotic sadomasochistic projection on the world as examples of American culture or as Mr. Abrams would have it, Americana; quite falsely so.

     How far they represent other cultures than the Jewish is open to question.

page 10.

     Pornography was taken mainstream by the goy, Hugh Heffner, who developed this affect of a mental disease in the guise of Hedonism rather than Libertinism which is its true guise.  He was joined by the major ‘players’ Larry Flynt of Hustler Magazine and Bob Guccione of Penthouse Magazine.

     Although Jews had been instrumental in kicking down the doors of sexual censorship, most notably with the legitimization of Joyce’s Ulysses, it was Heffner beginning in 1953 who paved the way for the porn film industry which arose in the sixties.  In competition with Heffner, Flynt and Guccione constantly stretched the limits from Heffner’s Hedonism to outright pornography.  The three magazines above were sold openly across the counter which meant high grosses.  It should be noted that while tremendous effort was made in lifting censorship of obscene material at the same time the same effort was made to censor political and social thought by the same parties.

    The smut industry of peep shows and whatnot Mr. Abrams quite correctly identifies as being primarily Jewish.  Mr. Abrams then gets involved with the motivations of the smut peddlers.  As is consistent throughout Jewish writing he distinguishes between ‘secular’ Jews and ‘religious’ Jews as though they were two separate entities.  The distinction will undoubtedly confuse those who haven’t scientifically studied the culture.  In point of fact crime and prostitution had a significant hand in financing Jewish political activities from the beginning of the Revolution from 1913 and before to the present.

     The Revolution didn’t come free and it didn’t come cheap; there’s a price tag on everything and a very high price tag on this one.  On the financial and banking level it was fairly easy, the bankers just used other people’s money.  Loans are loans and expenditures are expenditures; loans have to be repaid while expenditures are cash out of hand.  So for expenditures the money came largely from vice.  One usually thinks of organized crime as Italian or Sicilian while in actuality the organizers were Jewish.  Enormous sums were raised by crime especially under the kingpins Arnold Rothstein and Lepke Buchalter.  But, lo and behold, when these men died the vast sums that passed through their hands which they could not possibly have spent were nowhere to be found.  To all intents and purposes these men died penniless.

     On the other hand men like Julius Rosenwald who became a principal of Sears, Roebuck contributed millions upon millions of dollars to Jewish ‘charities’, read- political organizations.  While there is no reason Rosenwald couldn’t have become rich from his position at Sears still the amounts of money he contributed seem well in excess of any possible earnings.  While Jewish criminals were donors to Jewish causes, and very welcome ones too, it seems probable that the money pouring into their coffers which, after all was a joint Jewish effort, may well have been funneled thrugh intermediaries like Rosenwald as a money laundering scheme.

     After all men like Rosenwald maintained magnificent establishments while making these contributions.

     The Liberal position from 1815 or so when Liberalism per se came into existence had always been that crime and prostitution were the result of the inequitable distribution of wealth.  Always on the qui vive for another utopia it was assumed that when the working class had its share crime and prostitution would disappear.

     For all practical purposes that particular utopia was realized in the United States.  Lo and behold, instead of crime and prostitution having disappeared they have prospered mightily.  Indeed, rather than being repulsed by this particular form of prostitution women have apparently embraced it.  Yes, as Mr. Abrams so quaintly puts it:  Once (women) had laid down, they could stand on their own two feet, particularly as female performers typically earn twice as much as their male counterparts.  Once they had laid down that is.  Good paying prostitution is still prostitution, but at least the girls were paid better than the boys.  I’d still rather be a boy in those circumstances.

     So, if not driven into prostitution by poverty it seems that women are lured into it by the pursuit of wealth or as Mr. Abrams insultingly puts it, in pursuit of the ‘American Dream.’

      Nor are these entrepreneurs of porn from poverty backgrounds.  Mr. Abrams proudly claims that these porn pros come from ‘upper class’ and prosperous Jewish families.  What motivations does Mr. Abrams attribute  to these Libertine criminals other than the pursuit of the buck.

     Mr. Abrams:  Porn is just one expression of [the] rebellion against standards, against the disciplined life of obedience to the Torah that marks a Jew living in Judaism.

     So, their rebellion is really culturally internal and has nothing to do with the mainstream culture.  They find Judaism too restricting.  Indeed, ‘America provided the freest society Jews had ever known.’ Adds Mr. Abrams.  Including his own Judaic culture one assumes.  One might think the Promised Land had been realized.  But, read the sentence carefully and it is made evident that the Jews still consider themselves strangers in a strange land but now they have the freedom to rage at all, even themselves.

     Quote:

     Extending the subversion thesis, Jewish involvement in the X-rated industry can be seen as a proverbial two fingers to the entire WASP establishment in America.  Some porn stars viewed themselves as front-line fighters in the spiritual battle between Christian America and secular humanism.  (read- the Jews)  According to Ford (Luke Ford) Jewish X-rated actors brag about their ‘joy in being anarchic sexual gadflies to the puritanical beast.’  Jewish involvement in porn by this argument is the result of an atavistic hatred of Christian authority:  They are trying to weaken the dominant culture in America by moral subversion.

     Unquote.

     Quite right.  While the revolution or 1913-28 has been extended that War still rages on.  Furthermore it is being waged on the terms laid down by Freud.  The Jewish culture permits even encourages these pornographers toward that goal.  One doesn’t really believe that a bunch of scum criminal pornographers were able to get a law passed legalizing their criminal behavior does one?  Of course one doesn’t.  Such a law could only be passed by very influential ostensibly respectable people of porn’s less seedy cousin.

     This area of legal pornography is Hollywood.  Whether fronted by goys or not Jewish moguls passed this law.  Are they taking a rake-off as a reward for providing the pornographers a legal sanctuary of are they sleeping partners of the pornographers or has it made it possible to release such racist pornographic filth as Shadow Boxing as legitimate entertainment in mainstream theatres.  Gosh, let me think long and hard on that one.

     So , we have the results so far of Freud’s psychological program for the conquest of Euroamerica.  Of course along the way his program would be reinforced.  Here’s Mr. Abrams again:\

     Quote:

     Those at the forefront of the movement which forced America to adopt a more liberal view of sex were Jewish.  Jews were also at the vanguard of the sexual revolution of the 1960s.  Wilhelm Reich, Herbert Marcuse, and Paul Goodman replaced Marx, Trotsky and Lenin as required reading.  Reich’s central preoccupations were work, love and sex, while Marcuse prophesied that a socialist utopia would free individuals to achieve sexual satisfaction.  Goodman wrote of the ‘beautiful cultural consequence’ that would follow on legalizing pornography.  It would ‘ennoble all our art’; ‘humanize sexuality.’

     Unquote.

     I’d put those statements in quotation marks too.  These writers might be considered the second wave after Freud to refreshen the program and keep it moving forward.  There is a particular reason why these writers should have been published and lauded over others and it isn’t literary value.  As we will see in the next section, when a book was to be promoted a cadre of boomers ran through the universities and cities touting this stuff.

     Thus this very powerful organization was very effective.  The effectiveness was made total when any who objected could be isolated and harassed by teams of damage controlmen.  Not only could an individual be silenced and marginalized by a whispered imputation of ‘anti-Semitism’ but the entire population could be emasculated by the same charge.

     Freud then had devised the means to emasculate the hundreds of millions of Euroamericans and that purely by their own acquiescence.  Rather than be known as anti-Semites they willingly abandoned their sexuality.  This abandonment was conditioned and reinforced by the entire media of the land.  Most especially Hollywood.

page 12.

     Do not think I condemn the Jewish culture, or nationality in fact, for this fait accompli.  On the contrary I applaud it.  Imagine this atavistic religious consciousness projecting a state of ignorance over the most enlightened population on the planet.  Think about it.  It stuns one to silence.  This achievement is so amazing it leaves one standing with mouth gaping.  If the entire Euroamerican population is willing to voluntarily surrender not only their intelligence but their manly and womanly sexuality to another culture why should the receiving culture be blamed?  No force was used.  Only psychological manipulation that any fool could have seen and easily rejected.

     Further, just like Dr. Petiot with his victims, the Jewish culture humiliates its slaves via the media.  I have pointed out Adam Sandler movies where he plays a vacuous nerd who triumphs over athletic men and humiliates nubile women.  If the past is any guide to the future one can look forward to a gulag system where opponents are mass executed.

     I can say no more on the topic here.  Suffice it to say that on the sexual level Edgar Rice Burroughs’ America hs been deconstructed per Sigmund Freud’s plan and reconstructed to the complete advantage of the Jewish culture and to the complete disadvantage of the Euroamerican culture.  All it took, and this the most astonishing fact of all, was a little chutzpah.

     All credit belongs to the Jewish culture and I say that to the shame of my own.