The Doggy Diner heads of Treasure Island
. . .

New from the Repress: "Oxydol Poisioning" by Earl Jackson, Jr., originally published 1995. We thank Dr. Jackson for the opportunity.

. . .

Ba-lue Mun-deii Ba-lues-Are : I walk a little lame

"September Song"

- by Kurt Weill & Maxwell Anderson
for Walter Huston, Knickerbocker Holiday, 1938

But it's a long, long while from May to December
And the days grow short when you reach September
And I have lost one tooth and I walk a little lame
And I haven't got time for the waiting game

And the days turn to gold as they grow few
September, November
And these few golden days I'd spend with you
These golden days I'd spend with you

When you meet with the young men early in Spring
They court you in song and rhyme
They woo you with words and a clover ring
But if you examine the goods they bring
They have little to offer but the songs they sing
And a plentiful waste of time of day
A plentiful waste of time

But it's a long, long while from May to December
Will the clover ring last till you reach September?
And I'm not quite equipped for the waiting game
But I have a little money and I have a little fame

And the days dwindle down to a precious few
September, November
And these few precious days I'd spend with you
These precious days I'd spend with you

QUESTION: In terms of the director-actor relationship, how did it feel directing your father in The Treasure of the Sierra Madre? How did it feel to be directed by, say, Roman Polanski in Chinatown?

HUSTON: Well, on the set, the director is the father image. So I was my own father's father. And as I appeared in the The Treasure of the Sierra Madre, I was my father also, so that made me my grandfather. It's like the play on Shakespeare in Joyce's Ulysses.

- "Dialogue on Film with John Huston",
The American Film Institute, 1984

Walter Huston's original 78 of "September Song" sold respectably in 1938 and even better in 1950. But "September Song" could only go on to become a standard for self-pitying horny old crooners by standardly shedding the toothless-and-lame money-and-fame couplets. Which, aside from its loss of Brechtian piquancy, sadly undercuts the subliminal-marketing promise behind word-choices like golden, precious, and spend.

A memory of Walter's short-term-investment pitch might have helped suggest John's casting in Chinatown:

Evelyn! How many years have I got?

. . .

The Great Race Theory of History

The mutations of societies from generation to generation are in the main due directly or indirectly to overpriced and tediously extended parodies.

. . .

It's morning again in medieval France

To appreciate the significance of these changes we must evaluate the place occupied by the nobles in French society in the middle of the fourteenth century. They comprised 1.5 to 2 per cent of the population, perhaps some 40,000 to 50,000 families, or between 200,000 and 250,00 individuals. There was a strict internal hierarchy.... This in turn affected their political role and decisions.

As a social group, the nobility was more accessible than is generally believed. If an individual was no longer in a position to ‘live nobly’, he left the group; while newcomers continued to be admitted, in so far as the nobility remained the only social model for those who aspired to upward mobility.

Whatever its composition, in 1360 the nobility remained the framework within which the nation’s military, political and social affairs were still conducted. It was this framework, shaken by military defeats, political crisis and, indeed, the brutal rise of the state, that had to be strengthened in the reigns of Charles V and Charles VI. Crucial measures were taken in 1360 when John II returned from captivity, and the money for his ransom had to be found. Taken together, they formed a package with three main elements. First, there was the introduction of the franc, a strong gold coinage, which blighted the money markets but guaranteed high revenues and stable yields to those (notably lay and ecclesiastical lords), who received payments established in money of account....

Secondly, direct taxation was established, with a fiscal system that remained essentially unaltered until 1380, and then survived with various alterations and controversies. Here, the most important aspect was the nobility’s exemption from taxation. Despite both the precedent of the feudal aids, levied in four different contexts (one of which was the ransom of a lord) and the specific instructions for the collection of taxes in 1360 (‘all of the king’s subjects are bound to pay by the general custom of the kingdom’), the nobility paid nothing. Exemption was formally granted in 1363. And thirdly, there was a restriction in the number of officials in the royal administration, which symbolically halted the progress of the state.

- "France Under Charles V and Charles VI" by Françoise Autrand,
The New Cambridge Medieval History ed. Michael Jones

. . .

An Integral

Gypsy by Carter Scholz, PM Press (2015)

The enormous weight of the waft which was quite light was the thing that kept me contained in my perfect state which was as good as the state of any other thing before it is broken.
- Madeline Gins
Hold on to what you got but don't let go. Don't let it go.
- Bo Diddley

This is a soft time to write future history. Our post-1980 vector's so well defined and so evenly accelerating; we've so clearly passed "If this goes on" and entered "As it will be."

Too soft to support hard science fiction, or at least too soft to support the supersized undertested battleships which have served as its principal transport since, oh, say 1980. What's your rusty debris worth without a hero's journey? Where's your rotting corpse's character arc? And the three-act structure? Where are the next eight hundred pages?

There were once other ways to make the trip, still choosable if not necessarily profitable. For his first hard science fiction publication Carter Scholz went old-school.

By his own account, he was old-schooled. Like me, Scholz "grew up and was educated during the Cold War, when math and science education were priorities." There was a certain fogginess about utility then, before our rulers successfully separated education-for-maximal-exploitation from the chaff of pure-science truth and high-culture beauty I think they call it "rationalization"? Those were the irrationally unexuberant years when, as mentioned on the fourth page of Gypsy, someone like Louis Zukofsky could find a stable day-job at Brooklyn Polytechnic.

Passing references to poets are themselves a bit old-school in fiction: Shakespeare or Eliot for titles; Dickinson or Blake for epigraphs; Villon or Rimbaud for stock characters. Louis Zukofsky is an unusual choice, though.

Zukofsky's poetry wasn't widely available until the late 1960s. Back in 1978, the year of his death and the year his long "poem of a life," "A", was published, niche readers like myself and (I suppose) Scholz still thought it likely Zukofksy's brand of difficulty would follow the Modernist course of things and become, if not widely known, then about as widely known as twentieth-century poetry gets. It never happened. His niche readership now is probably no larger than his niche readership in 1978. Rather than poetic heroism triumphant, Zukofsky exemplifies th'expense of spirit in a waste of craft, sloughed off by posterity as insufficiently instantaneously rewarding.

At any rate, Louis Zukofsky's name does not appear after the fourth page of Gypsy.

* * *

Before turning even to the first page, readers will know Gypsy as a throwback by sheer lack of heft. Classic science fiction's markets were magazines and cheap paperbacks. A novella sells either/both, and novellas like Scholz's therefore became the classically approved dosage of mindblowing science fiction. (Longer volumes such as Asimov's Foundation trilogy would be constructed from semi-autonomous novellas and short stories, an assemblage known as a fix-up and carrying its own stylistic markers.)

As for three-act structures, an equally viable narrative strategy is available in hard science fiction's native version of the picaresque: one-damn-thing-after-another whack-a-bug-make-a-bug problem solving, drawing straight from the genre's turpentine-soaked roots in hobbyist magazines. Hollywood itself recalled that formula into service for two of its best recent spectacles, and that's how Carter Scholz builds Gypsy.

Although Scholz gives "Earth's first starship" every reasonable break, it finds (as it reasonably must) problems sufficient to his purpose. By way of comparison, consider our national attempts at an oceanic habitat, summarized by Ellen Prager in Chasing Science at Sea:

The U.S. Navy's first undersea laboratory, Sealab I, sank twice and filled with water before a successful launch in 1964 in the Bahamas. A tropical storm then halted the Sealab mission after only eleven days, although it was supposed to have lasted for three weeks. [...] Hydrolab also had its share of problems in the beginning, including one 25-mile (40-km) trip out into the Gulf Stream after breaking loose in a storm. [...] During decompression, when the air pressure inside the habitat was decreased, the internal air inside the toilet's holding tank not only expanded, it literally exploded, splattering its contents all over the entry trunk of the habitat.

A breathable atmosphere was within reach of Sealab; Gravity had Earth (and video-game physics); The Martian had NASA (and public funding and international good will). Scholz takes hard-science-fiction's nominal rules at their word, and so Gypsy has, at best, in its hoped-for sequence of events, seventy years of nothing. Pulp self-sufficiency could hardly desire a more congenial home. It is therefore, of course, populated by a secret band of brilliant, dedicated, rebellious, rationalist-if-not-necessarily-rational brethren and sistren with hands-on can-do attitudes; there's even Heinleinisch intervention by a left-behind robber baron.

There's not much Hawksian teambuilding chatter, though. Sustainability requires redundancy for backup; constraints of mass and energy require as quiescent an organic load as possible. Therefore at most one crewmember at a time can be conscious. The book's chain of puzzles must be linked in, as writer Juliet Clark put it, a game of exquisite corpse played against actual corpses.

These P.O.V. transitions provide Scholz ample opportunity to mimic fix-up novels' stock three-asterisk-separated gestures towards excyclopediac range and cosmic sweep, weaving flashbacks, expository passages, back-stories (almost aways of refugees, almost tautologically: anyone who reaches adulthood must have survived something to get there) and monologues, of course, monologues: little self-pep-talks, little cries-on-one's-own-shoulder, simulated second-guessing, checking off the list, working shit out....

As decades pass, and glitches and kludges accumulate like a hoarder's maze of newspaper stacks, first delimiting paths and then blocking them, and the spacecraft-and-story Gypsy nears its destination, characters are given more time for reflection, and their monologues shift register. They abstract; their rhetoric is shaped. They become arias of anger, arias of despair, arias of nostalgia. They fit 2016, yes, but to some extent they'd fit 1917, or 404 BC, or 586 BC.

* * *

Gypsy's' closing lamentation may not be instantly recognizable even in 2016. I don't know if the initial Locus reviewer saw the same printed letters pass her eyes; we certainly didn't read the same page.

Myself I found it most effective; it led me to write this to you. But how can I explain the effect without snuffing its already-slim chances of replication?

Tossing another kludge on the pyre, then:

That last chorus is a reference but not a quote. A collaboration of sorts between dead author and not-yet-dead writer, but also between immersion in books and immersion in the melting shards of a human-free but human-welcoming world. Its import will be missed entirely by most readers and missed deeply by a very few. "The Happy Few," I want to say; happy in the Stendhalian sense, as in "Happy to have met you" no one would claim we're distinguished by our cheeriness, or by our good fortune, or by much other than our reluctance to trade up.

Even when we're offered sweet fuck-all to trade up to, to return to future history. In his deauthorized transtemporally award-winning story "The Nine Billion Names of God," Scholz editorially queried "That is the real last question: Do we need fiction? Do we need science?" and introducing those two interrogative sentences as a single question was no mistake. The triumphalism of art is as beside the point as the triumphalism of science: Two Cultures, one boat, no Coast Guard.

Going old-school one older, Gypsy brings grounded technophilia's sense-of-wonder back to its source in the Sublime of terror and pain. While a surplus of Big Dumb Objects may have calloused over our shock at the infinite scale of the universe, shock at the infinite scale of our loss snuffs out only with us. Science fiction still has one vacuum-packed export for the stars.

. . .

The Life of the Mind

The life of the mind is a sad, desperate affair compared to the life of the never-minding. But hey, you're there, it's there, what can you do? You can try drowning it or burying it but neighbors might complain and it's likely to just come back meaner.

So, you know, you try to keep it clean and fed and entertained, take it out for a walk if you have the time and it's not raining. It'll continue to vomit on your hardwood floor and scratch your guests and carry appalling diseases. Still, after a while you'll admit it's kind of cute in kind of an ugly worthless way. Sometimes it helps you pick up dates. People seem to miss it when it's gone.

Next: The Life of the Bowel!


The ever-mindful Josh Lukin writes:
Y'know the old cliché that the MLA convention is best encapsulated by a shot of John Goodman advancing down a flaming hotel corridor shouting, "I'LL SHOW YOU THE LIFE OF THE MIND"? Now you got me visualizing a version revised to be about the life of the bowel. Colon shots and all, man.

My work here is done.

Unfortunately, my mortgage payments here continue.

special dispensations

. . .

Thoughts worth repressing

I have seen a cluster of such attitudes far too often in the last few years: ..., increased attention to the valorization of women's behavior along with decreased attention to what we used to call the oppression of women, an "encouragement" of men to broaden their "roles" fancy anyone talking about racial roles or class roles!
- Joanna Russ, letter to The Women's Review of Books, Sep. 1986
(from The Country You Have Never Seen: Essays and Reviews)

Possible parallels between "male feminists" and "anti-elitist" American oligarchs?

(Left at "possible" because no way am I going to tease that out myself, you think I'm crazy?)


Josh Lukin:
I attended a WisCon panel on masculinities wherein people were getting all excited about the celebration of male sensitivity that was Iron Man III. So yeah, very very possible.

. . .
Majestic Buttons' hearts like a wheel
"Sex Drive"
The Embarrassment, 1980
Scott's Trans Am has the windows down
But he's in a jam when a girl's around
He yells hey get outta my way
I haven't had any sex all day
Stops at the curb and he opens the hood
He's on the main drag and he thinks that's good
He thinks that's good

I'm going on a sex drive
Sex drive

Jim took the bus the engine is missing
He drives for the lust of Sarah's kissing
If Jim gets his way and the bus makes a trip
He'll have a highway lay with none of the lip
None of the lip

I'm going on a sex drive
Sex drive

Mr. Braun drove out of town
Taking his wife he took his wife
He took his wife

Other motorvatin' anthems by the Embos:
"Two Cars", "Wellsville",
"Drive Me to the Park", "Death Travels West"

Ba-lue Mun-deii Ba-lues-Are : Ahead of her bleeding edge

I walk: with the darting absorption of a true-blue myopic, I quick-march, amble, or browse. The MBAs' distinction between being "driven" (good!) and "being driven" (bad!) eludes me. I bought my first car at twenty-nine solely so as to endure a daily three-plus-hours commute on New England highways, and through my commuting years those hours remained a stinking stew of adrenaline-spiked terror (fiery mangles on a shoulder; semi spinning like a reaper cross the lanes; furniture launching from the back of a pickup) and adrenaline-spiked rage (as said, New England), melded by a roux of boredom, loneliness, self-loathing, and lust.

I taste a similar New England commute in Rosmarie Waldrop's The Road Is Everywhere or Stop This Body, her roux given more body by premonitions which, as a sterilized male, I lacked. Aside from a one-sentence earworm, I also lacked the gumption needed to treat this distended emergency as food for meditation, as anything other than an aberrance to be quarantined from the remaining slivers of life as rigorously as possible.

Although I understood the political value of the comparison, Gore's "superhighway" metaphor struck me as inapt. Whereas Waldrop's far-sightedness was able to anticipate a well-attested similarity which I, even now, have trouble seeing.

from The Road Is Everywhere or Stop This Body
Rosmarie Waldrop, 1978
the onrush of clutter cross-purposes
the tangled motion the web and there's
my mouth in cahoots with
the offensive of the open
diffuses the possibility
of residue
I veer toward the endless
distractions of the foreground
even while clamoring
for wholeness

. . .

Google News that stays Google News

Disruptive scholarship entrepreneurs Ferguson & Kerschen pass along, quickly and eyes averted, Anselm Dovetonsils's latest, including a double-exposed author photo:

Google's brand new logo: Analysis. Return to video. Video settings. Please Log in to update your video settings. More video. Recommended. null. French tourist 'just an actress' - null.

The Oxbridge Roots of Analytic Philosophy

Suppose we take it that the truth of moral judgments is relative, but that the truth of judgments about the objects and properties that populate the physical world is not. Then what are we to make of the following argument?

Grass is green or murder is not wrong. Murder is wrong.

Therefore, grass is green.

The argument is clearly valid. But it is not clear how it could be, since the second premise is only relatively true and the conclusion is absolutely true.

- Michael P. Lynch, "Truth Relativism and Truth Pluralism",
A Companion to Relativism, ed. Steven D. Hales (2011)

California summer lawn


Josh Lukin objects:

Wait, do logical disjuncts even work that way? I remember trying a clever move like that in my high school geometry class and being told that they did not.

I thought it was intended as an example of fallacious reasoning until I reached "clearly valid."

standard format for examples for critiquing classical logic (disjunctive syllogism) re problems with 'relevance' (e.g. connection of some kind between the disjuncts)

. . .

The golden age of postmodernism is fifty-six

The most ephemeral of unremunerative essays outlasts the most highly-priced products of my or anyone else's dayjob. Stream-dipping consistently outdraws source-immersion. Whatever melts into air fastest wins.


no dry ice in the house

My first lover and I tried to work our way through The Joy of Sex (a gift) and I can testify that even wet ice has its delights. (Unbeknownst to us, we were also working our way through Goodbye, Columbus, first editioned the year we were fucking born, which just goes to show why people hate nonephemeral writing.)

yes work is sublimation (but is it of the freudian or endothermic variety?)

. . . before . . .. . . after . . .