DOWN AND OUT ON A YACHT - DELPHINE BEDIENT

AVAILABLE

This is a small, 66 pages, little chapbook thing I bought on a whim at a holiday DIY zine thing. Seattle has so many of these events it seems foolish not to take advantage. I appreciate that the publishing house, Two Plum Press out of Portland, from who’s table I purchased this book, included short, succinct descriptions of the titles for sale. Typically at these things the books/zines/chapbooks are just placed out (to be fair, they are usually really artfully displayed) and you don’t really have any idea what any of them are about. I don’t have infinite money and my hands are frequently covered in rare oils and whatnot so I liked that I didn’t have to paw through all of these to get a book that looked good. I picked this one out because it promised short 2nd person stories. The second person is underused and can allow for all sorts of interesting little tricks. For instance, I, of course, read the “you” of these stories as me and thus, a man. Every time the narrative would contradict that it would make me quickly readjust my reading in a way that felt novel. Likewise, I initial didn’t think the “you” of the different stories (the book is 66 one-or-two-page chapters) was the same person. I know this seems weird since I definitely would have thought an “I” narrator was consistent across chapters. But the book reads fast and you quickly come to someone understand the “you”. She drifts and makes observations and experiences romantic pain. There are some beautiful images of not wanting to get out of bed and quick flashes of forces larger than yourself. I enjoyed it. I should read more contemporary poetry anyway. 66 poems. 

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CHILLING ADVENTURES OF SABRINA, BOOK 1 - ROBERTO AGUIRRE-SACASA & ROBERT HACK / SWAMP THING, BOOK 2 - ALAN MOORE & STEPHEN BISSETTE & JOHN TOTLEBEN

I combined these 2 since they’re both trade paperbacks of long running (in Sabrina’s case, ongoing) comics series taken over by famous comic authors, heavily influenced by EC horror comics, and I read them on the same day. There’s actually another, more subtle connection between the two. At one point, a talking serpent named Nagaina claims, “Our father is Glycon, little witch.” Glycon is an ancient Roman snake-god (albeit one with long, beautiful hair) who’s most famous ancient mention, by Lucien, calls Glycon out for being a hand-puppet and hoax. In fact, even in the next frame of the comic, Salem the cat accuses Glycon of being a puppet. This is connected to Swamp Thing because Alan Moore is certainly the most famous devotee of Glycon. I think it more than fair to say that Alan Moore is the only reason any non Classics professor has any idea who Glycon is. Those of us who follow Alan Moore, a category that certainly includes Aguirre-Sacasa knows that Moore famously “quit” comics and declared himself a Magikian and full-time occultist. Swamp Things was written long before this transformation but you can certainly see the thematic obsessions that must have been pushing him a more mystical direction. Swamp Things is constantly wrestling (sometimes physically) with questions about reality and identity and he encounters spirits and symbols and literally travels to hell (Neil Gaiman writes the intro to the volume, making it very clear where the Sandman hell episode got it’s start). In the best segment Swamp Thing uses his powers to grow a psychedelic fruit on his body and feeds it to his lover to have far-out vegetable-dimension sex. Real wizard shit. Why aren’t the getting Swamp Thing into these DC universe movies? He’d certainly make them less dull. Anyway, I thought the Glycon thing was a nice nod to Moore. 

Sabrina was better than I was expecting. It’s very Satanic, lots of goats and talk of the Dark Lord and a witches circles in the woods and all that great stuff. The general vibe is dark and campy and creepy in the correct proportions. It’s a little sad and a missed opportunity that the main motivation the villain, who is wonderfully named “Madam Satan” and who has skulls for eyes, is that a man scorned her for another woman. For something that otherwise has complicated characters, that part felt flat.The art, like the Swamp Thing art, is very indebted to those pre-code horror comics and is not what you would think you’d get from an Archie Spin-off.  I would say the both pass the most basic test of a comic book, I want to read more in these series (I think my library now has the whole Moore Swamp Thing run and Sabrina is ongoing). 333 satanic swamps. 

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THE FIFTH HEAD OF CERBERUS - GENE WOLFE

AVAILABLE I’ve read Wolfe’s most famous thing, THE BOOK OF THE NEW SUN, a tetralogy of novels that is so far-out and bizarre and confusing that only after finishing the whole thing did I feel prepared to actually read it and understand what was going on. It is certainly one of those things that requires several rereads (I am not at all pressed to do this in, say, the next five years) over a lifetime. The series has it’s own dictionary for god-sakes. Anyway, I love those books but this one, THE FIFTH HEAD OF CERBERUS, would be a much better intro to Wolfe. It presents itself as 3 novellas, which is a bit disingenuous since you do need to read them in order and, while it certainly doesn’t seem that way at first, they all both take place in the same world as well as connect thematically. The overarching story concerns space-colonialism, specifically Earthlings colonizing the twin planets of Saint Anne and Saint Croix and the issues they run into with the possibly-extinct-possilby-ubiquitous shapeshifting aboriginals. The final story deals with all of this directly, using the Le Guin technique of having a anthropologist study an alien world. This being Wolfe, he’s in space-prison and questions of identity are central. The middle story is “by” the aforementioned anthropologist, who is also a non-central character in the first story, and try to tell the story and recreate the vibe of the planet before human contact. It was my favorite part of the book and I love the name Cedar Branches Waving. The first section is part of a sub-genre that I’ve currently only found 2 members of. The other story, which is also the first story in the volume it’s collected in, is Purity by Thomas Ligotti. The genre (or sub-sub-genre) is “kid finds out his father is a mad scientist.” Again, this being Gene Wolfe we get all sorts of crazy body modifications and comments on slavery and space prisons. I’d recommend this to people new to Wolfe. Also, are there more stories in that sub-sub-genre? 5 Heads. 

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MADAGASCAR: A SHORT HISTORY - SOLOFO RANDRIANJA & STEPHEN ELLIS

I’ve wanted to read a book like this for a long time. I’ve read a half dozen other books about Madagascar, mostly travelogue, ethnography, history or biology. This is the sort of book I’ve wanted to read for a long time and I’m glad exists (in English, for obvious reasons most of the books written about Madagascar are in French). My only complaint is that I wish I’d read it sooner, even before moving there. Even the ways in which the book is outdated (it was published in 2009) are fascinating. This book includes the theory that I’ve always heard, that Madagascar was one of the last places on earth people settled (New Zealand being the very last) and this took place only about 2,500 years ago. Well, just this year a paper was published in Science Advances titled, “Early Holocene human presence in Madagascar evidenced by exploitation of avian megafauna” which is presented evidence (tool marks on bones) suggesting humans were butchering the now-extinct Elephant Bird almost 10,500 years ago. That’s a 6,000 year window thrown open. Way less archeology and exploration has been done on Madagascar that it seems like anywhere else, which is why discoveries like that are possible in the year 2018. However, the fact that people were eating monstrous birds for millennia doesn’t, necessarily, mean that they lived there. This book did a great job explaining the early (w/r/t the settlement-2,000-years-ago timeline) history of Madagascar, specifically how groups from all over the Indian Ocean, from Malaysia to Oman to Somalia to India would use this large empty island to stop over on a long journey, or camp out until the Monsoon winds changed. Slowly one after anther of these groups stayed and set up permanent shop and slowly moved inland. This inland was driven by another force this book does a good job of highlighting: slavery. It’s impossible to talk about Malagasy history without mentioning the constant churn and drive for slaves, both to sell abroad and to use at home, and what that drive did to the island. Originally people were moving inland to escape coastal slave raids, eventually this flips and powerful Merina Kingdoms in the middle, highland portion of the island organize campaigns against all other parts of the island. This book does a good job highlighting how the fact that there is even one country that is all of Madagascar is largely a European desire projected on the island: “It was not Madagascar’s inexorable destiny to become one country under the rule of a single government. This outcome is best understood as the result of a long series of particular struggles and patterns of interactions.” There’s lots of wonderful stuff about all the different names Madagascar has been known under and Malagasy, the languages, doesn’t have non-European word for the whole island. My only other complaint is that the book focuses strongly on the highlands and northern coasts (Sakalava, Betsimisraka and Merina people get basically all the stage time). This is a pretty constant problem with Western works about Madagascar and I know that this book is a “short” history, but even still, it was a bit too myopic in this regard. Finally, it was fascinating to read this while I’ve been following the 2018 Malagasy Presidential election. Like I said, this book was published in 2009, so it doesn’t include information about the 2009 political crisis that the current election seeks (fingers crossed) to resolve. In 2009 Ravalomananan (who is still in power at the end of the book) was deposed by weeks of protest and unrest, much of which was lead by the then-mayor of Tana, Andry Rajoelina. In 2013, when I lived in Madagascar, they held an election but would not let Rajoelina nor Ravalomanana run. The winner was a man named Hero Rajaonarimampianina (longest name for a head of state) but this didn’t really solve the feeling of illegitimacy. This month they had another election. The first round of voting is over but since no one candidate received 50% of the vote Rajoelina and Ravalomanana will face each other again on December 19th. I will understand the results better having read this book. 444 Baobob trees. 

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THE VISIONARY STATE - ERIK DAVIS

NOT AVAILABLE Technically a reread from college, but I got this book out of the library along with one of Davis’ other books, TECHGNOSIS, which I’ve only read part of. Didn’t have time to read that one before the library insisted I returned it, but it was nice to look through this gorgeous book again. Plus now I’ve lived in California and have visited a few more of the place he outlines in this book. The book is a sort of travel guide/atlas of different spiritual/countercultural landmarks across California (plus Burning Man which, while originally from California, takes place in Nevada), each site getting an essay as well as a set of wonderful photographs. In general, all the sites and spiritual movements they represent come off as well-meaning, cool and fun and, at worst, a little dippy. Basically only the Missions and Manson come off as truly dark and evil. But this makes sense I suppose, California is a very optimistic place. To Davis’ extensive and well-well-researched list (he mentions and includes a photo of the doorway in Fullerton where PKD had his VALIS experience) I’d only add Almighty Opp, a religious DIY puppet-show/ritual that takes place, as it has for 15 years, once a month on a street corner in Koreatown, LA and the bizarre handmade Disneyland that is Palm Spring’s Robolights. Like everything Davis does this book is great for wikipedia wormholes and endless tangents. I’d love to own a copy but I’m not quite at the buying-coffee table books stage of my economic maturation. Good thing libraries exist. 666 holy shrines. 

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THE PEOPLE OF CASCADIA- HEIDI BOHAN/CHIEF SEATTLE - DAVID M. BUERGE/THE INDIANS OF THE PUGET SOUND - HERMANN HAEBERLIN & ERNA GUNTHER

NOT AVAILABLE, NOT AVAILABLE AND AVAILABLE (respectively) A rare 3 book review. As you can tell, I normally review these books in the order I read them, one at a time. Sometimes a few books in a row follow a theme or play into a current interest of mine, sometimes I read unrelated books simultaneously and they sort of run together in my head, but I’ve always reviewed them separately. This time I’m combining them because the Bohan and Haeberlin & Gunther books were really just supplementary stuff to help me understand the Seattle biography. I’ve been trying to read this thing for almost a year. I’ve started it countless  times; I must have taken it out from the library and/or renewed it half a dozen times. It’s always seemed like something I’m obliged to read if I’m going to live here (Seattle, I learned, is the largest city in the Americas named after an indigenous person). I’ve finally taken it down and I can now say definitively what I’ve suspected this whole time, the book is amazing. It’s one of the more interesting biographies I’ve ever read, full stop, despite taking on a particularly difficult subject. Despite being on the City Seal (and thus plastered all over the place) as well as a statue near a bar I like there isn’t much about Seattle the man here in Seattle. I took the ferry to visit his grave shortly after moving here and while impressive and sober even the close by museum doesn’t do a great job explaining why he is important. This, apparently, isn’t a new problem. The book mentions that no paper, local or otherwise, even reported his death (to be clear, the town was already named Seattle at this point). One of the reasons this biography must have been so difficult to write is that Seattle is from the generation that was born before White contact and died in a city that was majority non-native. Seattle claimed he saw Vancouver’s ships sail into the Salish sea in 1792 as a young boy so the entire arc of his life begins in the period before contact then follows the terrible decline on destruction that carries on to this day. The complimentary books I read to follow this helped round out this world. The Bohan book helps explain the way Native Life conformed to the unique meteorology of this part of the world, how the abundant summer is a time for travel and hunting and fishing while the rainy winters are for ceremony and feasting. That book is also full of really beautiful black and white drawings of different canoes, baskets, fishing techniques, etc. My favorite images were wheels that represent the different food sources available during different seasons. The Haeberlin & Gunther is a UW ethnographical study from the 30’s that I found cheap in a used book store. It has prettying clear and interesting accounts of the different spirits and powers and overall religious beliefs of Puget Sound natives which helped in understanding some of the events in Seattle’s life. It also helps illuminate how slavery functioned in this region, since Seattle, in addition to being a slave-owner, was also the child of a Duwamish slave mother and a high-class Suquamish father, and this stigma affected his standing constantly. This sort of insight (about how it was both possible to raise from the child of a slave to a chief, but how this birth would still tarnish your reputation) is what makes this books (the biography) so valuable, it is not just about Seattle when he was dealing with Whites, it includes huge sections about his life when Whites were rare in the region. During this time, Seattle comes off as a total maniac. He almost completely wipes out a rival group, he acquires a bunch of slaves and wives, he gets into a fight on a canoe and jumps off, onto a rock, right before the canoe, as well as the man he was fighting, fall off a waterfall. He’s a serious war-chief and legend before the Americans really start moving in. The books good about this section of his life as well. It’s a sad tale, and a familiar one. The Natives get fucked again and again by Whites that basically have no intention of being fair. Seattle understands early that White trade and settlement is going to happen one way or another and thinks he’ll position his people to reap the benefits by getting a settlement on his land so that by the time the settlement grows into a city his people and the Americans will be intermingled and be able to share the prosperity. Spoiler alert: it doesn’t quite go down that way. While I knew the Duwamish remain without a reservation or Federal recognition, this book really underscored the injustice of that. I didn’t know that when Seattle decide to become baptized (as a Catholic despite most of the Whites in the city being Protestants) he took on the Christian name Noah. The obvious joke here is about how much it rains in Seattle but that choice seems eerie now that we know how few of his people and descendants survived the flood. 1866 canoes. 

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INSIDE MOEBIUS - MOEBIUS

Moebius is great. I found out about in in high school via an infatuation with Jorodowsky and then tried, not too hard, to follow up with some of his other stuff. It’s hard to beat that weirdo European comic stuff, and I, someone who knows very little about the subject, consider Moebius the best. His best stuff is so grand and bizarre you wish there was a drug that transported you into these strange worlds, if only briefly. Actually, drugs are the somewhat subject of this book. The hook is that the book is a sort of visual diary of Moebius, as an old man, as he attempts to give up smoking weed. Obviously, I can’t endorse this. However, he renders this sober ordeal as a vast desert “Desert B” where a drawn version of Gir wonders around and complains about how sober his is, or tries to write inside of a large stone. Eventually, characters from his past, like Bluebeard, come to interact with him and try to get him to smoke and learn/accept (to varying degrees) that they’re fictional characters in a comic. Then this shit goes completely off the rails. We learn that the comic is taking place (and being written/drawn, since the creation of the piece is the subject) shortly after September 11th. Eventually Osama Bin Laden shows up and talks with Moebius and smokes weed in front of him and gets to ranting. Part of me admires it for being so bold, another part of me admires how French it is (in both how Moebius argument against him is based on sex and love as well as how racist the drawing seemed). However, it definitely misses the mark. Geronimo, the actual Apache leader, shows up and agrees with Bin Laden and they talk about how they are both desert warriors who, “know either shame, nor guilt, nor fear.” Yikes. An alien gives Bin Laden a woman’s body. It’s all over the place. And the fundamentally featureless nature of the desert deprives us of major splash panels and illustrative brilliance; though it is astoundingly beautiful, it never kicks into a super high gear. Also, I feel that I missed a lot of in-jokes and subtlety since I’m not super familiar with Moebius’ body of work, there were many characters I didn’t recognize that were clearly meant to be familiar to most. 420 featureless deserts. 

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DRAFT NO. 4: ON THE WRITING LIFE - JOHN MCPHEE

I have no idea why I picked this up. I don’t write for the New Yorker and I’m not looking to hone my ability to write compellingly about geology (which, admittedly, McPhee is the best at) yet I grabbed it impulsively and read it quickly. I suppose that is certainly a testament to McPhee ability as a writer to take something that seems very dull (like how he structures his long non-fiction essays) and turns it into something you fly through. Actually, McPhee is so good at writing, on a sentence-by-sentence, word-choice level, that the idea that he could teach you how to write like him is laughable. On that front the book is a failure. However, there is lots of interesting stuff in it. His chapter on structure is the best in the book and it lays out his truly insane system of envisioning his essays or books at charts or graphs (like a clock that starts at 9 or a spiral) which he literally draws out then fills in the passages. He also mentions how he used to use scissors and tape to edit sections of his work. I’ve only known computers to write so perhaps this is really normal but I found it fascinating. On the computer front, he also mentions that he a computer programer approached him in 1982 about creating a word processor to McPhee’s specifications. Apparently this programer was an early personal computer innovator and worked under the wonderful but mistaken assumption that the personal computers of the future would be bespoke. But either way, McPhee got a program he helped design in 1982 and has used nothing else. Also, there’s lots of inside baseball stuff about the New Yorker, which, because I’m insufferable, I loved. For instance, if McPhee doesn’t know something trivial (like how many gallons of beer a factory produces) he’ll just make something up and trust the fact-checking department to figure it out. Also, the double dots over non-diphthong double vowels, like coöperate, are called diaereses. 65 essays. 

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THE SHADOW OF THE SUN - RYSZARD KAPUŚINSKI

AVAILABLE I read almost all of this book while watching a 12 year old on suicide watch. Her world had been reduced to a desk where I hung out with her all day. She reads a lot, so while she read Charlotte’s Web, I didn’t move from my chair and read this very expansive travel book. I was gifted this one from my buddy Paul when I visited him in Istanbul. Paul’s been everywhere and lived in more than a few countries in Africa and, generally, has great taste in writing so I had high hopes. SHADOW OF THE SUN delivers. Kapuśiński really has been all over the place and across decades. Like Paul Theroux he’s a foreigner who was in Africa in the 50’s and 60’s, when colonialism was ending and the continent was being transformed and urbanized and, according to both of these men, there was a palpable sense of high hope. Flash forward to now, or any intervening decade and Africa is not where the postcolonial dreams would have it. But, one of the major advantages of not being an American is that, unlike Theroux, he understands things don’t always work out. Kapuśiński’s covered Africa as a reported for a Soviet paper in his native Poland. Poles have certainly been conditioned by history to expect setbacks and tragedy and when Kapuśiński finds these, he interrogates instead of wringing his hands over how ugly or chaotic the situation might be. Also, because he’s Polish you get a different frame of references leading to sentences like, “Habyarimana, one can say, is the Radovan Karadžić of the Rwandan Hutus” or his exploration of the differences between Hoxha Marxists and Maoists in Ethiopia. Those two essays, one about Ethiopia and another about Rwanada, are perhaps my favorite in the book. I like when he takes a whole nation and traces it’s political situation over the second half of the twentieth century more than the essays that are more traditional travel tales (about say, crossing a desert). He really harps on how hot it is, but perhaps this is also a Polish quirk. He introduced me to the term lumpenmiliatariat, which he borrows from Ali Mazrui and I find really useful to understanding some current political news out of the continent. Overall, excellent. 54 Suns

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CAHOKIA: ANCIENT AMERICA’S GREAT CITY ON THE MISSISSIPPI - TIMOTHY R. PAUKETAT

I read this on the plane rides out and back to Kansas. It was nice piece of serendipity to get to see the landscape that was/is the background to the huge earthen pyramids the Cahokians built almost 1000 years ago. Personally, I find the midwest’s vastness and flatness terrifying. It gives me the impression of being lost at sea. However, I can imagine how making that unending plane of ground dramatically rise up out of nowhere into a pyramid would have a very dramatic effect. 

The topic of this book is another one of those things you get mad about not learning in school. Typically, if Native American are covered at all in US public schools it’s only the period during which they meet the Europeans or, sometimes if you’re lucky, the period right before this (i.e. what was life like for Squanto before 1614). But, of course, people had been living in these areas for thousands of years and there is exactly that amount of history to cover. This book does a good job filling in some of that deliberately ignored period between when people crossed the Bering Strait into the western hemisphere and Columbus. I remember seeing some “Indian Mounds” around the South as a child but it was never explained to me that there existed a Native society that was building some of the largest pyramids in the world during the European Dark Age. The largest pyramid, which I haven’t seen but now hope to, is as wide as the stone ones in Egypt. 

This book is doing two things at once. It is trying to synthesize and summarize all of what we think we know about Cahokia and the people who built it, lived there and were affected by it, and it’s also trying to explain why we know so little about these people. That second thread that the book is pursuing is either not very interesting (there are all sorts of micro-biographies of different archeologists who have worked on the sites) or infuriating (the book does a good job highlighting all the times that highway builds have destroyed and paved over huge swaths of archeologically significant areas). But that first thread is great. Because so much is not known about the people who lived in the societies that built the mounds we’re treated to a lot of speculation. Right off the bat, Pauketat connects a supernova that was visible to the naked eye in 1054 BCE to the founding of the city. There doesn’t seem any direct evidence of this besides the fact that this event (the supernova, which is now the crab nebula) was recorded by people all over the world (since astronomy was a very big deal to various ancient people’s, from China to Peru) and was a very big deal (it looked like there was a totally new star in the sky) and, temporally, this lines up with when the carbon-dating tell us construction started, ergo, this celestial miracle seems like the sort of thing that would compel one to found a city. I’m not sure that makes the most sense in the world, but I like the idea either way. There is lots of discussion about a game called Chunkey, which involves trying to throw darts/spears through a moving hoop, and how versions Chunkey and Chunkey stones are found all over North America and how this might show us Cahokia’s reach. When White People did arrive in the midwest, centuries after the fall of Cahokia, they would find people taking the game seriously enough to wager everything they owned on it. 

To my mind the most interesting stuff in the book has to do with Cahokia’s connection to Mesoamerica. Already when you see the mounds themselves, it’s easy to jump to thoughts about Mayan or Aztec or other southern, pyramids. Add to that a huge sociopolitical importance placed on a game played in a plaza, as well as similarities in their cosmologies and mythologies (there’s lots of wonderful stories about a trans-American hero named He-Who-Wears-Human-Heads-As-Earrings) as well as evidence of human sacrifice at Cahokia and it’s hard not to speculate (and to get mad all over again that most of the evidence that could shed some light on this was destroyed because people weren’t willing to move a fucking highway a few miles) about a connection. It’s also hard not to think how this experience with a large urban center and rigid hierarchy and human sacrifice shaped the various tribes and nations that arose and developed after Cahokia, which were the peoples that Europeans encountered a centuries later. Either way, made me want to take a trip to St. Louis to see some of these pyramids and I’m always happy to fill in a small section of history I didn’t know anything about. 77 earthen mounds.

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CALIBAN AND THE WITCH - SILVIA FEDERICI

One time in Madagascar I was drinking with friends of mine, all men who had lived in rural Madagascar most/all of their lives (some of them had lived for a time in a Malagasy city) and I was asking them about this strange event that had occurred the day before. I woke up and went outside to walk to my kitchen. At the time I lived in a room in a family’s house in a town called Ambohitrolomahitsy. Like many Malagasy homes, it sort of rambled and connected in weird ways, a legacy of constant construction and improvement and growth, so in going to the small room that contained both my kitchen and my “shower”, I had to walk outside. During the brief walk I was typically accosted and followed by some of the many chickens that lived on the property, who would watch closely to see if I’d drop any rice. However, on there were no chickens following me. To be clear, there were chickens, as many as there had ever been, maybe 2 dozen, but each of them stood still. Stupefied or paused in a daze. You could wave your hand in front of them, push them over, pick them up. Whatever you wanted. My best friend, Heri, who lived in the house as well, looked around concerned but seemed to have dealt with this before, he asked me to help him gather the chickens and bring him to an old man who come over who was mixing water and a crushed up brick and force-feeding of few spoonfuls the brackish liquid into the mouths of the stunned birds. The chickens were all back to normal by the afternoon. I’d asked what the fuck had happened and my buddy told me it was probably a witch (mpamosavy is the Malagasy word) but he didn’t seem to concerned about it. This seemed strange to me and I asked him if he was going to try to figure out who the witch was. He told me that such a inquisition would be a lot of work and also, who cares, since the chickens were better now. He could tell I thought that was strange then asked if there were witches in the USA and I told him that people used to think so but then they killed everyone they suspected of being a witch and now it’s no longer an issue. He found this really horrifying (quick aside, in Malagasy history there is something known as a Tagena ordeal which involves making someone accused of a crime, typically witchcraft, eat the very poisonous nuts of the Tagena tree to see if they survived as a sort of legal test. Interestingly, there is some evidence that this practice started with people administering the poison to rooster owned by the accused and switched to actually poisoning the person themselves in the 16th century, exactly the time period Federici is writing about). Anyway, this was incredible, best book in a while. Honestly, I’m a little mad I wasn’t asked to read this in college. It was part of a pattern that I’ve noticed in the Social Science world where you don’t read the work but rather dozens of commentaries on said work. I feel like I must have been made to read 2 dozen Foucault responses and critiques but all the Foucault I’ve read has been on my own time. All that’s to say that I had heard about this book for years and thought I understood the general principal, something about how woman and colonial subjects are both oppressed in interlocking ways, but had never read it. Turns out this was a tremendous loss. This book is so clear and insightful about at least 2 subjects that I’ve always found a little “loose” or nebulous, perhaps on the more nonsense-y, woo-woo end of social theory. Namely the book clearly lays out the what the destructions of the commons meant and how it affected history as well as how nascent capitalism constructed modern humans. In the case of the commons, Federici does a great job showing how the destruction of landed commons, i.e. parts of the country that anyone could hunt or live on or tend, coincided with this idea that you would start paying people for specific labor (peasants do get paychecks) as well as the idea that woman’s labor (raising children, cooking, cleaning) wasn’t real labor and that it (woman’s labor) was in fact a sort of commons. Likewise, I’ve always found bio-politics/bio-power stuff a bit too much but Federici does the best job I’ve ever seen with making it clear how labor disciplines bodies into the sorts of disciplined machines that are optimized for production. The short histories of the various groups and movements who opposed this sort of arrangement are engrossing and let you play wistful what-if-they-had-won games in your head. Federici’s point about the sheer scale of the Witch Burnings and how they aren’t a weird throwback quirk in an otherwise enlightened society but a very necessary move in a  campaign to create a very particular type of world, the one we ended up with, is awful to think about. As are the connections between the terror against the New World occupants and the “Witches” of Europe that Federici highlights. Plus there’s lots of cool old woodcuts. Essential. 666 Witches. 

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THE CONSPIRACY AGAINST THE HUMAN RACE - THOMAS LIGOTTI

I got this from the library after finishing Ligotti’s TEATRO GROTTESCO a few weeks ago. Say what you will about Ligotti, the man certainly has a worldview. This book, which is non-fiction, seemed like the purest distillation of how he feels about things. And things are not good. Their actually the worst they could be, to hear Ligotti tell it. I read some Schopenhauer in college but this is far and away the most pessimistic single work I’ve read. To simplify, Ligotti views consciousness, especially human consciousness, a terrible mistake. Life is meaningless and absurd and full of pain and the more one is aware of this the more one suffers. Also, since deterministic forces rule our lives, we are basically cursed, nightmarish puppets. It was unsurprising, based on his fiction, that Ligotti has thought a lot about the ways in which people are like puppets and the ways in which puppets are terrifying. As I’ll bet you could have guessed, Ligotti is a hardcore anti-natalist and and seems to broadly be supportive of suicide. While large portions of the book are something akin to straight forward philosophy (though largely jargon free) the book also features a lot of criticism. Ligotti traces this pessimism he’s describing though philosophy and fiction, pointing out and expounding upon his predecessors. He’s taken with a Norwegian named Peter Zapffe who wrote fiction and philosophy around the same subjects and who talks about how one of the ways to deal with this crushing insight into life is to sublimate it into art. Since Ligotti, to my knowlege, hasn’t killed himself, he’s clearly chosen to deal with his psychic burdens in this manner. Ligotti talks cleverly and at length about various horror writers who touch on these themes. He’s got lots of smart stuff to say about H.P. Lovecraft and Poe. He could be the world’s saddest English professor, if he wanted. Overall though, I would agree that these feelings are best sublimated into art. This book was alright but his fiction is better. He’s great a driving home a point, I really like how he always capitalizes MALIGNANTLY USELESS, a phrase he uses often to describe human life but in the end, I’m more dazzled by his imagination than his worldview. 0 meaningless lives. 

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FINALLY GOT THE NEWS - BRAD DUNCAN

Another impulse find at the library and something closer to an archive or photo-book than the other stuff I’ve gotten to recently. This book is built to showcase a remarkable collection of 70’s leftist propaganda that Duncan has acquired. The material is broken into “themes” (such as anti-prison work, or feminist movements, general anarchism etc.) each theme given a chapter and each chapter is given an intro paragraph, some written by people I know (like Silvia Federici) but mostly by people I most certainly don’t. Many of these essays lay bare and break down the almost endless variety and subcategories of leftist groups. For example, the book includes a glossary that serves as a “brief list of some of the organizations mentioned” features the BLA, the ALD, the APP, ASPS, the BWC, the CAP, the AAPRP all of the first two pages, all of which “only” cover Black Power/Black Separatist issues. Each movement features so many groups and proliferations, all of which have their own (sometimes profoundly different, but more often than not, largely simpatico) ideologies which, due to the narcissism of small differences, often prevents these groups from being effective together. Plus there are more insidious examples of this, like stories about Marxist groups supporting the opponents of bussing in Boston based on a “class-first” reading of the situation. Regardless, the material is uniformly excellent, both historically and as pieces of design. Often times the flyers and pamphlets are very catchy and really well laid out. I’d single out the Queer Liberation stuff as well as the Anti-Colonial stuff and all the work related to Chicano Power to being really exciting to look at. You can see DIY punk-show and Soviet propaganda in equal measure. Likewise issues like the creation of “New Afrika” (a proposed Black-majority independent nation, sometimes called the New State of Kush, made up of the American Southeast) or the story of Susan Saxe (a White, lesbian, radical who hid out in various lesbian communes after being involved in a bank robbery/murder) are fascinating to think about. It seems that in my lifetime most American political radicalism and political violence has been decidedly right-wing (from Oklahoma City to the killings of Taliesin Myrddin Namkai-Meche and Ricky John Best to various abortion doctors’ murders) but perhaps it’s a blacklash from this era. Or, more likely, the American, mainstream Right-wing supports its radicals and revolutionaries more than the Left. 77 burning cop cars. 

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TEATRO GROTTESCO - THOMAS LIGOTTI

AVAILABLE: This one came brother recommended and it, frankly, had a lot of strikes against it from the beginning. First of all, it’s horror, which is not a genre I read a lot of or know alot about. Books, frankly, aren’t that scary. I’ve read some Poe, some King, some Barker and a lot of H.P. Lovecraft but that’s basically it (outside of things like Frankenstein, i.e. horror who’s cultural footprint reaches outside of the genre). Additionally, this book is a series of short stories, another genre I don’t really care for. However, despite these prejudices I held against TEATRO going in, this book came through and surprised me. The stories share a lot with Lovecraft in that they mostly chronicle a descent into madness. In Lovecraft, this downward spiral is typically precipitated by a character coming into contact with some sort of monstrous, cosmic being, most famously Cthulhu. In Ligotti it’s a sense of meaninglessness and pessimism that enters into a character’s life and slowly destroys them. Ligotti isn’t trying to invoke terror as much as hopelessness, bleakness and sorrow. Characters are constantly learning that life means nothing, that it’s a cruel joke. There’s lots of clown/carnival/puppet imagery (the only other Ligotti book I’ve read had a clown on the cover) to drive home this particular angle. There’s not a lot of big scares or even horrific Barker-esque images (one of the exceptions being a really gross, awful sounding human-spider hybrid) just this sense that life means nothing and that everything we experience is either stupid, fleeting pleasure or pointless misery. Lots of stories feature artists and writers, which is typically a trope that bothers me in novels (it implies to me that the novelist cannot imagine the lives of anyone but their artists friends and their lives) but it consistently works here. The art pieces that Ligotti describes fit right in with the larger themes of the book and are compelling in their own right. Reading Ligotti’s Wikipedia, I discovered that he’s a socialist. At first this seems bizarre since, to my mind, all leftism requires some belief in people and humanity, but you can actually read this inclination into several of the stories. One of the great strength of the book is that it features unconventional horror villains. There aren’t vengeful ghosts or psychopathic serial killers or anything like that. Often there are evil businesses and factories that spring up from nowhere and destroy people’s lives or government agencies that turn entire towns into nightmarish carnivals. Socialism without any hope perhaps. Either way, I really enjoyed it, it’s impressively dark, like turning your headlamp off in a cave. 13 evil clowns. 

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MY LIFE IN THE BUSH OF GHOSTS- AMOS TUTUOLA

AVAILABLE Excellent. This book is actually 2 novels published together. I read the second novel (but first published), The Palm-Wine Drinkard, a few months ago and also loved that. The novels are similar, they both feature narrators traveling through supernatural settings on a, mostly vague, quest. In the Palm-Wine Drinkard, the titular character is searching for his palm-wine tapster and in MLITBOG the main character is trying to get home after accidentally running into (you guessed it) the bush of ghosts while avoiding slavers. The book is not flavored with a west-African (specifically Yoruba) vibe, and  that vibe is the main character. Imagine someone read Grimm’s Fairy Tales then rewrote them all in her own voice with a main character moving between and connecting the scenes. MLITBOG is that but instead of Grimm’s, the base material is all the folklore and ghost stories Tutuola heard as a Nigerian kid. Every vignette and chapter is distinct, they seem to have the own logic and to be fairytales unto themselves. As the narrator travels between towns in the Bush of Ghosts he encounters areas covered in webs where the ghosts hunt and eat spiders, television-handed ghosts, ghost kings and politicians, we learn that some ghosts are dead, even in the ghost-world and are in (what seems to be) hell, we learn ghost jail is a huge fire. We see the narrator marry a ghost and have half-ghost children. There’s a lot going on and it’s all excellent. It’s great to pick up and read small sections of, get your mind-blown, and then put it down without worrying about losing the through-line. 

I was also reminded of an essay I read, maybe a decade ago, by Thompson, who is a Yoruba expert, about the concept of Itutu, a Yoruba term that means (again, according to Thompson, I certainly don’t know anything about Yoruba culture) something along the lines of collected and calm and cool. In fact, Thompson seems to think that the very American concept of “cool” is rooted in this term that originally applied to the expressions and aesthetic of faces in Yoruba sculpture. Again, I don’t know anything about these statutes but the main character in MLITBOG (and Palm-Wine) is remarkably cool and calm. He is constantly being confronted with unbelievable and supernatural situations, he’s away from his home and family for years, he ran into the Bush of Ghost itself to avoid slavery and is constantly treated with slavery, cannibalism (is it cannibalism if you’re eaten by a ghost?), incineration and all other manner of terrible fates. He’ll often say he’s scared or confused but then just move on and tackle the next situation. It’s an admirable quality that confounds a more typical, character-driven reading. Again, very dope. I’d recommend it to anyone interested in fantasy or Italo Calvino. Also, Ice T’s character on Law and Order:SVU is named after the author, I have no idea why. 8 stars.  

 

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THE TOTEM POLE: AN INTERCULTURAL HISTORY-ALDONA JONAITIS & AARON GLASS

Unbelievable. One of the best non-fiction books I’ve read in a long time. Honestly, I’d never considered Totem Poles at length, just always sort of vaguely knew what they were. I assume this is most non-NorthWestern folks’ relationship to these poles. Living up here in the top-left part of the country, you see lots of totem pole kitsch and detritus but also actual totem poles, which are deeply transfixing and haunting in real life, especially on days that are the deep rainy grey that only the Northwest is privy to. My unfamiliarity with the pole and it’s place in indigenous cultures was not an impediment to this book since the book is not really about that. It isn’t a style guide to let you tell a Tlingit from a Haida, despite how interesting those differences are, and it isn’t an anthropological theory about the cosmology the poles suggest. Instead, it uses the totem pole to illuminate the cultural interactions between whites and the various Native groups of northern Cascadia. 

This is not to say you don’t learn a lot about the poles per say. I didn’t know that carved interior house poles and poles that attach to the house and the bottom figure on the pole’s mouth is the door were much more common. This makes it especially strange, given how incredible these entrance poles are, that the totem pole, alone, became the cultural shorthand of the Northwest coast and beyond. It is this beyond part, where the poles stand in for “Indian-ness” generally where the book is particularly fascinating. There are dozens of examples the authors find of tepees and peace-pipes and totems juxtaposed to suggest a platonic Indian, noble, and non-existent. In that since, the totem pole, separate from a house, mysterious and solemn against an ancient grey sky, is the ideal symbol of this. The symbolism becomes richer when you consider how mapping traditional, nobel-savage Indian stereotypes on to totem poles is laughably wrong. They’re made out of wood, so they aren’t ancient (though they do live on in the sense that carvers will make new versions of existing poles), they are not idols or objects of pagan worship, they don’t even necessarily venerate, or even like, the subject of the pole. Look at this white-ignorance play out, “Early Alaskan tourists found one type of pole, largely confined to Prince Whales Island, especially delightful-those that depicted whites. While white observers assumed such images honored their subjects, some such poles, in fact, mocked them. These may have developed from existing traditions of erecting shame or rivalry poles to challenge other chiefs.” The book is most fascinating towards the end where it seeks to show a connection between efforts, by governments (particularly Canada, there’s lots of Canada national-image stuff in this book) to persevere the poles and the continued domination of Indigenous groups. “This process, by which the dominate society’s power structure assumes control, communicates a powerful message: Northwest cultures were once great, but they are no more. This, in effect, silences the living native people petitioning for improved conditions and better treatment.” This, to me, is the most provocative part. How dominate society can continue domination not by banning alternative cultural practice but by embracing it in an altered form. Totems were often raised to commentate potlatches, a Northwest culture practice that is deeply complicated but basically revolves around families/clans gaining status by making a big show of giving things away. It’s, obviously much more complicated than that and has religious/spiritual/political/etc. angles that I couldn’t begin to understand but the important part is that they were immensely important to Northwest peoples and they were banned by Canada (and the US) for decades. Now, Western governments pour money into preserving poles and placing them in museums and prompting them in tourist advertisements but in a sort of frozen-in-time aspect. You can see potlatches now, but they are an effort to celebrate culture and keep an almost extinct form alive and to provide spiritual connection. They no longer decide who has power in these regions, since that role has been filled by the Western governments who have refashioned themselves the stewards of the poles as well. 

They book isn’t too heavy though. It is full of short, interesting anecdotes, including one where John Muir curses out the whites he’s traveling to Alaska with for stealing a pole. Pole stealing, is unsurprisingly, a big theme. The pole in downtown Seattle, I learned, was stolen. When they installed it, they town let someone read a poem, written from the prospective of the pole itself, about how it was the only civilized pole. In actuality, the pole was erected for a woman named Chief-Of-All-Woman, who died in the 1860’s, on the way to visit her ailing sister. Either way, the Seattle Post-Intelligencer, the newspaper who paid for the raiding party that plundered the tole, eventually paid the pole’s family much less than they asked for, then, in the 30’s, someone burned it. Seattle was eventually given a replacement from the National Park’s Service as part of their efforts to revitalize the art-form. Lots of great stuff like that. 9 Poles. 

 

 

 

 

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BLIND SPOT- TEJU COLE

I’m glad I finally got my hands on a copy of this from the library. I read Open City a while ago and adored it and I’ve been following Cole’s photography column for a while and I adore that as well. Cole has that wonderful quality in a critic of being so encyclopedic and and careful in his criticism that he will mention another photograph or artist in relation to his main subject and it will instantly and irrevocably change the way you see the work in question. The man is so erudite and emphatic it’s hard to keep up. This book is very different. It isn’t photography criticism, like he does for the Times, and it isn’t a travelogue (though it documents one year of nearly constant travel), and it isn’t a portfolio of Cole’s photographs and it isn’t a collection of essays though it contains the elements of each of these forms. It’s, frankly, closest to a beautifully bound, physical copy of the world’s most high brow instagram account (Cole’s actual instagram account is currently posting very close up photos of individual brush strokes in paintings paired with, largely unrelated, lyrical prose). Each photo gets sits across from a short passage that may or may not be (obviously) related to the photo itself. I prefer the writing to the photography. Cole’s photos are almost completely devoid of humans and when we do see them, it’s mostly from behind. “Imagine, for a moment, that every face you cannot see is your own face, but years later. The future is lined with your face.” Cole writes. His photos also frequently contain sheets (often clear plastic) and panes of glass and fences and other visual representations of layers and screens. I’ve been flipping through just the photos senses finishing the book and they are growing on me. There’s something creepy and cold about them. They seem so composed and despite being photos, they suggest and eternity rather than an instant. But I stand behind my commitment to read whatever Cole writes. He’s so ethereal and poetic. Marinate on this passage, opposite a photo of a titled Nigerian grave: “The overlap between the grave, the bath, the bed: strategic escape from the burden of verticality.” Wonderful. 8 flashes. 

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THE BODY KEEPS THE SCORE - BESSEL VAN DER KOLK

I’ll be honest, this one took a while to read. I work with traumatized children as my job and some of the stuff in this book was pretty hard to get through, especially when I do my best to leave the trauma stuff at work. But, I heard about this book because a number of coworker raved about it and since I wanted a deep “theoretical” background in the work I was doing (my “academic training” is in sociology, not trauma-informed psychology) I picked it up. I would say the book confirms basic suspicions I had about these sorts of cases of trauma. I could imagine people complaining that Van Der Kolk endorses everything and seems to think all sorts of stuff works. There stuff about hypnosis and yoga and EMDR, which is this intense eye-movement based therapy, and this technique I once saw a video of Jorodowsky doing where you move people and objects around a room to represent your family and memories (in the Jorordowsky documentary the subject, the camera man, breaks down in tears) and Van Der Kolk has stories about how all these things lead to amazing breakthroughs in only a few number of sessions. I can see how one would be doubtful but, I don’t know,I believe him, at least generally. The trauma stuff is weird and deep and I do think basically boils down to an inability to feel present since you’re sense of safety and you internal regulation is all fucked up from this/these traumatizing situation(s). Trauma fucks up your ability to feel a baseline level of safety and to communicate your needs in a healthy way. I think it’s smart to get outside of the pills and talk-therapy hamster wheel. Van der Kolk and I share a similar mistrust/suspicion of psychiatric drugs, the kids I work with are, often, heavily medicated and it certainly helps curtail the more extreme violence but you can often feel a distance inside of them. I like taking drugs, so I know exactly what the feeling is, but I doesn’t seem like a good state to be in if you’re trying to take on trauma long-term. Fascinating stuff, psychiatrists are so arrogant it’s hard to imagine this changing anything (I understand I sound like a Scientologist) but one can hope. 7 big white pills. 

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ONE MORE YEAR- SIMON HANSELMANN

I’ve been a fan of Megg, Mogg and Owl for a while, since I saw it in Vice. Since I now live in Seattle, I’ve seen Hanselmann at some events and I was excited to see this new book at the library (c’mon Fantagraphics, $40 for this thing is steep). It delivers. Megg, Mogg and Owl gets darker, if that’s possible, since the last book contained an amazing panel where Megg’s depression is depicted as huge faces manifesting out of her walls and pouring some sort of black inky slime out of their mouths, flooding the room. Hanselmann can pivot from that sort of stuff (like, in this book, Mogg asking if they can live in “drug-world” forever and Megg saying, sadly, “one more year”) to goofy/gross stoner antics (which are often dark and sad, look at Werewolf Jones’ children) to backstory that fills in the relationships between these witches and wizards and owls and werewolves. I like how Hanselmann shows how depression can not only make one pitiable but also a real dick to people, both on purpose and inadvertently. I like Megg and Mogg’s codependency, they come off as very broken. This thing is great. 5 joints.

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